Some of Rae’s best moments during the six episodes made available or review are when her character squares off with herself in a mirror and rehearses what she should or shouldn’t say in big moments.

Season Two has only just begun its twists and turns. But so far, so good, with ample possibilities still in play while Harry’s head tries to stay in the game.

Filmmaker Timothy Greenfield-Sanders (The Black List, The Latino List) might have done well to just keep the camera on [Carmen Dell'Orefice] and let everyone else hit the cutting room floor. But other former supermodels are quite interesting as well, among them Isabella Rossellini, Jerry Hall, Paulina Porizkova, Carol Alt, China Machado, Marisa Berenson and Lisa Taylor.

Revolution, which has the overall look and feel of a big budget feature, delivers some consistently terrific action scenes.

Douglas, Damon and company put on a crowd-pleaser that even Liberace couldn’t top during all those many-splendored stage performances. A film that could have been so very bad turns out to be pretty mah-velous.

Fans of the fantastical can do far worse than Once Upon A Time, which manages to both stir the pulse and please the senses with its beautifully imagined medieval times.

Investing in ABC’s Emergence looks like it could be a winning proposition. And even if the suspense and premise begin to sag, there’s always Allison Tolman to keep hope alive. ... Tolman’s performance is thoroughly grounded.

The producers of Pitch of course say that it’s a character-driven drama with baseball action in the mix but not a focal point of each weekly episode. Episode One, however, is appealingly diamond-centric, with Ginny’s travails and resolve (plus some well-chosen mood music) providing more than enough tension to engage even hardcore non-sports fans.

Girlfriends doesn’t aways hit its marks--particularly during the over-reaching opening minutes of Episode 4. But the three lead performances, particularly on the part of Miranda Richardson, are more than enough to carry the day.

The first four episodes of Season 4 are a little weak downstairs while still remaining at or near the top of the TV comedy class.

It can be heavy-handed at times while also being overly tethered to somber narration from the renamed Offred (series star Elisabeth Moss), who used to be June.

Baskets will never be a walk in the park. And it no doubt remains too dark for many. Some rays of light are showing, though, by the end of Episode 4. Nothing overly warm and toasty, mind you. But some welcome little thaws.

Lost in Space didn’t have to be very good at all to improve on either the original or the movie. Still, it’s much better than might have been expected, as is Netflix’s ongoing One Day At a Time reboot. The Robinsons and their antagonists look good to go again.

It all makes for a promising start on a network whose best comedies invariably wind up on Thursday nights. Whitney is already there, and looks as though it just might belong.

Caan’s perfectly clipped delivery and his daughter’s well-timed comebacks make Back in the Game at least a standup double if not a sliding triple.

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.

Dear Mom, Love Cher is both a pleasant and evocative way to spend an hour.

Happy Endings quickly gets its game in gear and emerges as ABC's best new sitcom since Better Off Ted unfortunately failed to find an audience.

An entertaining, amusing and at times poignant first season that also has some wretched excesses and predictable turns. But there are more than a few little unexpected delights, ranging from Ruth’s impression of Audrey Hepburn winning an Oscar for Roman Holiday to Sam’s learning that a just released real-life movie has upstaged his plans to direct a surefire crowning masterpiece titled Mothers and Lovers.

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

Rectify can be both hypnotic and heart-wrenching for viewers who have invested in these characters throughout the first two seasons. Season 1 remains the high point, though, and there doesn’t seem to be much time left to scale some of those peaks again.

Despite its lead characters' fragile makeups, Free Agents is a niftily scripted, bracingly grownup comedy when in the hands of its two leads.

Atlanta is very distinctively [Glover's] baby through and through.

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

Too Big to Fail effectively follows the money while humanizing most of the moneychangers.

Absent the trappings of official power and high-stakes infighting by Selina and her team, the very blue banter at times seems both juvenile and excessive. ... The open question is whether Veep can sustain itself as a comedy about a festering ex-president who’s desperate to remain relevant in civilian life. But it seems likely.

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.

This tautly emotional and up-close look at a mettle-testing day in Iraq seems certain to become its most resonant and valuable production to date.