The 10-episode Mr. Mercedes isn’t a horror story. King’s tales are generally known for capturing middle-class angst, and the series has creepily translated that to the screen.

I can’t think of another show like Comrade Detective on the TV landscape, and while it’s a strange trip, it’s often a delightfully odd one.

The two episodes available for review, Manhunt: Unabomber has a by-the-book feel--a lot of forensics and theories. It’s not until the last few minutes that Bettany’s Kaczynski is really introduced.

The Amazon series can play like an old Hollywood movie one minute, self-consciously gabby and filled with witticisms. The next, it’s a smart glitzy contemporary soap opera or sly but telling commentary on the entertainment business. Sometimes it bounces a bit too much between the different aspects. Sometimes things mesh nicely, and the series is never boring.

While some of the episodes--I have not seen all 12--show flashes of creativity, there is something synthetic about the series, like a hotel room’s pretend hominess.

Midnight, Texas is kind of like the Saturday matinee version of horror. It keeps the action moving along without much bite.

The good news is that Ozark isn’t all that predictable and develops its own quirky rhythm. ... Even when the series seems to be drifting, it keeps luring you in.

The humor is mushy, mostly based on the characters’ being neurotic. Unlike “Silicon Valley,” there is little at stake in many of the situations in Loaded, which undercuts it further. The series is kind of like a cat-game app. It might amuse you for a while, but it’s still a cat-game app.

I would suspect that those more familiar with Shakespeare’s plays and the times may appreciate Will a bit more than others. Still, the series is hardly a stuffy costume drama. The mostly young cast is quite good, and there is plenty of sex, violence, comedy and intrigue to keep it amusing for non-Shakespeare fans.

The amount you’ll laugh at Tour de Pharmacy may depend on your tolerance for mockumentaries. This one, like most, is a string of gags. If you’re looking for something undemanding, it qualifies.

Watts is excellent as usual, but it’s a lot to ask for 10 episodes. Gypsy might have worked better at six. It feels a bit like therapy, a long slog with a couple of breakthroughs.

While the mysteries on Broadchurch are compelling, they can be a bit scattered at times, with some weird detours. Yet the magnetic performances of Tennant and Colman keep the series together; the two acclaimed actors are always able to navigate the show’s odder moments with interesting takes.

The show manages to be fun and wacky, funny, emotional with something to say.

So far, The Mist hasn’t given viewers much to care about. It’s all pretty standard plot thickeners. On the other hand, it’s not badly done--atmospheric, so to speak, if unseen horrors are your thing.

The film is a bit too long. Wizard of Lies has some worthwhile moments, but it never seems sure at what it’s trying to be.

It has a lovely lyrical wandering quality about it. This year, there are probably more smiles than laughs. The humor is less jokey and more organic (keeping with the food motif). The episodes are more themed than plotted, mostly a series of interconnected vignettes. Characters drop in and out.

Walley-Beckett doesn’t pander nor play down the darker elements in the character’s life. ... James and Thompson are great choices as the Cuthberts, neither of whom display much emotion, yet the veteran actors are quite skilled at revealing the characters’ inner feelings. The real find is McNulty. The young Irish-Canadian actress seems perfect for Anne with honesty in her performance.

There are few funny moments. Give the cast credit for throwing themselves into it--especially Martin--but the proud mama bit gets old fast.

Since each year is stand-alone it’s easy enough to enjoy Season 3 on its own. While the series boasts a good cast, it’s Welliver’s show. He brings a solid presence to the character of Bosch.

It’s still laugh-out-loud funny, the best comedy on TV. One episode will have her monitoring a free election in a former Soviet republic. The irony just drips. And all you can say about Louis-Dreyfus is that six isn’t too many.

It looks like this will be a fun season. The first episode is called “The Pilot,” and in its way reintroduces us to the Doctor by seeing him through Bill’s uninitiated eyes. ... Mackie, a relative unknown, proves instantly likable, and the character distinguishes itself from the other companions in the series.

Class isn’t afraid to dive into its strangeness, but not always successfully. It’s kind of like a high school dance--fraught with crazy drama but not always as memorable as it’s supposed to be.

Odenkirk is flat-out terrific at times, but the show hasn’t kicked into gear for me. On “Bad,” Bryan Cranston’s Walter White was in a desperate situation that unleashed his inner monster and diabolical genius. Meanwhile, the occasionally dense Saul is meandering toward his sugar-rush exile in Omaha.

Don’t expect “American Playboy” to stray beyond its message. It’s not exactly “Masters of Sex” in examining the nuances in sexual revolution, and there is little depth to its approach. Nevertheless, the docu-series is pretty watchable if for no other reason than to remind us how crazy those times could be.

While The Son sports sprawling ambitions, the series awkwardly trods over familiar territories.

The series has always moved between clever parody and outright silliness, but this year Archer seems to be paying more attention to the plot along with the jokes.

Five Came Back does not cover any new territory but puts together the story in a new focus. It is not simply about the filmmakers but about what they saw--the indelible images of war.

The biggest problems with it is pace and familiarity. It’s difficult to get a handle on Danny--an enigmatic lost rich kid with mystical powers--and parts of Iron Fist seem cribbed from other Marvel superhero tales. Jones does grow on you, especially after he begins to take on a kung-fu master persona, but there seems little special about the story or any of the characters.