As end-of-the-world tales go, it’s watchable, fairly unpredictable and garnished with a palpable subplot that in some ways is more intriguing than whatever the end game might be.

This is a firmly grounded and compelling drama that’s both ripe for lampooning on Saturday Night Life and rich in story possibilities. Its us-against-them template holds solid over the first five episodes.

There are ample interesting ingredients here. But two subsequent episodes--Fox for some reason hasn’t provided the second one--are comparably hit and miss.

Billions is full of itself in a good way, with Giamatti and Lewis dynamically leading the way while a solid supporting cast hangs in with them. The perplexities of stratospheric finance are not easily digested at times. But you’ll never be too far from another scene in which one or the other protagonist hits the spot and makes this latest Showtime series worth both your time and your money.

Chris Carter seems to be creatively bankrupt at this point, with Episode 3 screaming out a vote of no confidence. For a while at least--early in Episode 1--it was kind of nice to see Scully tell Mulder, “I’m always happy to see you.” And for him to reply in turn, “And I’m always happy to have a reason.” But then the story went on, straining, lurching and tripping before falling flat on its face.

Unlike The Flash, Arrow and Supergirl, there arguably are too many characters to service here. Add a lot of attendant gobbledygook and mostly shopworn banter.

Galifianakis, Anderson and Kelly fit their roles like the thick rubber gloves used in emptying human waste from portable johns. What fine messes they’re in.

It’s fairly sturdy and convincingly gruesome in terms of showing a variety of battle wounds. It’s also predictable and oftentimes stilted, with the dialogue regularly preachy.

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.

The premise is nothing new under the sun, which still exists. But it’s decently executed with enough periodic action and revelations to perhaps lure a decent-sized fan base.

The key will be whether Second Chance can keep from lapsing into a stale weekly catch-a-crook caper or have enough layers of unique duplicity and humanity to resonate as considerably more than that. It so far still deserves the benefit of the doubt, with a compelling opening episode that should leave many viewers in the mood for more.

Angel From Hell is without a laugh track or any real sense of purpose beyond letting Lynch fire away. Some of her darts can be amusing. And her delivery system remains intact. But even by Episode 2, the premise is wearing thin.

Just OK, even with the first two episodes directed by the still esteemed Barry Levinson (Rain Man, Diner). This is a series that tends too often tends to drag rather than pull viewers along.

[The first four episodes of Season 2 available for review are] riveting from the first minute, with stellar, resonant performances driving a story with a high fiber content.

Do expect an absorbing tale of justice rendered but not necessarily justice served. Its star players have no formal acting training. But for better or worse, they all look born to play their real-life roles in another true crime drama that knocks fiction for a loop.

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.

MacFarlane and Hentemann already have pumped all of these wells all but dry, which leaves Bordertown with its ramped-up topicality and little else.

Aggressively stumbles along without leaving any lasting footprints.

The problem isn’t with the overall look of Syfy’s The Expanse. Production values are first-rate through and through. But having little or no earthly idea of what’s going on can be a problem, even with the lengthy printed preamble greeting viewers of the Monday, Dec. 14th premiere episode

Given the otherworldly circumstances, it all moves along quite logically and at a brisk pace that leaves dawdling for dead. There’s no flabby midsection here, just one major development after another. The fight scenes are well-choreographed and frequent. And the twists are imaginative while also being grounded in the grim realities of this ramped-up universe.

The show also wears well, with Longoria vigorously in the forefront and a solid supporting cast led by scene-stealers Diana Maria Riva and Alex Meneses.

A Very Murray Christmas is as uneven as a child’s first effort to build and frost a gingerbread house. It’s also different, which sometimes works in its favor.

Virtually every joke lands with a resounding thud.

The Art of More is high on production values but low on basic believability with its discombobulated tale of two very amoral New York art auction houses.

All in all, National Geo should be justifiably proud of this production, which serves Kartheiser well while also telling the companion stories of the people who got to Plymouth first.

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.

Viewers looking for the best new medical drama of this still young season can find it in Chicago Med. Then again, there are only two of them so far.

A polished jewel of the genre starring an actor-comedian who has seized this opportunity and soared with it.