Genius: Picasso is sluggish in the early going before gaining traction in later episodes. Banderas makes a growingly strong impression.

For now, though, this is a series that's seemingly built on an arresting foundation.

Hanks himself book-ends this serviceable, talking heads/illustrative clips treatise with a pair of all-encompassing quotes.

The Flash pushes most of the right buttons with its engaging first episode. It’s alternately action-packed, character-driven and poignant, with dashes of humor here and there.

Despite all the aforementioned intrigues, The Borgias so far isn't quite as bawdy, foul-minded or over the top as its predecessor. It moves more deliberately, sometimes a bit ploddingly.

Queen of the South, based on the first three episodes, knows how to dawdle a little without ever slowing to a crawl. The action scenes are gripping, the language can be rough within the expanding confines of ad-supported basic cable and the glimpses of the flesh are fairly bold at times.

Bob Hearts Abishola feels good -- and good to go -- the second Olowofoyeku enters the picture and begins riffing with Gardell. They seem to be made for one another -- at first as actors and eventually as characters whose future dating ups and downs should keep this show on a steady, agreeable course.

Gregg’s resurrected Coulson so far is the much-needed glue, lending a familiar presence and sturdy countenance.

After an energetic start and a nice twist at the end of Episode 1, City on a Hill slows its pace a bit.

The show’s creative team, headed by creator Corinne Kingsbury and including Ben Stiller, so far have put together a show that’s surprisingly and bracingly watchable.

Stephen Colbert’s better half generally has been the second halves of his still formative show.

Friday’s curtain-raiser makes a better than expected first impression while at the same time putting Herrera’s hunky, soulful and appealing lead priest in play.

Foley, Cohan and the supporting cast members need not unduly worry whether their adventures are all that plausible. What matters is whether this show is fun to watch regardless. Which it is.

America In Color is by no means the full story. But its overall artistry breathes new life into these two incredibly eventful decades, with three more yet to come.

Emerald City has its moment as a vicarious, danger-packed thrill ride replete with jolts, wonders and ample shivers amid its shimmers.

Life Is But A Dream in reality doesn't give all that much. Still, it's a watchable film for those who just can't get enough of a pop music jewel to behold who's still just 31 and likely not even in her prime yet.

It all gets pretty involving in time. Based on the first three hours, this is a sturdy production from a producer/scriptwriter (Chris Chibnall) whose well-appointed credits include Torchwood, Doctor Who and the United Kingdom version of Law & Order.

The Comedians is a decently prepared entree with just enough bursts of flavor.

It's obviously not for the squeamish, nor perhaps for the refined. But it's al-i-i-i-i-i-ve in so many ways. So what the hell, let's rock.

It's a long pull that can be fun and funny--and more than a wee bit tedious.

Fox is pairing Minority Report with an amped-up second season of Gotham while sending former Monday night incumbent Sleepy Hollow to Thursdays. It looks like a solid one-two punch of crisp, stylized cop dramas that are visually resplendent without losing sight of character development.

Pose is praiseworthy in terms of its unique diversity and overall style. The ball competitions, which are frequent, could well be a show in themselves. ... But man, Pose also can be cloying at times while also being as broad as, well, Dynasty with both its story telling and some of the acting.

Chicago P.D. looks as though it’s going to walk its beat for a while.

Together they [Patrick Warburbon and Carrie Preston] put a fair amount of zing into NBC’s New York City-set Crowded, which otherwise has a thoroughly shopworn premise and an increasingly outdated laugh track.

What if nothing ends up coming together? Although there are some signs of that, Falling Water also can be maddeningly inexplicable and perhaps not worth a long-term investment. So far, my interest has ebbed and flowed.

Kinnear carries himself ably, and his character’s amiable rogue presence wears fairly well for starters. The long haul may be problematic, though.

At its best is dumb fun. Johnny, Hank and rookie EMT Brian of course keep making a fine mess of things. They also mesh together pretty well in a series that bracingly is without a detracting laugh track.

Although the acting can be a bit mechanical, Syfy’s Z Nation may have enough pop, intrigue and indispensable gore to serve as more than a mere placeholder for AMC’s The Walking Dead.