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.

Inhumans is more comic book-y, with an emphasis on special effects. The target audience appears to be teenagers rather than a mass audience. The effects, though, which include a teleporting giant dog, are pretty cool.

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.

The pilot had more holes than a piece of Swiss cheese.

This one’s OK, but not great. Transitions in the narrative are a bit clunky and the acting is on B level. Still, it offers some summertime horror thrills.

A thoroughly entertaining early summer revelation.

Sassy and fun.

The laughs, as you can imagine, are few and far between -- what with that death hanging over the comics, who come off as some of the unhappiest, bitter and jealous people ever. ... [Michael Angarano and Clark Duke] play two penniless and naive comics from Boston who come to L.A. seeking fame and fortune. They are funny. I wanted to see more them (and their story) and less of everyone else.

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.

It’s more interested in whether she gets away with [killing people]--the “B” story is about an undercover cop trying to catch the doctor in the act.

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.

Elfman’s character brings back her imaginary friend, Mary, from her childhood to help her deal. Mary, voiced by Rachel Dratch, is not funny, just annoying, extremely so.

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.

The humor is low-brow and juvenile.

It’s based on the 1979 novel and movie and is more romantic fluff than thriller.

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.

This procedural revolves around their predictable relationship.

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.

Paxton steals just about every scene he’s in.

This is a formulaic, laugh-track comedy that wastes the talents of its actors--Katey Sagal is a sharp-tongued Chicago cop--who deliver inane, see-them-coming-from-a-mile-away one-liners.

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.

Once the novelty of Riverdale--seeing who is portraying each character and how each is written--wears off, Berlanti and crew hopes the mystery will keep you coming back. The trouble is the kids are so off-putting, you won’t care who committed the crime.

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.

Believe it or not, the comedy’s not crass enough to really generate the laughs it should.

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.

It’s a family comedy, one of many on the network, that, at times, has its moments. There’s just too few of them.

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

Other than Zane, the acting is sub-par and the writing painful.

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.

The first hour is confusing and the acting a bit forced, so it may try your patience.

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.

The story’s fine. It’s just filled with a bunch of overacting and poorly orchestrated scenes.

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.

It has its moments. It just needs a few more of them.

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.

The pilot is mildly amusing. Neither Foo, nor Hires, is as engaging as Tucker and Chan, and the chemistry between them is lacking.

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

The comedy comes off as a less funny “Modern Family,” with the daughters uncannily similar (one’s dim and fashionable; the other is smart and geeky) to the “MF” girls.

[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.

Damien is nothing more than cliche, right down to the use of Rottweilers as hellhounds.

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.

The trouble is they are just normal--and not very funny.

[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.

Ellis is charming, but this nothing more than another buddy cop procedural.

This one’s preachy, overly dramatic and everything you would expect from a show like this.

Fans of the books probably will like it because they know what the heck is happening. I was lost.

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.

Kazinsky is bland. As is the seen-it-before strained relationship between him and his “son,” an FBI agent played by Tim DeKay. The strange dynamic between twin brother and sister, however, is the reason I will give it a second chance.

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.

If you like “Family Guy’s” crude, lewd and offensive humor, you’ll love this one. I lasted 15 minutes.