The cast comes across as natural, even in their stereotypical roles. The dialogue is similarly fluid and representative of the kind of conversations that would happen in these circumstances.

This could have been more appealing with a stylized visual approach or a novel tone but instead it's sci-fi-by-numbers. [Nov-Dec 2015, p.78]

The characters are cookie-cutter, the dialogue predictable, the jokes stale and flat, completely unexpected from a sitcom veteran.

The fourth season of the 1950s-into-1960s period comedy The Marvelous Mrs. Maisel gets off to a shaky start.

It warrants a little suspension of disbelief, but Blindspot is a fun, entertaining, action-packed thriller perfect for a Monday night lineup.

The Powells' snarky dialogue can be a bit annoying, but executive producer Greg Berlanti (Brothers & Sisters) cares for the family dynamics. Even the special effects are commendable. Some of the acting and line delivery can be a bit hokey, but that comes with the comic book-esque material.

There's enough intrigue driving the premise to set The Leftovers up as a promising series; whether the show can maintain its momentum or succumbs to the weight of the myriad, potentially frustrating mysteries behind it remains to be seen.

It feels a little predictable, but the extreme personas of the overdrawn characters keep you locked in.

Everyone is over-acting to a borderline unconvincing amount. The series’ narrative progression is carefully curated to appeal to the tastes and sensibilities of viewers. ... Nothing happening in the series may be real, or important, but that’s never Star’s goal. Rather, each episode in Season Two is nothing more than a 30-minute escape, peering into a world that is mere fantasy, and is all the more entertaining for it, which, in this case, is enough.

Sense8's ensemble is contemporaneous, creating an exciting real time tension as the characters take advantage of their seven partners' unique specialties and experiences to unravel mysteries in their own respective scenarios.

"Meta" is the word used most to describe this strange take on a reboot, which in its very weirdness will have viewers—all of whom will be those that watched the original series when it aired in real-time, none of whom will be fans that aren't the ages of the actors/characters as it will make absolutely no sense to them.

Fox aside, the show boasts some strong performances which should hold it up through the weaker material, for a time at least.

The Trophy Wife characters are well developed and the actors very natural in their roles. The kids are brilliant--particularly Tsai.

This could be a watershed moment in TV's long and inglorious history of idiocy, a drama that unintentionally almost matches Arrested Development for laughs.

Other than a few other corny ideas (the whole Presidential assassination trope is a little cliché), Hostages delivers a compelling plot with enough tension to keep viewers interested for 45 minutes.

The further The Girls on the Bus gets into its storylines, the more likeable the central characters become, and the more invested you become in what happens with them.

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.

The efficiency and charisma of these two, enhanced by the haute couture and clichéd exotic locales, makes watching Undercovers really fun-but not very believable as a spy drama. It is all a little too casual and humorous to be convincing.

The set-up sounds promising except the overwhelming apologetic tone that blankets every single exchange stops Ten Percent from developing any kind of edge.

Few shows have such a unique combination of grounded action and performances with an Orwellian social conscience and special effects splashed flash forwards. If Class of ’09 balances those elements better going forward, it could be as well-rounded, lithe and lethal as the best trained FBI boot camp recruits it is depicting.

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.

It doesn't stretch itself too thin working for laughs, but rather earns them genuinely.

Once you get past the initial insufferable hump at the series’ start, it becomes a guilty, addictive watch, not unlike watching self-centered wealthy people on reality shows dedicated to them.

The rest of Detroit 1-8-7's cast is fill-in-the-blanks police fodder. The only two characteristics that separate this show is one, it is filmed wholly in Detroit (who cares, a soundstage looks just as convincing) and two, the cameras are handheld (who cares, that shakiness can become very annoying).

Legacy starts strong and only gets stronger. It’s a multi-generational family dynasty real-life drama far more riveting than any dramatized version.

Limp and gratuitous dialogue often borders on melodrama, and none of the characters are particularly compelling or interesting. [Sep/Oct 2014, p.83]

The show is still subject to the freak-of-the-week formula that so pervasively plagues comic book series, and its treatment of the criminally insane remains more criminally over-the-top than in Gotham's peer programs (Arrow and The Flash, most notably). On the whole, though, Gotham's second season debuts as strong as--if not stronger than--the series premiere, encouraging those who stuck with the hammy inaugural season to settle in for the long haul.

It's hard to fall in love with a world that feels...borrowed.