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.