Overall, it took Once Upon a Time a season to fall flat; Penny Dreadful does that immediately.

But even Bader, a seasoned comedic character actor, can’t make the overly-quippy-yet-deflated dialogue land. Same goes for the rest of the talented but hung-out-to-dry cast, each straining for cringey humor in one limp written exchange after the next. Only Odenkirk and Enos succeed by playing their scenes utterly straight.

A solid cast with tangible family chemistry make Blue Blood a contender.

There is an angry sexual energy between Rebecca and Cam whose source will no doubt be revealed in subsequent episodes, but which, nonetheless is irrelevant, and extraneous, to the main storyline. This is not the only unrelated, fabricated side storyline on Under the Bridge, which would benefit from some streamlining. The central story is riveting enough without these random and inconsequential side ones.

More irresistible than the most-watched “unscripted” series revolving around the wealthy and as riveting as an ‘80s mini-series, FEUD’s one-a-week episode drops (although it kicked off with two) cannot come fast enough.

Too Much feel[s] rife with potential, even though it has yet to cohere into a great sitcom in line with the heights that these individual talents have already achieved elsewhere.

Freak Show starts off strong, offering more than just a taste of the spooky, bloody, quirky season to come.

There's enough substance to the novel that what's left in the miniseries ends up feeling less like a truly successful adaptation and more like a sketch of a great one.

It escalates and complicates some of the best and most controversial elements of its parent show that it should have no trouble standing on its own.

By throwing caution to the frostbiting wind, rather than trudging over former glories, Hawley and co. give TV’s great snow swept saga quirkier characters that cover greater thematic ground. Is it a departure? And is that what makes it great? On both counts: oh yeaaah, you betcha.

All in all, while not an absolutely great Christmas special since it struggles to find its footing at times plot-wise, it's worth watching for the celebrity cameos and the raucous and at times hilarious singing.

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.

The Netflix docuseries doesn’t probe as deeply as the podcast, but it does assemble key figures.

The second episode also has a number of evocatively shot scenes. But the character development on this episode (which runs ten minutes shorter than the premiere) is equally effective. This is especially true of Ryan’s Melanie.

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

With Jason Katims (Friday Night Lights, Parenthood) as creator and producer, About a Boy could very well be the next universally appealing family show.

Trust's early episodes show some promise, though it remains to be seen if the story will take off to the level of other FX dramas.

High Desert is barren of laughs, and its tone is as abrasive as a dusty California valley cactus.

One has to be both in the know, as well as acclimated to the gory violence and corpses that frequently appear on camera in order to follow along. As long as Cross and Ruiz's renewed partnership seems necessary, season one fans should welcome the return of The Bridge.

If you can tolerate the overly histrionic pilot and are curious enough to find out what "the event" actually is, of which there is no mention in the pilot, then NBC has a Lost-esque show on its hands. Count me out.

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.

Man Seeking Woman is a rare and unique comedy, but raises the bar so high with its initial episodes that it will have to work extra hard to keep up this pace.

While Hawaii Five-0 Mark II has none of its predecessor's cringe factor, the classic theme music retains its blood-rushing quality with a sharp, updated recording. And when McGarrett first utters the infamous line, "Book 'em Danno," we dare you not to let a little grin escape.

A smart and enthralling D.C. drama that resurrects its predecessor's outlook, but still takes on a life of its own.

The first two episodes of this season end on cliffhangers that maintain commendable suspense, despite some expository scenes that tumble into proverbial valleys compared to action packed and sharply acted road buddy sequences that are The Old Man’s peaks. Nevertheless, the exquisitely shot Middle East landscapes, Shawkat’s steely portrayal of a character in perilous danger, Bridges’ pitilessly pugnacious fight scenes, and his sparky chemistry with Lithgow make The Old Man a must watch, and prove some elder operatives need not be scurried out to pasture.

Feldman and Milioti are inherently likeable actors, though as Andrew and Zelda, even their allures wane, stretched too thin by underwhelming writing and a disappointing lack of both humor and creativity.

The switch from battered girlfriend to ball busting crime boss is so sudden, it’s hard to reconcile the instantly experienced crook Joan becomes with the desperate mother she is. Turner handles this inconsistency brilliantly, maintaining viewers’ attention with her razor-sharp turn as Joan. Additionally, the ‘80s setting makes up for the storytelling deficiencies in many ways.

A Very Royal Scandal does a good job of showing all perspectives and putting this specific situation into a greater context that questions right and wrong. Ultimately, it leaves the drawing of conclusions to the viewer.