It is, to say the least, audacious. More importantly it’s interesting. It’s about the interior as much as the exterior. That’s weird. That’s good.

It’s all very breathless, as it should be, and Carter scores points by weaponizing a rather large object at the first episode’s end. But the original “24” was character-driven to a large extent by Keifer Sutherland’s Jack Bauer and elevated even further when Mary Lynn Rajskub’s Chloe O’Brian came along. No such fire or chemistry is evident here.

At first you’re rolling your eyes at what seems an absurd stretch of a premise, but soon enough you’re buying its always-on-edge predicaments and after a few episodes you’re hooked into its story-upon-story acrobatics. Pete may be sneaky, but he’s not dull.

A Series of Unfortunate Events makes it downright difficult to “Look Away.”

Lush, often surreal, filled with contradictory characters and backstabbing intrigue, The Young Pope is one of the more remarkable television shows in memory.

It’s a rich mix of intrigues with the occasional bout of brutal violence as Delaney tries to build his own empire and assumedly reclaim his one true illicit love.

Simultaneously heartwarming and heartbreaking.

It all looks good, but Arjona never gains real traction as Dorothy and some of the side stories become distractions. Still, Emerald City is an ambitious, if derivative, project for broadcast television.

It’s not bad television, really. It’s just by-the-CBS-book television.

Like "The Simpsons," "Married with Children," "Malcolm in the Middle" and other Fox sitcoms, the ridiculous reach is what makes "The Mick" work.

Is GGR the best show on television? No, but it’s pretty solid.

For the most part, Lee Daniels traffics in tawdry messes. With Star, his latest TV project for Fox, he is at his tawdriest and messiest.

What The Lost Tapes adds, beyond all the terrifying footage, is a plethora of perspectives and insights.

Mariah’s World isn’t breaking any molds. But because the supreme diva Mariah is the star, there’s a certain ridiculous, hilarious, hyper-stylized charm to the proceedings.

The production values are high, the acting efficient, the story teems with twists and turns.

Watching Shooter as a series is like falling back into a well-known and familiar story, just one with lots of guns. It’s downright comfortable. And that’s odd.

The pilot is a bit clunky setting all this up (there’s also Jack’s local bartender and friend, Eddie, played by Chris Williams), but the actors are all pretty sharp, as are the cross-generational jokes.

Man with a Plan just makes you wish he’d take his sincere befuddlement elsewhere, someplace that mattered. Simply put, Matt LeBlanc is too good to be this irrelevant.

By the end of the first episode you have little idea what’s going on; by the end of the fourth show the series is starting to gel a bit, but questions have been piled upon questions and soooo many characters have been introduced you need a scorecard.

All these characters manage to work, at least in a broadcast-show way. This is mostly because of Mixon’s constant narration and commentary; she’s offering a sarcastic-neurotic voiceover on her own absurd life.

Yes, Issa, Molly and Lawrence are all a bit insecure; heck, the world itself is insecure. But this show is strong in the face of it all.

The question of whether artificial intelligence can gain consciousness is obviously timely. The question of whether Wood and company can make Westworld as emotionally viable as it is fascinating to watch remains to be seen. Still, try looking away.

Van Helsing obviously wants to be “The Walking Dead” with vampires, but it lacks that show’s production values, cast and over-the-top imagination.

The young skeptical priest and older exorcist priest will team up to do battle with the devil while Davis looks on wide-eyed, apparently, and this will be dragged out on a weekly basis. Heaven help us.

Pitch has a simple enough premise: It follows the first female player in major league baseball. Interesting. But what do you do with it? That’s the question that lingers over this new Fox show, which is undoubtedly timely but also seems somewhat dramatically limited. ... The series wisely looks at the isolation that’s resulted from Ginny’s single-minded pursuit of baseball.

Just as “Parks and Rec” was built around a strong female character (Amy Poehler), so is The Good Place and Bell brings her daffy range of sensibilities to the show. She somehow manages to run through sassy, clueless, innocent, rude, earnest, spunky, well-intentioned and selfish modes in every episode.

It could all be so cheesy, but somehow it’s not. Credit DuVernay for giving us a sense of Louisiana--and black--life that rises above mere plot manipulations. You believe these people; you care for them. And that’s sweet enough.

Usher slowly but surely emerges as a major contributor on this underrated series filled with genuinely funny and touching moments.