The humor is biting, which you would expect from Meyers, Michaels and Howerton, whose been at his biting best for 12 seasons on “Always Sunny.” And while Howerton is the star, it’s really the supporting players, especially the nerdy kids, who make this one kind of fun.

I wanted more about Bradlee and Graham’s relationship, but that’s my only real complaint. The documentary opened up other windows into the fabled man for me.

The opening is a groaner, but after that it’s a wonderful journey back to an era when Carson was king.

The story, like it did in early 1990s, grabs your attention. The actors are the reason it keeps it.

Unlike the previous six seasons, there is no supernatural element to this one. It’s just people being unsavory people, which is scary enough.

The Sinner is a procedural. But unlike most others that are obsessed with the “who,” this gets at the “why.” Talk about intriguing.

Like “True Blood,” the cheese factor is high here, but that’s what made the HBO series so fun.

Created by Craig Pearce, the series is brash and vibrant, driven by punk rock. It makes the Oscar-winning “Shakespeare in Love” look tame in comparison.

A thoroughly entertaining early summer revelation.

Sassy and fun.

Viewers unfamiliar with Gaiman’s novel may have trouble following the TV series. The story contains lots of sides and flashbacks. But stick with it. The payoff is there. This is Starz’s most ambitious and satisfying offering yet.

Each episode brings a sense of foreboding, making viewing sometimes uncomfortable. And Moss, well, she captivates as the heroine with the odds stacked against her. This one is must-see television.

McGregor’s portrayals, especially when the brothers share the screen, are astonishing, reminding me of Emmy winner Tatiana Maslany’s multiple-role performances in “Orphan Black.” Winstead and Coon are noteworthy, too.

Some of the stuff raises an eyebrow, but, heck, the original was that way, too. That was part of the fun. Prison Break was always a guilty pleasure. It remains so for the second go-round.

[A] clever comedy.

Shots Fired tends to get preachy--watch for James’ speech in front of news TV cameras in the pilot that really sets the show in motion--but it sheds a bright light on what’s been playing across newspaper pages.

It’s stark, harsh and sometimes difficult to watch. It’s also some of the best-made television, dramatizing real-life issues that are as eye-opening as a slap across the face.

The humor is a combination of sight gags, slapstick and wordplay. And, again, nobody does it better than Lithgow in all three phases.

If you’re a fan of “Fire” and “PD,” you’ll like this one, too.

This is just pure camp. This is what Murphy does best. Get out the popcorn.

National Treasure is an uncomfortable, but compelling watch.

The first episode is a white-knuckle ride.

Big Little Lies is a slow burn. The joy is watching Witherspoon, Kidman and Woodley really working Kelley’s scripts, especially Witherspoon, who just commands the small screen with her abilities.

The cases are what propel the drama, but it's the high-profile cast that will keep viewers coming back.

The series is visually arresting, with brightly colored clothes that seem to have come right out of closets from the 1970s. It adds to the series’ trippiness. Legion is not mainstream like Stevens’ “Downton Abbey,” most likely catering to sci fi and comic book fans instead.

The pace is fast and furious, as usual. It’s just happening this time without Jack Bauer.

The comedy pokes appropriate fun at the superhero genre and is one of the freshest sitcoms to come along in a long time.

Netflix has been hit (“Master of None”) and miss (“The Ranch”) with its comedies. This one falls in the former category, and will leave you “hungry” for more episodes.

While action scenes from such military fare as “The Last Ship” come off as a bit hokey, that’s not the case with Six. The combat looks and feels real. That’s a credit to the Broyles. With TV veterans Goggins and Sloane, the acting’s on par with action.

Taboo, like “Fargo” before it, is an original, highly imaginative series from FX. Here, the Hardys and Knight blend a tale of intrigue set against the supernatural. The drama is eerie, even haunting.

This one is intended for adults that, if it was a film, it would carry a PG-13 rating. It’s gritty and violent. And also visually spectacular.

The draw here is watching how unraveling the mystery results in Dory finding herself and taking charge of her life. She just needed a little prompting.

The film editing is a bit clunky, with the camera sometimes lingering too long on actors after a scene has concluded, making the transitions a little rough. But the story’s there.

Shooter doesn’t take off until the second episode. Part of the pilot is sleep-inducing, especially when Swagger’s trying to figure out how a sniper would take out his target. But once Swagger begins “hunting” those who have wronged him, it becomes an enjoyable rollercoaster ride.

Not only is Raines a crook, but she’s an alcoholic and an addict. It takes some getting used to seeing Dockery in this role. Botto, though, is perfect, suave and sinister as the hitman.

In “Fargo,” Thornton’s character was pure evil, but in Goliath he's just flawed--despicable at times, but with a good heart that shows often as he pursues justice against his old law firm and partner. This one’s quite bingeworthy.

In a word, the show is eye-opening, and it’s easy to see why people are talking about it.

The comedy, and there’s a bunch of it, comes from the support group members--as you can imagine, nobody believes their stories--and the aliens, who generate some very, very funny and spot-on workplace humor in a spaceship setting.

The third season picks up right where the the other two left off, with more suspenseful tales “exploring themes of contemporary techno paranoia.”

Chance is paced extremely well, building with tension from the outset. It’ll hook you, then surprise you.

These shows are character studies. They are methodical and well-orchestrated. Both are a joy to watch and savor.

StartUp is a thinking-person’s thriller, along the lines of USA’s “Mr. Robot.” Ketai delves into greed, corruption, violence and more, and none of his characters are immune to any of it.

Aldon is a hoot. Her character Sam is rough around the edges, which makes her extremely relatable. The series hits its stride in episode two when Sam speaks at her middle daughter’s school about female empowerment.

Atlanta is deep, even a tad dark, and refreshingly different from the screwball wackiness of “Community.”

The series is fun, scary and a perfect tribute to the era, including the spot-on hairdos and clothes.

The wide-eyed Ahmed is perfect as the naive young man who can’t seem to make a right decision. That is until he agrees to let Turturro’s Jack Stone help him. And Turturro hits the right notes as the cynical attorney who has his work cut out for him.

Braga is compelling as the woman who eventually will team with someone from her past to take down the drug trafficking ring that has her on the run. This one is violent and frenetic, kind of like a video game.

This is a good summer mystery to take your mind off the heat.

Oh my goodness is this one filled with testosterone, reminding me a bit of FX’s “Sons of Anarchy.” ... Watch for Shawn Hatosy (“Southland”). He's creepy good as the whacko son with a mean streak.

There are lots of sight gags here, with many of them involving the very funny Rhys Darby.

The Kings’ clever summer horror thriller.

Schwimmer and Sturgess are so darn good in their roles you forgive the writers. Schwimmer, for instance, uses those sad, puppy dog eyes of his to play up his grief, and Sturgess really has the charming cad thing down. They really cook up some chemistry in the scenes with just them.

While the first episode lacks development of any of the characters outside of Kunta Kinte, a young man taken from Africa and sold into slavery in the United States, it still resonates. It’s a story that needs to be told again.

Pulling it all together is the cast. Cooper is fierce and weathered, Negga is spunky smart and Gilgun is just a joy to watch and hear, with that thick Irish accent of his.

The drama is light-hearted, perfect-for-summer fare. It’s a procedural that relies on its setting--you can expect other historical figures such as Bram Stoker and Thomas Edison to make appearances--and comic banter between the three main characters to make it attractive to viewers.

A bit contrived at times--how many times have we seen an uninvited police detective hanging back at a funeral to initiate a confrontation--Game of Silence offers a so-so compelling tale.

The Detour is sharply written--Jones and Bee co-wrote the pilot--and uses flashbacks to help progress storylines. It’s dark at times, and, at other times completely and hilariously over the top.

George is the reason to tune in. She’ll be the reason why you keep coming back.

[Enos is] kind of fun, especially when she’s matching wits with the veteran Krause. And Krause is perfect. He’s smooth, suave and charming. You’re rooting as much for him to elude Enos as you are for Enos to catch him. Let’s hope this chase lasts awhile.

What makes the series click are the peripheral characters. Margot Bingham plays a detective who thought she solved the case, and Florina Lima is the newspaper reporter who suspects something’s hinky with the Warrens. The best is veteran actor Andrew McCarthy, who plays the neighbor imprisoned for the boy’s murder and released after his sudden return. He is intense and scary.

The drama starts a little slow as we’re introduced to Hap, Leonard and Trudy, but once Trudy recruits the men to help her, the show kicks into gear. The fun becomes watching the two men make the most of the bad situations that seem to befall them.

[Bobby Cannavale's] performance is something to behold. Music, not surprisingly, is the driving force here, used creatively and effectively in scene transitions, as scene setters and in performances.

The performances, especially Gooding’s and Travolta’s, are over the top, but, heck, so were the real-life events. Gooding and Travolta show just how sensational the whole thing was. The trial captured a nation’s imagination, and, more than 20 years later, it still does.

This one’s worth watching for Richard Dreyfus’ performance as the scheming con man, Bernie Madoff.

Other than a few missteps here and ther --Why would someone who claims to have been abducted by aliens several times live in the middle of nowhere away from people and protection?--the reboot feels like Linus’ blanket, warm and comforting. Duchovny and Anderson slip easily back into the give-and-take which helped make the original series so darn entertaining.

The series is an examination of wealth-and-power politics, with Lewis and Giamatti playing their roles devilishly well, with an emphasis on the devil part. It’s juicy good fun.

If you can get past the sermonizing, there maybe a story worth seeing here.

Absurd is the best way to describe the Zach Galifianakis-fronted comedy, like absurdly funny, the way “Portlandia” is on IFC.

Like “Lost,” you’ll be left with more questions than answers by pilot’s end.... Should be a fun ride.

The fun is trying to figure out if Lynch’s character is delusional or really an angel.

Shades is not stellar--it’s a little over the top in playing up the conflict--it has some grit to it. If anything, it’s kind of fun seeing Lopez kick some butt and take no prisoners.

It’s entertaining, mainly because all the characters are just so darn likable. Earl, particularly, is a hoot.

While Longoria is the draw, her supporting cast is just as entertaining, including Jeancarlos Canela as her ex-husband, Amaury Nolasco as the soap’s villain, Diana-Maria Riva as Ana’s best friend and Alex Meneses as Ana’s nemesis.

There are times when the dialogue is rough and doesn’t flow quite right, but not enough to overshadow the humor. Ansari has a gem of a show here.

This is one you will want to binge-watch. It’s a thrill ride from the onset.

You expect Fargo to be dark, funny and quirky. But, darn it, if it doesn’t pull at the heartstrings, too.

If you’ve enjoyed “Sons,” you’ll be taken with Executioner. Sutter’s swapped swords and horses for the guns and motorcycles.

While Geere and Cash are razor sharp, the supporting cast are just as entertaining, if not more so.

Burns gives us a good old-fashioned crime tale, just the kind of thing we need to end our summer.

Where Robinson excels are in the scenes with him leading his funk band.... The series, however, sticks too much to the sitcom formula, telling 22-minute stories that are all too predictable.

Gillies is great when going toe to toe with Leary, and she can sing to boot. As for Leary, well, he’s playing himself again, and if you’re fan, you’ll love it, and if you’re not, you won’t.

Gaffigan is a master of self-deprecation, and the jokes here, at his expense, come fast and furious. The banter between Gaffigan and the supporting characters is extremely well orchestrated.

The story will grab you, as we slowly see the animals begin asserting their control and the humans at a total loss as to what to do about it.

The Brink is whip-smart, featuring actors who know how to play comedy. This one’s a joy to watch.

Johnson, in a non-action role for a change, is surprisingly good, offering up a multi-dimensional character.

It’s difficult to like or root for any of the four, making this one difficult watch. Still, creator and writer Nic Pizzolatto has a knack for storytelling and character development. Especially intriguing is Farrell.

O’Mara is intense as a man backed into a corner, but the series needs to do more with the supporting players.

The early episodes lack depth because there are so many characters and so many stories to tell.

UnREAL is way over-the-top and trashy, but in an entertaining way.

It’s creepy, especially when the children talk to the unseen Drill.

While Duchovny is the draw--he plays Sam Hodiak, a no-nonsense World War II veteran who, because of his age, has trouble infiltrating the 1960s hippie culture--the actor to watch is Grey Damon, who portrays Hodiak’s partner, Brian Shafe.

The pilot ends with a big reveal (and more mystery), kicking off what is shaping up to be some great summer escapism.

The joy here is watching Crystal and Gad play off each other. Their scenes together are a hoot, with each having no problem lampooning the other, or themselves, for that matter.

Creator/executive producer Drew Goddard (“Cabin in the Woods”) serves up a dark, edgy, violent and, at times, gruesome series that has some teeth to it.

For those of us 40 and older, it’s a bit of a hoot watching Foster navigate these waters, from learning how to use Twitter to deciphering texts IRL (in real life) to explaining away those crow’s feet, among other things that aren’t mentionable in a family newspaper. But it’s the personal relationships--with the hunky Tortorella and with Duff--that hold the most interest here.

Loners is goofy--the same way Knighton’s “Happy Endings” was--and that’s what makes it so fun.

Bloodline unfolds like a good novel. It’s so well acted, that like a good book, it’s hard to stay away from it

Like “Mars,” part of iZombie’s appeal is the banter among the characters.