The voice-over commentary that’s most valuable comes from musicians such as Bruce Springsteen and Tom Petty, who deeply understand Presley’s music and motivations, and critics who’ve thought long and hard about Elvis, like Nik Cohn and writer turned producer Jon Landau. ... You’ll have your own moments of discovery. Elvis works his way on everyone individually.

This frequently jaw-dropping documentary by director Alex Gibney, drawn largely from the book of the same name by Lawrence Wright, demonstrates vividly how a cult can spread among people searching for something greater in their lives, some advantage over others, some grand answer.... At times threatens to get swallowed up in the loony-land it wants to analyze, it helps a great deal to have regular check-ins with Wright.

If Bee can sustain the tone she presented in this premiere episode, Full Frontal is going to be an exhilarating pleasure.

Hannibal is the most radical enterprise on network television right now.... Hannibal is also one of the most hilariously ridiculous shows on TV. The fussy perfectionism of Hannibal Lecter, from his impeccable suits with jaunty pocket squares to his smirking murmurs of polysyllabic nonsense, is screamingly camp while lacking the wit of truly accomplished camp.

Sir resembles the Shakespeare character he’s playing, and that’s the chief flaw in Harwood’s play--a too-easy irony. But Harwood makes up for it with the crackling dialogue that pushes The Dresser along at a terrific pace.

It’s a completely hypnotic enterprise--a nightmare you are compelled to remain within, to see what happens.

Insecure is a show with great confidence--Rae immediately sweeps you up and carries you along on her journey of false starts, little triumphs, and big disappointments.

Key and Peele returns to Comedy Central on Wednesday night with an exceedingly strong half-hour that once again demonstrates the range of not only the duo’s performance skills, but their ideas as well.

I’ll keep checking it out for its incidental pleasures. A lot of Baskets’s best humor is totally random

Not every episode can reach these heights [of one of the funniest sequences in the first season], but with an ongoing story and no apprehension whatsoever in abusing its main character beyond the limits of humanity, there’s no reason that Review won’t continue to be worthy of five stars.

The structure of most OITNB episodes--in which one character is brought to the fore and we see flashbacks to that person’s past history, details about how that woman or man was shaped and became the person she or he is--has by now, in the new season, become predictable, either comfortingly or tediously so, depending on your degree of engagement with the series.... It’s all pretty pleasant, even if the jokes are often corny.

A marvelously acted piece. If the subject matter sounds grim, it is, but the production is exciting: well-acted, suspenseful, and moving.

Dreadful creator John Logan has firm control over the series’ mordantly witty, dry tone. He has me hooked again.

The new Roots excels in the naturalism of its performances to make the horror of slavery vividly painful--and the resistance to it uplifting--in a way that deepens the tale.

As always, this episode of Mad Men had entertaining moments.... Weiner wants you to realize that, over time, a wiseguy like Roger inevitably becomes insufferable. The problem is, removing such fun from Mad Men only makes the overall experience of watching Mad Men more joyless.

Even--or especially--if you don’t get the humor in that last one, the country-music knowledge being arrayed before you in Tales From the Tour Bus is sure to both enlighten and entertain you.

The exhilarating thing about Difficult People is that it consists of aggressive insult humor that’s rooted in a friendship that’s all heart.

The whole production is a beautiful machine, with strong supporting performances.

One of the smartest, most charming and funny shows you’re likely to see all year is Catastrophe.

Halt and Catch Fire doesn’t seem to trust that the viewer will know what it’s talking about.

All in all, it’s a season of Black Mirror you’ll enjoy if you like your sci-fi/fantasy/horror laced heavily with social commentary. Me, I wish the messages were ladled on with a lighter hand.

If Legion can maintain the balance of thriller-tautness and hallucinatory chaos that is done so well in the show’s opening hours, this will truly be a unique and superb superhero series.

The achievement of The Returned is that it creates its frights chiefly from an atmosphere of the quietly uncanny. Indeed, the show is at its best when it’s impossible to tell who is more dead: the returned population, or the living whose souls have expired from despair.

It’s almost cartoonish in its approach to the sitcom, to an extreme that sometimes pushes it into avant-garde territory: Not only would Daffy Duck understand what Kimmy is up to--so would turn-of-the-20th-century Dada and Surrealist artists. Unbreakable Kimmy Schmidt is Fey and Carlock’s PhD project in comedy.

A tremendously moving documentary.

Much of the soap-opera storytelling apparatus that frequently made the series a guilty pleasure rather than a pure pleasure--has been jettisoned. In its place is a more leisurely pace and, at its best, a soulfulness that Nashville has long struggled to achieve.

You’re the Worst proved to be one of the most amusing and unusual sitcoms to premiere last season, and Wednesday night’s second-season premiere lives up to its promise.

Mom is back for a third season on Thursday night, and the sitcom has really found its comic groove. Also its tragic groove. Because that’s the way Mom works--its present-day laughs are always threatened by fragile futures and haunted pasts.