Happy Endings, cast and all, has now officially jelled. The show exists on the same cosmic (and comic) TV plain as "Scrubs," "Arrested Development" and that other late bloomer, "Cougar Town."

Fascinating primer (that occasionally begs for more details and explanation).

The series ambles along at its own congenial pace, lighthearted and largely without a care in the world. Great News can also be something of an Easter egg hunt for lovers of classic TV and classic Broadway.

Apartment 23 was and absolutely remains a huge heaping helping of Acquired Taste.

Good newcomer that can drag, but Hemingway's direction keeps this one on track.

Girls is as Girls always was--sharply observed, intensely self-aware and very funny.

Labine and Greer completely hijack the show, and almost threaten to turn Biggs (you'll remember him from "American Pie") and Chalke ("Scrubs." "Roseanne") into props. A well-made and skillfully executed sitcom. Oh--almost forgot--fun, too.

The stories are intricate enough to hold attention, but not too intricate. The action, which always supersedes the chatter, is the thing, and here it's something to see indeed.

Think of Fuller House as “Full House 2.0.” Same premise, same vibe, mostly same cast.... A winner, strictly for fans.

The pursuit of answers feels both rewarding and enjoyable.

Absorbing in parts, tedious in others, but Hahn is great.

The Americans remains a superior American drama and--admittedly, without having a working knowledge on the subject--possibly one of the best Russian TV dramas, too.... These four [episodes] also feel weighted and forlorn, as the chain of lies loop around and around the ankles of Paige and Martha, or those others unlucky enough to know Philip and Elizabeth, with an anchor just waiting to be tossed overboard.

It’s more urgent and visceral, the blood more copious, the agony more intense. This Roots doesn’t flinch, but you almost certainly will. The cast is first-rate, too. ... But this Roots can’t quite escape the faults of the original. Kunta’s story, the Fiddler’s, and later Chicken George’s, are patterns, and also cycles. They seek dignity, but find only indignity--or abject cruelty--over and over.

Slow start Sunday, but the drama's beauty and quality are intact.

Kinnear is solid, but his Keegan is a work in progress--both as human being and TV character.

Move past the word, and images (fortunately fleeting in the pilot), and Supergirl obviously has a major plus: Benoist.

To make Agent Carter work, and work well, Atwell and ABC knew she needed to be a relatable human first, and a subsidiary member of the populous Marvel universe second. Those priorities are straightened out efficiently on Tuesday's episode.

Almost public TV-like by current reality-show standards, this new edition is actually a lot like the original, absent the Velveeta. True-blue fans will rediscover its pleasures.

As always, a sunny, laid-back pleasure.

All those greens and blues--and I'm just talking about the trousers and jackets--make you almost forget how well-written and acted this show is; even the medical jargon seems (ummm) un-jargony and informative. The mini dramas are mostly, however, just a light summer breeze, as befitting unpretentious Pains.

Fascinating, disjointed, moving, tiresome, elegant, tacky, fast, slow. There’s a little something for everyone here.

Whatever it was that made Empire the sensation of the 2014-15 season hasn't gone away for the new season.

Not for the squeamish, but a well-done new medical drama.

Sunday's episode is a necessary decompression episode after last season's intense finale.

Still fun, but the innocent first moments last season were better.

Her shrewd, straightforward perspective and her semisweet, offhand attitude make her reflections fresh and relatable.

Like any competent Bruckheimer, "Miami Medical" speaks TV very well. It spins the A, B and C story lines like plates in a circus act. It has reduced the medical jargon to the requisite bewildering-cum-authentic prattle.

The Jinx does channel that we're-all-on-this-ride-together thrill that hooked so many listeners of last fall's NPR podcast, "Serial," about a murder of a Maryland teen. This may be a high-gloss treatment that utilizes all the tricks of the TV trade, including dramatic re-creations, and a way-over-baked credit sequence, but that sense of unfolding discovery remains.