Lori Rackl

If the rest of the series is anything like the pilot, this is one party you don’t want to miss.

Bravo’s first original non-reality TV series is a sometimes hilarious, sometimes heartbreaking story about an L.A.-based self-help author.

This time around Stuart has a vulnerability that makes him a lot more enjoyable to watch, even if the steps he makes toward maturity and genuine love feel a bit rushed in this home stretch.

The water may not be running, but the risk of repetition sure is.

Compared to “Homeland,” State of Affairs is hands down the weaker show. Compared to the broadcast networks’ other new dramas, it’s strong enough — just enough — to deserve a chance to find its legs and maybe even make itself comfortable in “The Blacklist’s” old Monday night time slot.

It’s more of a slow burn, a psychological study in grief, guilt and what can happen to a marriage tested by tragedy.

Kudrow keeps us interested in her vain character by giving her an unflappable optimism that’s more humorous than pathetic. Fun cameos by Andy Cohen, Seth Rogan and RuPaul add to the Hollywood-insider vibe that makes room for a lot of HBO jokes.

The season premiere is The Newsroom at its best.

The refreshing way fellow contestants and judges rally around a young contender having a meltdown ultimately make this an inspirational series that’s more sweet than bitter.

To McDormand’s credit, she lets us see through enough cracks in Olive’s gruff façade to reveal a vulnerable woman let down by life by ultimately unwilling to give up on it.

The pilot has a few funny moments, mostly courtesy of Metcalf. Ronny’s siblings come off less like real people and more like caricatures.

The show is packed with potential: a talented cast augmented by a deep bench of guest stars, a creator--“Doonesbury” author Garry Trudeau--well versed in political satire, and no shortage of material begging to be plucked from the real world. Despite all this, Alpha House still manages to fall flat.

The pretty packaging is wrapped around a hollow mystery that’s less whodunit and more who cares?

He’s another reluctant antihero battling supernatural terrors that, with the help of some whiz-bang special effects, are all style and no substance.

At least this courtroom comedy is better than “Bad Judge.”

These intimate, well-told stories become the ingredients for a new Foo Fighters song recorded at a local studio and performed at the end of each hourlong episode.

Having instant access to the entire first season is a blessing for viewers prone to bingeing because the more you learn about Transparent’s Pfefferman clan, the more you want to know.

The show would benefit from easing up on the frenetic pace, taking a breath every now and then, and making its younger cast members seem like they’re actually in law school, not an Abercrombie & Fitch catalog.

The pilot is a little light at bringing the funny, but the concept has promise--and Laurence Fishburne.

This gritty, atmospheric “Batman” prequel ranks as the fall’s best new drama on broadcast television.

The addition of a misunderstood, brilliant kid belonging to a diner waitress unconvincingly played by Katharine McPhee doesn’t help.

ABC’s new crime-solving drama about an immortal medical examiner is nothing more than a shameless “Sherlock” ripoff.

If only Houdini could have waved a wand and made half of this too-long miniseries disappear.

The intrigue escalates in the next episode where things are heating up in Chicago, home to a couple of this season’s compelling new players, Al Capone enforcer Mike D’Angelo (Louis Cancelmi) and crime fighter Eliot Ness (Jim True-Frost).

The best drama on broadcast TV hasn’t missed a beat since its universally praised fifth season.

Leoni’s uber-competent character--she’s brilliant, plugged-in, fluent in every language!--could easily be annoying in the hands of another actress. But Leoni gives Elizabeth McCord a savvy, down-to-earth quality that makes her easy to root for.