Fall’s funniest new comedy.

Tonight's season premiere does a fairly good job of wrapping up the sixth season finale and setting the stage to move forward but there's still a fair amount of cleanup to be done.

The show looks slick, the attention to detail is painstaking and the music inspires toe tapping.

Consistently funny pilot.

Consistently funny but also sweet-natured, “Harts” quickly proves itself a blessed addition to Fox’s Sunday animation lineup.

Its first hour intrigues with quiet promise.

It feels authentic, save for one calculated-to-take-advantage-of-premium-cable scene in the premiere (characters on TV seem more prone to engage in grief-fueled sex at funeral receptions than people do in real life).

If you can see past the Walt Disney hagiography, it’s well made and includes some rarely seen footage and new interviews with ride designers who occasionally take viewers behind the scenes.

It's still a hugely entertaining show thanks to its charismatic lead actor and the tension that builds in its twisty-turny plots. But when a lead character is a murderous anti-hero, there's a fine line to walk between cheering a righteous vigilante and offering sympathy for the devil.

Showrunner Dan Futterman (writer of “Gracepoint” and “Foxcatcher,” once a co-star on “Judging Amy”) keeps the tension high and the pace generally relentless. “The Looming Tower” only falters in an embarrassingly trite early scene of O’Neill with one of his many women. But when the focus is on the work, “Looming Tower” looms large as a well-made story of human and systemic failings.

This silly series deserves kudos for living up to its title. Each eviction is carried out in campy, horror style. ... If future episodes can effectively-yet-cheesily ape horror movie conventions with a different method of end-of-show murder each week, “Killer Camp” will prove itself an entertaining summer diversion.

In these new episodes, The Good Fight is at its best when the characters get honest about race within the majority black law firm in ways that feel startlingly real and, frankly, unique for a TV show.

Filled with clips from the original series, “A Very Brady Renovation” offers nostalgia galore — “The Brady Bunch” celebrates its 50th anniversary on Sept. 26 — but it’s also a surprisingly satisfying home makeover show.

It's a remarkably talented group. [14 Sep 1978, p.26]

Showrunners Kelly Souders and Brian Peterson, veterans of “Under the Dome” and “Smallville,” sprinkle in enough science to balance the crazier elements of “The Hot Zone,” Peak TV’s version of a summer disaster flick.

[Lansbury] made this show, which depended on smarts, instinct and the force of J.B.'s personality, not CSI evidence.

Lasso’s good-humored, unflinchingly honest and polite character appeals as a type we don’t often see in a single-camera comedy in the post-anti-hero TV series era.

How really pleasant it is to report that M*A*S*H turned up on Sunday night with the spirit of the original, if not all the blood and free-swinging language, intact. [18 Sep 1972, p.31]

A surprisingly engaging procedural drama. 9-1-1 brings to mind early “ER.”

“For All Mankind” continues to improve in subsequent episodes, propelled in part by an inspiring theme score by Jeff Russo (“Fargo”).

“The Morning Show” offers engaging, soapy elements with a layer of resonant, semi-believable corporate politics on top.

The Act sags a bit near the middle of five episodes made available for review--perhaps fewer episodes would have made for a tighter run--but Ms. Arquette’s nuanced performance remains top-notch, and Ms. King proves a talented newcomer with a bright acting future.

Co-created by Paul Reiser (“Mad About You”) and David Steven Simon (“The Wayans Bros.”), there’s a warmth to the “There’s Johnny” pilot that’s extremely appealing, especially in an era of cold, cynical comedies.

Six hours may be an hour too many given the repetitive nature of the plot (the required mission count rises, then rises again and again) but star Christopher Abbott makes for a likeable, relatable Yossarian. It’s sometimes difficult to tell the supporting flyers apart but as the episodes unroll their personalities come through a bit more.

“On Becoming a God…” entertains even as it observes the unfortunate circumstances Krystal finds herself in.

An easy, breezy binge, “Corona” puts a welcome, mostly upbeat spin on trying times.

A funny, fresh comedy half-hour, “Alternatino” offers some welcome laughs amid the drama-heavy diet of summer TV.

While it isn’t as culturally significant as, say, Mr. Peele’s “Get Out,” “The Last O.G.” is genuinely funny and transfers Mr. Morgan’s skills from co-star to lead far more successfully than his short-lived NBC 2003-04 sitcom, “The Tracy Morgan Show,” ever did.

Entertaining. ... Jeselnik still puts on his smug, aging frat boy/jock persona but beneath that façade some of the repartee reveals the host’s serious approach to dark comedy.

Darkly funny and clever in its skewering of the modern workplace, Corporate offers a welcome release valve for any corporate drones who tune in.

“Genetic Detective” is more cerebral than an Investigation Discovery show while it creatively — using visual graphics — explains the science and technological advancements that make these investigations possible.

What viewers saw so far was exciting, fun stuff with potential for a great “Star Trek” series, but the material in the first two episodes serves as prologue.

In its first couple of episodes “Mythic Quest” carves out its own niche, mining comedy from the specific realm of video game creation. A sociopathic intern who worships the boss, in particular, offers consistent laughs.

“David Makes Man” offers haunting themes as serialized drama, some familiar (drug dealing) and other less so, particularly the impact of abuse and trauma, which is shown through David’s dreams, waking reveries and imagination. While the latter is the most challenging aspect of the series, it’s also what makes “David Makes Man” distinct.

Counterpart is one of those twisty shows that could threaten to become convoluted the longer it goes on, but in early episodes it’s more intriguing than it is confusing or frustrating.

Where the show goes will largely determine its ability to sustain itself as a weekly series, but “The Gifted” gets off to a smarter, more visually compelling start than the other new superhero show of the fall season that debuts tonight.

It seems like the show will basically be a weekly dose of two-steps-forward-one-step-back for Ryan with Wilfred as his teacher/tormentor. Wilfred certainly has moments of high (and low) comedy but it's also hard to imagine the premise won't get stale pretty fast.

Expedition Impossible, executive-produced by Mark Burnett ("Survivor"), is [not] the worst reality show ever (not by a long shot), but it reveals how challenging it must be for producers to introduce a whole mess of teams in a season premiere.

If there's a downside to the Americans pilot, it's that it has some pace problems. The premiere runs long--an hour and six minutes--and spends time on flashbacks to Elizabeth in training 20 years earlier and the pair's first meeting.

The episode is a fast-moving two hours that answers enough questions to satisfy fans and raises still more questions in an effort to further the intrigue.

Always an acquired taste -- one most likely to be acquired by the politically incorrect -- this new "Guy" is just as rude, attention deficit disordered and funny as past episodes. [28 Apr 2005]

It's a fascinating glimpse into a culture that I suspect many Americans would prefer to remain ignorant about.

The first two half-hour episodes, airing at 9 and 9:30 p.m. Friday, are less raucous and seemingly more adult than the film. There's more attention to character development; Jabba the Hutt's flamboyant uncle isn't anywhere to be found.

The characters lack the depth of those in smarter, premium cable dramas like "The Walking Dead," but they do show some growth as the series goes on. What Falling Skies does best is create a sense of the struggle for survival.

The Mr. Robot pilot is too long--one montage drags on interminably--but it begins and ends on intriguing notes. It’s completely unclear what the show will be on a weekly basis, which makes jumping in a risky proposition.

The first episode offers a somewhat overwhelming dose of midwifery, to the point that some viewers may wonder how Call the Midwife won't grow tiresome with repetitive birthing stories. The addition of Chummy to the cast in episode two and a broader role for the midwives--in episode three Jenny simply spends time with an elderly man--allows the series to avoid growing stale.

Sunday's premiere doesn't advance the story much--shades of early season two--but there's enough zombie carnage that fans of mayhem may not care.

A gripping tale of police investigation and a criminal's mischief-making.

Tonight's pilot suffers from a few up-the-ante, "look-at-me!" moments, like when Coop grabs Jackie's breast and claims it's a nervous tic. Future episodes are more grounded and less desperate to shock for the sake of grabbing viewer (and network) attention, but they're no less enthralling with both drama and humor.

Thanks to clever dialogue, Awkward manages to rise above its been-there, watched-that premise.

Tuesday's pilot is not as consistently funny as one might hope and Mindy's flightiness could turn off some viewers, but she and the show are amusing enough to warrant watching.

In its first two episodes The Neighbors is an enjoyable, broad comedy that encourages co-viewing among parents and their children.

The series remains an intense, engrossing crime procedural with strong moments of character development, but Mr. Cross gets a bit sloppy in his plotting.

Some of the pop-culture humor and creatures owe a nod to "Farscape," but the camp level is high and can be mighty funny.

It plays more like a science thriller than a biopic, with Feynman receiving clues scribbled on pieces of paper by NASA engineers.

The composition of the cast and presence of a grandma (Lupe Ontiveros) makes the show structurally and thematically similar to ABC's "George Lopez Show," but Tucson is more entertaining and better written. [20 Sept 2002, p.40]

It’s entertaining enough, filled with battles and occasionally interesting character turns and cultural twists (particularly when the priest joins a raid on a church), but it’s not essential quality TV viewing along the lines of “Mad Men,” “The Good Wife,” “Game of Thrones,” etc.

How to Get Away with Murder is not by any stretch transcendent TV but it is great, gonzo fun, a breakneck-paced, well-made prime-time soap that, if future episodes are as entertaining as the pilot, may easily become viewers’ new TV addiction.

Some of the plot falls into the No-Good-Can-Come-From-This category, especially Jensen’s cover-up efforts and his willingness to call a truce with Kopus. But mostly The Red Road, written by Aaron Guzikowski (“Contraband,” “Prisoners”), is a thrilling enough, character-driven crime drama that doesn’t shy away from cultural explorations, especially through Ms. Tunie’s Earth Mother character.

This Project Greenlight lacks the visual flair and polish of "The Chair" but it's people-talking-about-making-a-movie-in-drab-offices vibe is similar.... Project Greenlight is more focused and that streamlined approach continues to make it the superior movie-making docuseries.

An enjoyable addition to the long-lived genre. [12 July 2002]

The show’s contestant characters are the expected mix of types found in a reality show, although Unreal tries to ground them in specificity that defies TV stereotypes, which works better with some of the women than with others.

It's a static look that makes these half-hour shows a bit tough to endure visually (don't try watching two episodes back-to-back). This format lends itself better to web shorts but it is fun to see Dr. Wallice's world expanded, especially for fans of comedy that doesn't telegraph a joke well in advance.

As long as you're OK with comedy-of-the-uncomfortable, then IFC's The Increasingly Poor Decisions of Todd Margaret is by far the funnier of the two David Cross-Will Arnett series airing this fall (the other being Fox's "Running Wilde").

It's not the best cop show ever but it's certainly an above-average effort for fans entertained by quality TV drama.

The program features a mix of tones that don’t always sit together comfortably, but taken as a whole this unusual period drama entertains as it winds its way to introduce its lead characters in the premiere episode.

Every television series launches on a wing and a prayer, perhaps none more than this entertaining, glossy drama.

The Vampire Diaries is no "Buffy the Vampire Slayer"--it doesn't have that series' depth--but it's plotted well enough to mix supernatural action with the occasional game of Kiss Me or Kill Me and some surprising cliffhangers, too.

Not only do the other stories save True Blood--before you can get sick of Sookie and Bill, Blood shifts its focus to more interesting characters--but the show's persistent humor breaks through with enough frequency to have an impact.

It's the students that make Teach a sometimes interesting show. They drive the story's forward momentum as much as Mr. Danza does and quickly emerge as his co-stars in a program that touches on teacher quality, student apathy and the plight of urban public schools.

There's definitely some amusing moments but the show will have limited appeal.

Everything about City does not spin with equal balance. The pilot's plot (the mayor stumbles into a gay rights controversy) is so hackneyed and out-of-touch, it makes you wonder if the writers have been to New York in the last decade. But the spin doctors at Spin City insist the plot's creakiness is an aberration - and so many other things in the show go well, I'm inclined to believe them. [17 Sept 1996, p.D-4]

There’s a lot to like about TNT’s dark comedy/​crime drama Claws, including a terrific cast of women playing some unusual-for-TV characters. But the show would be stronger if it had a more unique story engine to drive its plots.

As a drama, The Last Tycoon is slightly less successful. Occasionally plodding and without a lot to say in the early going that isn’t spelled out in capital letters--NAZIS = BAD!--early episodes offer good, not great drama.

It's a generally strong episode as House attempts to annoy his doctors so much that they'll sign off on his departure.

Once you get past the sex and if you can endure the sadness of the stories, Tell Me begins to have an addictive quality.

There’s no question that Man Seeking Woman is not run-of-the-mill entertainment, but whether its weirdness will appeal or repel will depend largely on the openness of viewers to new, strange TV experiences.

It remains to be seen whether either will merit watching for a full season but the pilot does exactly what it should: It intrigues and makes the case for viewers to come back next week for more.

To be sure, The Office is an acquired taste and sometimes a challenge to watch. Still, it's at least a worthy follow-up to the original, and it attempts to plot its own course in future episodes. [23 Mar 2005, p.E-1]

The Big C feels much more alive, even though it's a show about a woman, Cathy (Laura Linney), who's dying of stage 4 cancer.

The first hour of Heroes answers enough questions and moves the story forward in such a way that a few "Huh?" moments won't matter as long as they're answered in short order and don't linger for too long.

As a single fortysomething mom, star Courteney Cox is in full frantic mode, yelling at and pushing everyone in sight, which makes for an entertaining (if not exhausting) half-hour comedy.

A pleasant surprise. [26 Jun 2003]

Like his previous series, "Studio 60" features intelligent, quickly spoken dialogue, smart arguments and terrific performances (Perry and Whitford have instant chemistry as longtime co-workers), and it's not a bad show by any means, but it doesn't soar to the heights "West Wing" did, even in its earliest episodes.

Valentine, created by Kevin Murphy ("Desperate Housewives," "Reefer Madness: The Movie Musical"), is fine but nothing special.

Still a claustrophobic show, and some of the uncomfortable stories from last year -- especially teenager Matt (John Hensley) and his involvement in a hit and run -- return, but a lot of the themes are at least a little more palatable and thought-provoking. [22 June 2004, p.B-1]

A little overheated, too obvious and too cliche-ridden. But it's still an entertaining yarn. [23 Sept 2003, p.B-1]

The plot focus this year will surely be on the discovery of a male series of clones, Project Castor, all played by actor Ari Millen. It’s a welcome re-set that may prevent Orphan Black from becoming more complicated than it already is.

As CBS procedurals go, Battle Creek is smarter and a little funnier than average.

Ripper Street is decent enough entertainment that's most likely to appeal to fans of procedural crime dramas, viewers who gravitate toward CBS shows but don't mind wading through sometimes thick British accents.

Although it feels overly familiar, The Family kicks off with a strong pilot. But like many series, the question is, will it keep viewers hooked? And will the “is this the real Adam or a fake” question linger so long viewers get annoyed with the tease?

Fresh, funny and fearless, Alone Together introduces two new voices whose exploits are far more relatable than some recent past series about young people (cough, cough, “Girls,” cough, cough).

But when Braugher's Dr. Ben Gideon disappears, Gideon's Crossing becomes a long, languidly-paced trip through a Boston teaching hospital. [10 Oct 2000, p.D-8]

Though the storytelling isn't groundbreaking, the setting is unusual by mainstream TV standards.

This Bionic Woman pilot is a downbeat drag, but buried somewhere beneath all the moping is an intriguing show that might yet emerge.

Now Apocalypse is bizarre and will certainly be off-putting to many. For others, surely a smaller audience, there’s some titillating fun to be had in this guilty pleasure’s kinky weirdness.

The eight-episode first season of American Gods takes about four episodes to cohere, especially for any viewers unfamiliar with the novel. ... Mostly it is Mr. McShane’s performance that carries the early episodes. His Mr. Wednesday is self-assured, charming and cutthroat all at once.

Smith is a winning TV star who's adept at scenes that require great empathy or a withering stare. Given time (and more realistic characterizations), Hawthorne may grow into a series worthy of her talents.