The Bridge so far looks to have more promise than [Fox’s The Following, NBC’s Hannibal, AMC’s ongoing Season 3 of The Killing]. It’s still early, though.

Comedy Central's The Daily Show at last has a worthy rival in the "fake news" game.

Moura as Escobar doesn’t bring the overall manic and sometimes comic intensity of Al Pacino’s Tony Montana in Scarface. He’s never dull, though, giving Narcos a thoroughly sinister presence who’s capable of anything and will stop at nothing.

Not everything lands squarely on target in the first three half-hours of Documentary Now!. But there are enough moments--and quite a lot of them in Episode 3--to keep this ambitious enterprise on track and well worth a roll ‘em.

No cameras were allowed for this [interviews with the band], making it sometimes difficult to decipher just who's talking during the otherwise brilliantly edited archival footage assembled by filmmaker Brett Morgen

Whatever happens, this is an interesting series and a worthy endeavor that makes terrific use of archival footage in both of the first two hours.

Amazon Prime takes a big swing here, and doesn’t entirely miss. More was anticipated, though, with High Castle so far tending to buckle under the weight of some very heavy ambitions and expectations.

This looks like a drama with a heart, a pulse and also the ability to skip a beat.

Dunst is the saving grace throughout a rollicking Season One that keeps delivering whenever she’s on screen. It may well turn out to be the TV performance of the year, with some very able assists from Pellerin, Rodriguez, Ditto and Levine.

A drama that accentuates mob violence but lacks the “charm,” humor and overall empathy generated by The Sopranos.

Watch at whatever pace you'd like--immediately. Given its quality, I think you'll be drinking it all in sooner rather than later.

Last Week Tonight probably needs to towel off a bit and present a more relaxed half-hour next Sunday. The premiere outing nonetheless showed considerable ingenuity and a willingness to take on topics that haven’t already been parodied to death.

Livingston excels as the point man, making Sam Loudermilk both his own worst enemy and a guy who would be damned interesting to be around. This is one of the ongoing TV season’s better new comedies.

Counterpart blooms and grows as an absorbing sci-fi/spy thriller with elemental questions about how identities can be forged and changed by environments and circumstances.

Although Buscemi remains firmly in charge of this lead role, he's not the most interesting principal anymore. That pendulum swings to his wife of convenience, Margaret Schoeder (Kelly Macdonald).

Mr. Mercedes has yet to fire on all cylinders in the early stages of Season Two. But a nice slow simmer is well-suited to Gleeson’s talents as an actor who doesn’t mind taking his time in further molding a character with a gruff exterior and an old, buttered soul. It’s a beauty of a savory performance, with the bigger chills still coming. All in due time.

Throughout these first five episodes, Westworld continues to have a mind-bending mind of its own, sometimes to the point of being close to nonsensical. It’s also a non-stop killing field, and that gets to be off-putting after a while. But Westworld also remains picturesque, challenging and undeniably distinct.

The end result is funny in spots, overly gross in others and upbeat in Rescue Me's typically offbeat fashion.

It's a thoroughly entertaining romp, with the television industry as a combination Tilt-A-Whirl/merry-go-round.

Judging from the first eight hours, it truly will be grand. Downton Abbey looks for all the world as though it’s steaming steadily toward happy or at least contented endings for one and all.

Intercut with brief, unobtrusive reenactments and accompanied by a dangerous-sounding music track, The Jinx very much looks like a masterwork of the true crime genre.

There’s a gainful, functioning relationship among the four oft-miserable principals. And so far it’s still in place after the first three episodes.

References to Beyonce and Michelle Obama are worked in without reaching too hard. And the "black experience," although hardly monolithic, resonates in ways that make this version quite special and different.

The rooting interests are many and varied in a drama that’s held together by the strength of its convictions and characters.

Maniac, for its part, throws down a tale that swerves to the left and swerves to the right without ever losing velocity. But seeing is believing while not believing what you’re seeing is also part of the experience.

Whatever your takeaway, the performances of Spacey and Wright remain assured and now ingrained in a series that ranks as the best body politic drama ever.

While Preacher sometimes just barely manages to keep its overall story together. Even so, seeing how it all comes out in the bloody wash for now seems like a risk and an adventure worth taking.

It’s still an open question whether its central murder mystery can sustain a number of false leads and other mis-directions for a full 12 hours. But the resplendent panoramic visuals are a show in themselves. So the bigger your HD screen the better, with Fortitude’s overriding whodunit gradually firming its grip while those icy, snowy vistas stay strong.