Girlfriend remains stubbornly weird, including in an avant garde musical number (pictured above and after the jump) that proudly proclaims it busted the show's budget.

Entourage offers a reason for fans to be encouraged about the quality of its last episodes.

Some of the problems that existed on “Roseanne” this past spring are still areas of concern in “The Conners,” most notably the acting by some of the show’s secondary cast members. And there are occasional groaner bits of dialogue. But reliably winning performances from stars John Goodman, Laurie Metcalf and Sara Gilbert continue to carry the series.

Another superhero show is overkill, but for what it is, Titans strong-arms its way into acceptance and occasionally more (the series’ depiction of a Beaver Cleaver-style family of killers, introduced in episode two, is especially clever).

While the show’s first hour doesn’t inspire much confidence in the series, save for a poignant scene between Tyrone and his mother (Gloria Reuben), the second episode gives the characters more depth and allows for a little more light to sneak into the generally dark (tonally and visually) proceedings.

The Child in Time takes some bizarre turns that draw it away from the grief/guilt cycle endemic to the film’s premise. There’s Stephen’s publisher friend (Stephen Campbell Moore) who has a Benjamin Button-style awakening that plays into the theme of childhood. And the film also offers an ending of hope, a welcome if somewhat unbelievable salve on the almost unbearable pain of the program’s earliest moments.

“Belgravia” is more focused on secrets and lies; it’s less of a soapy delight. Still, Anglophiles will surely appreciate this limited series, particularly the strong performances from the women who lead the cast, Tamsin Greig (“Episodes”) and Harriet Walter (“Succession”).

What “Snowpiercer” does best in early episodes is world-building. But it’s problematic for the show’s long-term prospects that the various train cars — cattle car, aquarium car, classroom car, night club car (with multiple levels and a surprising number of staircases for a train) — stir up more initial excitement than the characters or story.

“Heartstrings” isn’t HBO-caliber TV but for viewers who want feel-good stories with a bit of an edge. this Netflix series offers a more expansive approach to uplifting programming.

Fans of Goldblum will enjoy the half-hour “World According to Jeff Goldblum” because viewers get a concentrated dose of his personality but beyond that interest may vary based on the topic.

Among the reality shows, “Marvel’s Hero Project” acquits itself well with a 25-minute running time.

There’s timeliness to the never dull “Damnation” despite its period setting, particularly in episode two when a professor (Gabriel Mann, “Revenge”) disparages the “unwashed rural masses.” Just don’t go looking for any heroes: There are none to be found.

While there’s sometimes a sameness to Fox’s recent animation efforts — comedies centered on families filled with oddballs — that doesn’t necessarily diminish the laughs. Newcomer “Duncanville” certainly prompts multiple guffaws in its first two episodes.

“Pose” remains an above-average character-driven cable drama, but it all feels a little more forced this year as the writers attempt to invent new stories for this collection of generally likable, striving LGBTQ characters.

Series creators Michelle and Robert King spend the first two episodes extricating Maya Rindell from federal charges stemming from her father’s Ponzi scheme, including some disappointing turns in episode two that rely on things-that-would-not-happen-in-a-real-courtroom TV tropes. The Good Fight is better than that. Episode three finds the series in sharper form as the law firm comes under threat, relationships clarify and a legal case explores reality TV.

It’s all fluffy, sexy, mindless fun, the TV equivalent of a summer beach read.

Quirky and unlike any current TV comedies, it’s got smart, dumb-funny humor and a great comedic turn by Mr. McDermott.

World on Fire” plays like a mainstream broadcast network miniseries circa 1988. That’s not a knock. It’s kind of cool to have this sort of story back on TV, an old-school format that follows disparate characters in desperate times. If you liked “The Winds of War,” this should be a nice reminder of that ABC classic.

Fans of dialogue-heavy, character-driven storytelling will be intrigued, but the redundancy of the setting renders “State of the Union” less bingeable.

Fosse/Verdon proves to be a darker, more sorrowful meditation on the personal and professional lives of artists, but the eight-episode series benefits from Broadway tunes and re-created dance numbers from the pair’s many successful productions.

It’s an entertaining enough hour for kids — my 8-year-old was spellbound — but whether it attracts adult viewers as “Rebels” and “Clone Wars” did probably depends on how the show’s serialized story develops.

A dark character drama, it’s a show for viewers who enjoy a deep dive into a culture, one that, in this instance, happens to be ugly and exploitative.

The new season, written by series creator Neil Cross, has multiple callbacks to season one (the denouement brings things full circle) and fills in the blanks on where Alice has been and on her relationship with Luther, perhaps with too much information at times (allusion and mystery works better for their relationship than flat-out explanation).

In many ways this show plays like a cross between “The Wonder Years” and last fall’s “Speechless” only in this one the mother character is likable. Zoe Perry, daughter of Laurie Metcalf (who plays Sheldon’s mom on “BBT”), is a standout in a pilot episode that’s warm and embraceable but not yet essential viewing. But it may get there.

Manhunt, clocking in at eight hours total, makes for fine if unexceptional storytelling. It’s a scripted true crime drama that may hook fans of psychological thrillers but lacks the panache and visceral punch of FX’s “The People v. O.J. Simpson: American Crime Story.”

It’s an admirable portrait of a character in a social class that’s underrepresented on TV, but it’s more depressing than entertaining. The struggle is real--but it’s not funny.

While this series also begins with an unwieldy amount of place-setting involving a war that led to the current refugee crisis, “Carnival Row” proves more palatable than “The Dark Crystal.” The Amazon series is easier to follow even as it introduces initially-unconnected characters in multiple social classes. This gives “Carnival Row” plenty of areas to explore. If only it all felt more unique.

Mr. Totah steals the show with his witty retorts and Mr. Favreau makes Matthew likable despite his naiveté. The rest of the cast, consisting mostly of the gym family, have yet to come into focus through three episodes made available for review.