God what a good show this is. Who cares who killed who?

It’s an honest, unflinching look at dating, relationships and life, told from a refreshing and hilarious perspective.

Marriage and its trials and tribulations emerge as something of its own character as the show presses on.

The producers and creator Jeremy Carver have deftly retrofitted a familiar film for the small screen with smart present-day touches and solid performances.

It’s a charming and quirky romantic tale with an overarching twist thanks to the notion that the world may indeed be ending, and it’s pulled of by two completely watchable leads.

At the outset the pilot is a fun and adventurous romp without ever feeling campy or overdone. ... Where the plot gets bogged down is in the overall mysteries introduced in the pilot, namely those surrounding the Lucy character.

Westworld gives you a lot to consider, and immerses you so completely in its manufactured reality that you’re never distracted from its complicated questions. The best thing I can say about it is that after seeing the first four episodes, I’m very eager for more.

Bunbury is a star in the making as the leading character. ... Gosselaar is unrecognizable thanks to some newly acquired facial hair. As a result viewers will pay more attention to his equally strong performance and interactions with Bunbury throughout the hour. Mo McRae, Ali Larter and Tim Jo round out the solid cast, making for a pretty entertaining hour.

[Minne Driver] jumps into it headfirst which helps the original sale, but as she settles into the role she will have to adjust the tone in order to toe the line between endearing and annoying. ... The real story here though is breakout star Fowler. For a kid who has minimal dialogue he has loads of star power thanks to fantastic facial expressions and giggle-worthy reaction shots.

It’s a unique blend with four very distinct but compelling stories, proving there’s plenty of drama to be mined from real life. It doesn’t hurt that each of the actors is perfectly cast in his or her role, driving home the beautifully written scenes that often pose pertinent and universally relatable questions.

Creator Michael Schur (“Parks and Recreation”) must be commended for not only playing to Bell and Danson’s strengths but much like he did with his previous NBC hit, Schur creates a place for lesser-known cast members to truly shine.

Ultimately, this meandering, often brilliant show is held together by Glover, whose charming, sensitive presence is akin to the way Atlanta bops along on its own bemused frequency.

From one episode to the next, it’s always a bit of a surprise which character will become the story’s central figure, the writers seemingly able to make any of its dramatic players utterly gripping.

It sounds gimmicky and completely set up, but with this bunch it works.

The show’s centerpiece remains Malek’s mesmerizing turn as Elliot, as well as his chemistry with Slater‘s Mr. Robot. Excavating that much emotion from deadpan narration is a tough gig, but Malek continues to find new shades of neutral both in voiceover and in his scenes.

The Night Of doesn’t break new ground so much as it showcases a group of actors, writers and directors working at an exceptionally high level, merging potentially familiar genres into a thoroughly absorbing study of disparate characters brought together by a murder whose perpetrator remains a mystery.

What makes Jenny and Lola so likable is that they are resilient, brave and fully realized in ways the teenage girls in the nearly three-decade-old original were not.

Simmons pushed back on Barkley’s rankings, as only a true fan can. It’s this informed jousting, the back and forth between devotees of sports that could make Any Given Wednesday appointment viewing for sports fans. ... It’s classic Bill Simmons, a man with questions and answers, with a new forum where he can drop the mic and let others do the same.

Season 4 is so rich and dense with characters, backstories and subplots that some of its more interesting new additions remain mere teases. As always, the flashbacks remain the strongest aspects of the series.

The pacing in the early episodes can be uneven, and some plot points you see coming from a long way off. But BrainDead is promisingly original, a deft combination of the tropes of a horror movie, the pace of a forensic drama and the barbs of a political satire that’s thoroughly of the moment.

OJ: Made in America lays out of all the evidence patiently, giving all sides their due. It is eminently fair.

Roots is at once a more intimate and explicit document than was its forerunner and no less compelling, if you can endure the harshness of the spectacle that accompanies it.

Jay Roach‘s smart direction and the brilliant script by Robert Schenkkan (adapted from his Tony-winning play) are essential to capturing the dynamics of an era and its principal players. Likewise, Bill Corso’s impressive make-up is indispensable to getting these historical characterizations just right. But the acting’s the thing, and there’s not a disappointing performance in this stellar ensemble cast.

At times Famuyiwa is so concerned with including the myriad supporting players that the film can be more of a competent procedural than a riveting, insightful exploration of a crucial moment in American politics. But those worries are mostly tempered by the slow reveal of the film’s true agenda.

In its seventh season, Archer remains as reliably funny and lovably immature as ever.

When stacked up against a series like “The Leftovers,” which also examines a cult, it feels flat at first. But once the story does finally get rolling, the intersecting elements begin to build towards a compelling story with more complexity than first meets the eye.

It’s heightened reality at its finest as Vaughan and her associates (Elvy Yost, Jay Hayden and Rollins) proceed to track down the con artists who hacked them and stop them before too much damage is done.

There are lots of juicy twists and some melodramatic intrigue, and Kerrigan and Seimetz execute them with nicely chilly precision. But The Girlfriend Experience is at its best when it puts aside plot machinations to deliver a sympathetic but clear-eyed portrait of a woman discovering herself.