Writer Ron McGee treats Full House as though it was a sacred icon whose pop-culture history must be maintained at all costs--in this case, the costs being believability and narrative momentum.

Stewart gives a terrific performance, gliding through a song-and-dance fantasy in the second episode, and, throughout, delivering his lines with astutely timed gusto. It’s too bad the lines aren’t funny.

The cast here is exceptional.... There are times when the pace of Show Me A Hero becomes predictably metronomic.

It’s off to a very good start. Dickens and Curtis and the actors playing their kids (Dillane, Alycia Debnam-Carey, and Lorenzo James Henric) are terrific.... Fear The Walking Dead has art on its addled mind, and is all the better for it.

[Billy Eichner and Julie Klausner's] collision in this sitcom they’ve created for themselves is a black mushroom cloud that some viewers are going to find too strong to take.... Klausner and Eichner are such intelligent performers in every medium they’ve chosen, you have to root for the success of Difficult People. And I say that while still not entirely convinced that this is the best vehicle for those talents.

Playing House is a cheerfully unhip show made by people who are very hip to the sharp edges of comedy.

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.

In general, Knock Knock was pleasant, open-hearted, but far too staged to really take full advantage of its hook: being live TV.

Lively, action-packed, and occasionally quite funny.

White People turns out to be a well-meaning but toothless exploration of its topic.

Raucous and loony and adroit and lewd, 7 Days in Hell is one odd comedy.

A disarming, completely absorbing piece of work.

Rosenbaum is charming, and so is Sara Rue, as his assistant at the church. But pretty soon, the dumbness begins to settle in.

It gets better with each episode--and it’s not as though Wednesday night’s premiere isn’t very funny.

A warm family sitcom Sex&Drugs is not. Neither is it a very funny sitcom.

The effect of the repetitive, lurchingly-paced first couple of episodes is to frequently reduce the previously excellent performances of Sheen and Caplan to a collection of tics.

Donovan is managing to walk a fine line between hardboiled entertainment and over-cooked melodrama.... it’s sometimes as good as almost anything else out there.

The pace is deliberate, and there aren’t the kind of laughs that other dramas employ as comic relief. But there’s real wit and propulsiveness in the storytelling Ray McKinnon does in this show.

The premiere episode of Why? With Hannibal Buress on Wednesday night was an amiable half-hour.... The Schumer segment had a few laughs; the others were pretty flat.

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.

It looks as though Kruger and Shapiro have a handle on how to make Extant more engaging, and Berry’s performance certainly seems liberated by the new changes.

Humans is a clever piece of work.

The result could easily have been a messy botch, but Scream is a little better than that.

Zoo keeps things moving quickly enough to glide past its more portentous moments.

While retaining the novel’s general tone, characters and plot points have been altered and in some cases invented that have enabled the TV Dome to become its own creation. And that creation is cool, clever escapism that works well in the hot summer months.

For all its cynicism about the elites who run the finances of the country, Mr. Robot is almost genially high-spirited: It excites you to keep following Elliot, Mr. Robot, and their improbable plan of revenge.

The stories are all awful. They leave you feeling angry, depressed, and hopeless that anything can be done about gun violence in America. But Requiem for the Dead also feels manipulative in a reality TV sort of way.

It’s an excellent comedy idea in theory, linking those two TV exercises in wealth-porn and decadent excess. Alas, Another Period isn’t funny enough to sustain its premise.