Kelly knows how to work the camera, and the camera knows how to get the best out of her. For Kelly, and NBC, that’s the good news from Monday’s launch. Otherwise, that long “Will & Grace” cast interview was a self-inflicted injury that clouded what this new show is and can be.

Capable enough time-killer, but nothing compelling.

Good-hearted, a little too cloying, and the story flow needs polish. Of the three new CBS comedies this fall, this is the most promising.

Falco and her curls steal the show. They’re both are fascinating. The “true crime” part is much less so.

Discovery introduced a compelling new hero, an even more compelling new alien, and a whole new war. But mostly it did negligible damage to a revered franchise and its legacy. Discovery is perfectly fine.

It’s emotion that moves the story forward. Highmore’s face and attitude. Schiff’s faith and moral weight. Thomas’ curiosity-generosity. That sets it apart from “House.”

What’s funny in Sheldon/adult is grating in Sheldon/child.

As usual, one’s tolerance for Transparent depends on one’s tolerance for the overbearing, over-sharing, boundary-blasting Pfeffermans. But here’s a guarantee: One won’t be bored and one will end this ride with an affirmation, once again, that love may come in all shapes and sizes, but love is still love.

Watching Seinfeld knock out the oldies-but-goldies is indeed watching someone do what they were born to do. He’s a master technician who cuts through the material at a high rate of speed, while using pantomime to fill in the blanks or give the punchline a steroid boost.

A must-watch: The most important TV program of the year.

A beauty finally returns, and the beauty very much remains.

The outcome is an ersatz facsimile of the original “Trek” and a couple of spinoffs. Their heart and overall spirit are present, along with some decent special effects. The dumb jokes and ham-fisted setup lines just tend to diminish them.

The huge cast is excellent. ... There’s no driving narrative until at least the fifth episode. That’s an awfully long time to wait for something big to happen in an eight-episode season. At least The Deuce makes a case that it’s worth the wait.

The horror is what counts in any American Horror Story, and judging from the opening three episodes, it’s more than adequate in Cult. It’s also relentless, grisly and deeply warped.

Disjointed operates on another plane of altered consciousness, which may begin to explain this genial, harmless misfire.

This Tick moves like a movie, each episode more a chapter in an extended tale than a half-hour payoff.

A little clunky at times, but otherwise all is well here, thanks especially to Alexandra [Reid (Sigourney Weaver)].

Its tone can be inconsistent. With a couple of actors’ actors--Leigh and Rapaport--and Gilchrist at the helm, Atypical still manages to mostly stay on track. It’s a good newcomer with the potential to get better.

Even if you aren’t part of the “Wet Hot American Summer” cult, this series should provide plenty of goofy, gonzo fun.

Engrossing at times and well worth watching, though the writing is often graceless and the direction haphazard.

The Last Tycoon is so sumptuous that it’s easy to overlook how pedestrian the story often is. That’s not immediately apparent because what’s onscreen is stunning.

Ozark can be excruciatingly cumbersome. There are many moving parts, none compelled to move with haste. If the characters were more engaging and likable, pace might not even be an impediment. They’re not, so it is.

Smart, engaging second season (so far). The ensemble cast gets better and better.

A good--OK, often very good--comedy that’s a little too much like “Silicon Valley.”

There are a few funny lines here and there. But too few of them, and too far in between, makes Friends From College that rare Netflix misfire.

Entertaining newcomer full of energy, passion and baloney--the ideal summer diversion.

Well-produced and particularly well-acted newcomer with a lot of moving parts, potentially too many.

Even actors with the amplitude of Watts and Crudup can’t pull Gypsy out of this induced coma. One reason is a hook--a genuinely interesting one--that refuses to come to life.