There's no reinventing the wheel going on here, but as they say, why reinvent something that already works so well.

The big, heartfelt, Dangerous Minds style lines that are geared at squeezing out tears are so cheesy, predictable, and trite, they cause eye-rolls instead.

Rust, Apatow, and the other writers make an understandable attempt at supporting character development this season, which takes some of the weight off of the main couple, but it's the surprising chemistry between Gus and Mickey in both love and war where Love thrives.

Norton's stony glare, and a supporting cast rarely rising above one-line descriptions don't sink proceedings. Even if this is just The Night Manager cross-pollinated with The Godfather, it produces a decent hybrid.

The end result is sort of like the Coen Brothers directed Get Out while listening to trap music, and it's not like anything I've ever seen.

Nothing about this reboot is a disappointment. If you were a Will & Grace fan the first time, you're going to love it all over again. This is how comedy is done.

A wonky framing device, where Moynihan fills in gaps in the storylines directly to the audience, is given no explanation as to why it's even there, or who he's talking to; you're left to suspect that the writers couldn't figure out a more organic way to clue viewers in on why these scenes are being show to them.

With all these elements working in its favor, scale back on the titular character and give Missy and the mom some more individual airtime and you might have something worth its timeslot.

When these murders took place in real life, they shook the world with horror and disbelief. Those feelings are reignited with the deliciously morbid quality of The Menendez Murders, literally like a slow motion retroactive murder you can't take your eyes off.

Barry Levinson's The Wizard of Lies is a fascinating, and in many ways horrifying glimpse into one of the most notorious thieves in American history.

From its dynamic female characters, to its willingness to turn dashing leading men like McGregor into far more fascinating warts and all character actors, to its exquisite (and frequently hilarious) montages about everyday Americana, Fargo's third season is thus far as strong as any of the sterling preceding tales in this snowed in noir universe.

For now, it lacks such innovation, to say the least. It's as stale as yesterday's paper.

Joining McShane and Whittle, such stars as Cloris Leachman, Peter Stormare, Emily Browning, Pablo Schreiber, and others contribute their immeasurable talents. They play their roles expertly, carrying the show's allure and mystery while humanizing their otherworldly characters.

The warming to the characters of young Einstein's universe is slow, yet once he meets and falls in love with fellow physics student Mileva Maric (Samantha Colley) during his time at Zürich Polytechnic in Switzerland, intrigue begins to mount.

Moss is stellar in the role, perfectly able to convey simultaneous resistance and forced acceptance of the bleak social structure. It's in the show's writing, though, that the true genius lies. There's not a single dull moment the whole series. Even when it starts to feel a little too close to home, it's impossible to look away.

The beauty is in the discovery of how much terrain there can be for setting up the chess pieces for the world of Breaking Bad. Co-creators Gilligan and Peter Gould make sure to walk you through it at a slow pace, so you can admire the cacti.

Corey Hawkins does a perfectly serviceable job in the thankless role of playing the new Jack, as do the other leads Jimmy Smits and Miranda Otto. But you'll have more fun rewatching your season one DVD.

In the end, it's Law's incredible performance--certainly one of his best--that makes Lenny compelling, mysterious, and complex. We can't help but fall under his charismatic spell and stick with him through trying moments.

A show that offers few laughs and just as much entertainment.

Though Season 3's content remains iron-clad, the proliferation forces things closer to the territory of having "forgotten" episodes, watering down the power of Brooker and his team's vision. More is seductive, but beware dilution.

If their latest appearance on Late Night with Seth Meyers as the Talking Heads parody band "Test Pattern" is any indication, Season Two isn't purely a high concept exercise in direct imitation, there will also be plenty of LOLs.

Overall, the show could have used a little tightening (it might be time to rethink the 13-episode model, which Daredevil's second season ought to have already proven), and episodes can lag a little bit in the middle, but it's an enjoyable ride.

With a star-studded cast (notably featuring Ed Harris, Evan Rachel Wood, Anthony Hopkins, James Marsden, and Jeffrey Wright), lush production design, epically sprawling story, and astonishingly huge budget, HBO is banking on the J.J. Abrams-produced Westworld to become a tentpole series. In a rare case, the network's investment pays off.

Meadows was the one minor bright spot as the self-emasculating and self-deprecating therapist. Hines' allusions to a wild, coked-up past, Zorn's workplace woes, Pemberton's teen angst-these were all well-treaded tropes, and likely a missed opportunity for something more clever.

A series pilot has to walk a rather tricky line of setting up a series premise, giving a hint of things to come, and, you know, being entertaining. As far as pilots go, NBC's The Good Place (from Parks and Creation co-creator Michael Schur) hits it out of the park with all of the above-not to mention some honest to goodness earned laughter.

The Case of: JonBenét Ramsey takes a while to find its footing, but when it does, it's undeniably engaging, especially for true-crime enthusiast.

While historians may struggle with these early-century equivalents to rock stars as busy sleuths, Houdini's unshakably scientific stance can be refreshing, and it's entirely possible that the real Houdini and Doyle would have loved this--while they were still friends.

While it's a well-produced and entertaining series, it's disappointing to see writers and filmmakers heading back to the well to rehash lesser John le Carré works when current spy novelists like Olen Steinhauer, Charles Cumming, and Chris Pavone have modern novels that could easily be adapted--and likely with superior results.