"The Violet Hour" is an elegant and surprising love story, while "The Royal We" is a sour disappointment. But the best news: A Matthew Weiner show is back on TV.

As the first in what one hopes will be a long line of female doctors, Whittaker is funny, energetic and full of joy. Whovians should be pleased.

While an Emmy may not be forthcoming, Clinton acquits herself well in this fifth-season launch of a hit that wants--and occasionally has--some of that ol' "West Wing" mojo.

Over the first three episodes, I Feel Bad has largely erased that which (theoretically) made it stand out the most among fall newcomers--a comedy about culture as much as one about motherhood. The result is homogeneous and bland.

The comedy here can be broad, and is usually far from subtle, but there’s a buried message that promises better episodes ahead.

Bland, harmless, forgettable.

Setting aside a glib and emotionally manipulative launch, of all the "This Is Us" wannabes ("Manifest," "A Million Little Things," "New Amsterdam") in the 2018 fall lineup, "God Friended Me" may stand the best chance of success.

Last Man Standing is that unusual red fish in a sea crowded with blue ones, and it never lets you forget that. As always and as expected, Mike gets the best lines, the easiest put-downs and literally the last word.

There is some pleasure in reconnecting with the old gang, but that eventually wears off. This revival feels so last century.

A weepy wannabe from the "This Is Us" playbook that doesn't build much of a case for caring about the characters, much less weeping over them.

A 2+2=4 cop show with no surprises but plenty of Wolf touches.

Manifest wants to be "This Is Us" with a taste of "Lost." Over the first episode, it manages the feat with considerable skill. A good cast sells the improbable hook by at least making it emotionally probable.

At least the first episode of this final season appears to be like all the others--gorgeous and life-affirming.

Hernandez is good in what's otherwise a pallid, uninspired facsimile of the original.

New Amsterdam isn't bad so much as it is wearily predictable. We've seen this all before, but we keep coming back for more.

The show doesn't demand to be binged, but sampled. It could air on USA just as easily. Danza, who doesn't break from type, is another steady reminder of TV past, specifically his own. Why this is on Netflix is a mystery bigger than any the Carusos will tackle this season.

Mostly--and occasionally despite itself--Maniac is just fun, at points raucously funny. ... Dive in, don't think, enjoy. You most likely will, by the way.

A sensitive, nuanced and particularly well-acted dirge.

Visually compelling with a nicely pensive music score--courtesy of Colin Stetson of Arcade Fire and Bon Iver--The First is otherwise plodding and padded.

Likable lead and cast, but Rel otherwise feels like a tepid, tame commercial network sitcom.

Initially sullen and bitter, Kidding improves as it goes along. At the very least, you get used to Jim Carrey as an ersatz Fred Rogers.

Violent, jarring, contorted and doesn't fully make the case this was the spinoff "SOA" needed or demanded.

Solid, engaging, propulsive--and a little bit too familiar.

A solid two-night opener, and the next couple of episodes are even better.

The missing pieces, arguably the most important ones, are the groundbreaking and socially relevant ones. That proficient and fluid animation aside, Disenchantment breaks no ground, offers nothing socially current other than the fact that Bean's a strong, independent woman.

Excellent portrait of a legendary band that gets to the heart of why it's endured--that tragedy notwithstanding.

A colorful "Friday" with the Disney touch, while Zuehlsdorff and Blickenstaff shine.

There's growth and evolution in the third season, but not too much and based on a glance at the first four episodes, just enough.