Schilling, Prepon and Mulgrew are uniformly terrific throughout, whether in prison garb or flashback civilian clothes. But other characters are equally compelling, giving this series innumerable stories to tell for hopefully many seasons to come. Based on the first six of 13 episodes, Orange is the New Black has passed virtually every test with flying colors.

Maslany shows no signs of running down during the very challenging assignment of playing a wealth of disparate characters. But Orphan Black’s twists, turns and veers are getting increasingly harder to keep down--and impossible to swallow whole.

After a ridiculous opening bit--in which Maya recklessly drives the entire family to a restaurant whose 50 percent off coupon will expire in three minutes--both Driver and the show settle into a solid and for the most part amusing groove.

Although it arguably strings things out a bit too much, this newest Witness is a watchable feast of strong portrayals and mostly sturdy plot threads. Jones is a fearless, full-immersion actor whose performance spares him no personal indignities.

Much of the performance footage is phenomenal in that respect. But in two hours time, the film could have dug deeper rather than coming to a screeching halt that almost rivals its subject’s high-pitched stage wails.

It sometimes lapses into the abundant cliches of its genre. Pound for pound, though, you won't see many better dramas this season. Gloves on or off, it keeps scoring points.

So far, muy bueno. Somewhat amazingly, this turns out to be a comedy whose time has come again.

The real joys of Smash are its performances and production numbers, some fantasized, others part of the bare bones auditioning process.

[Cress Williams] delivers the goods in Black Lightning as a title character of steely intent whose vulnerabilities are also a major part of his makeup. Are his powers a curse or, as he prefers to see them, a “blessing from God?” However things turn out, it’s already quite electrifying.

Elliot's (Rami Malek) haunted eyes and black hoodies, coupled with a blunt, abrasive take on humankind, propel Mr. Robot through a world of deep discontent and covert villainy.

Patience is recommended, because it takes a while for Mindhunter to embed its hooks and acclimate Groff, who at times seems to be almost painfully “finding” his character. ... Based on what we have, Mindhunter is plodding at times but promising in the main.

So much of Togetherness hung together with a very deft blend of humor and angst. But then the angst took over, the loopiness kicked in too hard and schmaltz came charging up through the backstretch.

Vietnam In HD is vivid and compelling without being intrinsically political.

It’s an acquired taste worth acquiring--or at least sampling. Because you just won’t know until you’ve tried.

Crazy Ex-Girlfriend romps and rolls without really missing a beat.

Del Toro and Dano are both solidly believable, but the bravura performances in Dannemora come from Arquette and Lange as prison employees who get to taste freedom daily, even if it mostly tastes pretty sour.

Grammer's performance is thoroughly engaging and convincing. And the events swirling around him never fail to snap, crackle and pop.

Some might find For Whom the Bell Tolls to be too easy on, if not downright deferential, to McCain. But this last testament in many ways also underscores the respect and admiration he has won from those he’s battled fiercely.

Better Call Saul looks very much as though it can stand on its own, even with occasional drop-ins from prominent Breaking Bad characters other than Mike Ehrmantraut. Jimmy/Saul’s life isn’t in jeopardy as long as he stays in the past.

John Benjamin Hickey’s point man performance leads the way, with his character’s demons and dilemmas already etched like fissures in his face. Carrying the weight of the world can be heavy lifting. Manhattan so far shows every sign of being able to shoulder the load.

Angie Tribeca, starring Rashida Jones (Parks and Recreation) in the title role, is hysterical at times, amusing in others and never far from a sight gag or throwaway line.

One can appreciate Adams’ performance, though, without buying into the overall endurance test required by Sharp Objects.

It all meshes together in enthralling fashion with a tale that’s understandable and a setting that’s tailor made for picturesque vistas. Last Kingdom livens up Saturday nights with Emmy caliber storytelling and oft-sumptuous production values.

It shines through and stands out as the fall season’s best new comedy among the major broadcast networks. ... Her character is a fraud who so far doesn’t belong, but Bell herself is the very best thing about The Good Place.

This is a riveting film with a bravura performance by Cranston, who’s been the signature television actor of the past decade.

The Americans enthralls with its complexities, simplicities and overall derring-do.

Creators Fey and Carlock instill Unbreakable Kimmy Schmidt with the infectious positivity of their title character, who won’t give up, no, she’ll never give up. Still, her hard knocks life starts taking its toll in later episodes, draining some of Kimmy’s ebullience and replacing it with a little petulance. The sunny side up Kimmy is much preferable.

Black-ish has a lot packed into its oft-amusing opening half-hour. It’s both fairly daring and also endearing, sharply written but with an overdose of narrative exposition. The kids and adults are all well-cast and there’s no laugh track to gum anything up.