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.

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.

Just as Gilligan routinely did with “Breaking Bad,” the first episode ends with a cliffhanger of sorts, and another pleasant surprise. It’ll make you wish 9 p.m. Monday comes quickly.

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

National Treasure is an uncomfortable, but compelling watch.

With the recent Ebola scare, the show’s premise is timely. Plus, it’s a trippy, roller coaster ride as we learn, along with Cole and Cassandra, who is responsible for killing 7 billion people.

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 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.

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.

This one’s super funny, especially the scenes featuring Winters and Duhamel together. Talk about chemistry.

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.

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.

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.

These episodes will stick with you long after watching them.

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.

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

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.

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

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.

[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.

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

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.

This is the best new show of the summer.

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.

A thoroughly entertaining early summer revelation.

The pilot is a trip, with Thornton’s character leaving four bodies in his wake--three of whom he dispatched himself. Each meets his end in an unusual, dramatic and somewhat humorous fashion. It’s just the kind of thing you’d expect from a Coen brothers' product.

What makes Penny click is the chemistry among the characters, especially the psychic and the gunslinger, who end up seducing the viewer with their seductive encounters. They make you forget this is an action show

The joy here is watching Grammer and Lawrence trade barbs (and there are a bunch of them).