Watch The Kennedys--if you haven't already had enough--and you'll instead see a compelling, well-told tale of a political dynasty with beauty marks, warts, doubts and the embedded determination to plow full steam ahead.

A show that can make you feel this way can't be all bad. Even if its clandestine millionaires can be more than a little grating.

Despite all the aforementioned intrigues, The Borgias so far isn't quite as bawdy, foul-minded or over the top as its predecessor. It moves more deliberately, sometimes a bit ploddingly.

It's a long pull that can be fun and funny--and more than a wee bit tedious.

It all gets pretty involving in time. Based on the first three hours, this is a sturdy production from a producer/scriptwriter (Chris Chibnall) whose well-appointed credits include Torchwood, Doctor Who and the United Kingdom version of Law & Order.

Angry Boys showcases his considerable talents in the notably imperfect world he's created.

Franklin & Bash sometimes tries too hard to be edgy, suffering some paper cuts in the process. It's otherwise a good deal of fun delivered with an abundance of energy.

Suits is made of somewhat sterner stuff than other USA originals. But it always gets down to how well the lead characters hold up. Once again, it looks as though we have a winner on a network that knows what it's all about while big brother NBC keeps stumbling on TV's main stage of actors and their roles.

Together they'll be the brains and brawn of this operation in times when the broadcast networks aren't particularly interested in take-charge men with acquired tastes for pounding the hell out of bad guys--or shooting them in their thighs. Thanks. We maybe needed that.

It's a lot to process, and at times too much to take. Still, Horror Story often is a wonder.

Hell on Wheels is a big and ambitious stab at the genre, with a lot going on and much to recommend.

Sing Your Song ends up being more than a little too self-indulgent and one-noted. Abundant archival footage is in part a saving grace, though.

Method to the Madness is adroitly packaged and probably not all that less less flattering than a PBS American Masters portrait might have been.

It's far funnier than Fox's two still relatively new animated series, Bob's Burgers and Allen Gregory. Mickey Mouse it's not, though.

House of Lies' excesses tend to be counter-balanced by its overall look and feel. The production values are first-rate and the storytelling is crisp.

For now, though, this is a series that's seemingly built on an arresting foundation.

Principally armed with Ritter and Van Der Beek, [series' creator/executive producer/writer, Nahnatchka Khan] makes Don't Trust the B a find if not a treasure just yet.

It packs some punch, though. And Isaacs certainly doesn't sleepwalker through a decidedly distinctive role.

On the surface at least, it's hard to imagine responding to CW's three-pronged tagline attack of "Small fish. Big pond. Huge dreams." Wonder of wonders, though, this series sells its premise while only occasionally trying way too hard.

His [Kelsey Grammer's] center-ring performance pulls Boss along even when it gets bogged down. The supporting actors likewise are all capable, although Grammer's glower clearly is the series' tower of power.

Veep has some funny lines and sight gags during the course of doing its dirty Washington business.

Longmire, with spacious New Mexico standing in for Wyoming as the series' production base, makes a solid overall first impression without rising to the level of critical huzzahs.

Through the first four episodes, Sorkin teeters between abject fantasy and believable fiction. Strong performances by Daniels, Waterston and Mortimer serve to offset some of Newsroom's excesses and missteps.

It has the makings of a damned fine weekly hour of good vs. evil, with Quaid against Chiklis as the crowd-pleasing main event.

Even with its air-brushing and reticent title subject, Ethel is a watchable, oft-affecting film.

Real truths invariably come out, and this is a film that convincingly rings with them.

The first season of TNT's Dallas reboot was far better than many had anticipated. These early stages of Season 2 likewise keep the faith.

Ripper Street is pretty ripping good for the most part.