The project is also a bit of a mess. It feels like De Felitta never stops moving his camera, even when simply sitting still might do. And Robbins's script is filled with scenes where characters have largely inconsequential conversations... But at the very least, it's worth tuning in to the miniseries for five or 10 minutes to watch a great actor show off what made him so great in the first place.

In some episodes, it's really good, and even when not everything clicks, it's relentlessly addictive, returning the primacy to a story that was ceded to the tabloids long ago. The miniseries digs deeper than you'd expect, poking at the messy intersections of race, gender, and class that so much TV still shies away from, and it will remind you, time and again, of bits and pieces of the trial you'd completely forgotten about.

You, Me and the Apocalypse is a character-driven piece that's awkwardly shoehorned into a plot-driven piece, and that means neither side entirely works.

Legends still has a ton of potential, largely thanks to its talented cast. Before it can realize that potential, however, the show will have to course-correct from some seriously clunky, scattered missteps.

Mad Dogs, in other words, is trying something that's really complicated and ambitious and failing as often as it's succeeding. But in my book, you get at least a few points for effort. It might not be great television, but at least it's not content to do the same thing everybody else is.

Baskets makes itself compelling by refusing to make a total caricature of Chip, or Martha, or Christine. The show genuinely loves these characters, as stunted and confused as they are.

It's not as good as it wants to be, but it's still just propulsive and ridiculous enough to be entertaining. It's good shitty television, and that's something we all need in our lives.

Mozart in the Jungle is at its best when it's being whimsical. It's at its worst when it's trying to force laughs.

The special ... didn't just irritate me; it made me actively angry at how it wasted a great idea in the name of pointless complications and fan service.

With per-episode running times of 25 minutes or longer (around four minutes more than a standard network animated show), there are some pacing issues and general fuzziness here and there. But for the most part, it's a neat little series with potential to be a whole lot more.

It's a sprawling small-town saga that, nonetheless, feels lived-in and intimate. And even as it succumbs to some of true crime's greatest faults, it's always less interested in the gruesomeness of the crime than in the impossibility of finding the truth, something that serves it well. This is grim television, but it's also necessary television.

The show overexplains here and there--especially in the first episode--but after some early jitters, it settles in and simply lets its world be.

Transparent's second season is the best television of the year.... Season two was an improvement in every way, small and lovely and achingly resonant.

The individual sketches themselves are things of beauty, running the gamut from old-school setups with one big joke that's repeated in a variety of ways right on up to those that make fun of current trends and pop culture.

This is full-throttle, blood-soaked television, and even when it's not hitting every mark, it's still a great time.

There are spots where it's too overbuilt for its own good. Some might find that it lacks sophistication and is occasionally unseemly. But for comics fans (like me), who've watched superheroes slowly trade their joy for popularity, there are moments that will leave you with an irrational grin on your face. Supergirl isn't the best show on television right now, but it's one you might love the most.

In season two, it's altogether richer, more daring, and even more fun.

The series is stronger and more fully realized through four episodes of season two than it was at a comparable point in season one.

Casual is more wry than funny, but it has some sharp observations and moments. It's also got a secret weapon in Watkins.... Casual definitely gets better as it goes along.

This is, if anything, a sequel to season one, one that shares some of the same cast members, a bit of the same tone, and a general sense of the world tipping off its axis, ever so slightly. It's a show that wants to provoke a reaction in you, whether it's admiration, hatred, or just bafflement. It's HBO's best drama--and thus must-see TV.

Heroes Reborn is in a curious middle ground where it seems to be giving both too much and too little exposition.

For all its obvious weak spots, the show has turned out pretty well. It's silly but emotionally resonant, and able to call back on Muppets lore without getting lost in it.

What FXX has bet on isn't the usual cheery, good-time sitcom. It's a show that unleashes the dark heart of the romantic comedy.

This is a show that's unnecessarily bleak, far too impressed with its own edginess, and completely predictable to anyone who's watched television before.

In Curtis and Dickens it has two of the best performers the franchise has ever featured, and it knows how to use them. Both are able to balance the sense that they're simultaneously terrified for the state of society and worried they won't be able to save their kids from becoming zombie chow.... Fear probably can't do the slow-pocalypse thing forever, but for a first season of just six episodes, it might be just about right.

Show Me a Hero always feels thrillingly alive and attuned to the way that all politics is personal.... One of the year's very best TV programs.

Netflix's BoJack Horseman has found its footing beautifully in season two, earning the title of not just the streaming service's best show, but of one of television's best shows.

Most of Humans' characters are bores, and the story unfolds with the stately pacing of the typical cable drama.