There’s a supernatural feel to it, but the series also has a serialized format that makes you wonder who can hang in longer – the network or the viewers.

The retro feel of ABC comedies is wearing thin; the kids, though, are cute.

It’s a noble drama, but it’s not all that original. Smits’ accent is a eye-opener.

Or, “My Dad’s a Serial Killer.”

Watch those supporting actors. They’re Tony winners and highly skilled.

Sweet, in a “Mike & Molly” way.

Ken Burns’ stellar documentary. ... “Country Music” isn’t definitive, but it comes pretty darn close, particularly when it uses those unforgettable songs as evidence. ... Absorbing every step of the way, “Country Music” is like a class reunion you don’t want to leave. You learn something about the people you thought you knew and you come to appreciate them for the faults you never thought you could excuse.

Dunst takes risks and they pay big dividends. ... Emmy worthy. [Theodore Pellerin as Cody] is one of the best performances of the year. It makes you want to discover what drives him and where he’ll finally wind up. Others, though, are equally compelling. ... “On Becoming a God in Central Florida” is one of the best new shows of the year.

“The Righteous Gemstones” clicks along for a couple of episodes, then hits high gear when Walton Goggins shows up as Baby Billy Freeman, Eli’s late wife’s brother. ... Tossing him – a propane tank of emotions – into a volatile mix like this enhances what already was a comic firestorm.

“The Boys” is a refreshing look at the ever-expanding world of men and women in tights. It gives Urban one of his best roles in years and keeps our interest much longer than we ever thought possible.

Director Jonathan Krisel makes them seamless – and fun. ... Clearly, this is a vanity project but it has worth beyond its fun factor. Krisel goes deeper on some of the family issues and lets Martha reveal personality beyond contempt.

“Fleabag” has callbacks to the first season’s revelation and an ending that’s so perfect it really should be in a textbook for comedy writers.

Yes, the series has humor (Applegate is too nuanced to let that go), but it’s not the laughfest you expect from something labeled “sitcom.” This is more ironic.

It gleefully wallows in its own world, suggesting nobody in Washington really knows what makes it tick. While Louis-Dreyfus is just as Emmy-worthy as ever, it’s Simons who rises to this season’s top.

The four lead vampires feed on pretense and find laughs in something as simple as hissing. But it’s Guillen and Feldstein who bring the spice.

Rich and company show the gears, the ingredients and the packaging. More mystery, as Radcliffe knows, is always a good thing.

The two are great actresses--no matter how old--who can slip into another bracket and tell universal truths. PEN15 has more humor than you can imagine (wait until you see them in physical education classes) and a voice that deserves to be heard.

The performances were solid and the in-your-face direction was what something like this needed. ... While Fox’s “RENT” was a bit too sanitized for its own good, it had the right people in the key roles, particularly Jordan Fisher, who, as Mark, served as the tour guide through the past, the heartache and, most of all, the brilliance of writer Jonathan Larson.

“It’s so surreal,” Underwood says of the process. True, but there have been worse opening nights. ... While the new bachelor is described as “better looking than Brad Pitt,” he is more personable than some of the recent titleholders.

In the fifth episode of the season, Crashing hits a peak, particularly since it lets Audrie Neenan offer her own take on his work--and his choice in women. She’s a jewel as mom and a perfect foil for Wise and Holmes. ... If there’s a drawback to this season, it’s the length. Easily, Crashing could have stretched a couple more episodes and shown the aftermath of life in the big leagues.

What is a given is the surprise element. The costumes are quite elaborate and they, alone, would be worth an episode. ... Ken Jeong seems like the wild card, since no one has associated him with music. (At least Jenny McCarthy’s husband is one of the New Kids on the Block.) He tries to be funny but, often, it’s Scherzinger’s surprised looks that get the laughs.

Director Jeffrey Reiner gives this a ‘90s soap patina that works--to a point. The intelligence that Britton and Bana provide gets shoved aside in favor of scenes that look like they couldn’t possibly be true (but are). When “Dirty John” begins to unravel, we lose interest and feel as duped as Debra.

With a different cast, it might actually work. Because she’s so immediately likable, it’s hard to buy Garner as woman with misplaced sympathies. ... Only Lewis (who’s outrageously good) and Arturo De Puerto as her new beau Miguel seem ideal. They cause much of the drama and don’t really care what the others think. When they’re around, Camping is more fun than fireside ghost stories. ... Gems drip out, but they don’t come often enough.

Ford and Regalbuto aren’t given enough new things to do and Charles Kimbrough (who played Jim Dial) checks in long enough to let you know he’s still around. The mother/son angle is the show’s best. ... But it’s English’s smart writing that will keep them [viewers] around.

Yes, The Mayo Clinic does get bogged down in classic photos moving in and out (a Burns hallmark). But its success stories help drive home those very lessons William Mayo wanted to impress upon his peers. It’s a great elevator speech for a business that doesn’t really need one.

Creators Tony Yacenda and Dan Perrault get plenty of laughs this time around, but it’s often because the actors have crafted such full Christopher Guest-like characters. These suspects have layers and they’re infinitely worth peeling away.

The show’s writing is sharp and smart; its acting is clever and curt. Toss in that casino wild card and you’ve got a season that’s just as remarkable as the first.

While Pardo is a super lure into the world of the Mayans, it’s the fringe characters who make us want to see more. ... “Sons” fans will view this as a similar ride, only in a different gear. Where the potholes and speedbumps exist remains to be seen. For now, though, the road is open. Mayans M.C. appears to be on track and ready for a long, long ride.