Agent Carter hits the screen a much more confident show than “Agents of S.H.I.E.L.D.” did last season. This is a show with a clear vision, a powerful acting ensemble, and the perfect Marvel blend of action, excitement, pathos and humor.... [It is] easily one of the most entertaining premieres of the season.

Saul moves faster, but it has that same sense of mood and atmosphere. Scenes are set through lighting, sound and visuals in a way that you actually notice and appreciate. It’s television as artisitic expression rather than just pointing the cameras at the actors and having them read lines.

It’s a complex protagonist, the kind we don’t see enough of on television or in studio films.... This series feels like the first superhero show really just for grown-ups--and it totally works.

With lead characters this complex, showrunner Michelle Ashford has plenty of material to plumb for episodes to come. Judging by the second season's start, Masters of Sex is just getting down to business.

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.

The season five premiere of Key & Peele finds the duo returning to their sharply observed sketch show in fine form, their keen eyes focused on recent news and social events.

Subplots surrounding Green’s southern belle daughters, espionage and PTSD do little to move the series along and would’ve been better shortened or left on the cutting-room floor. That said, such distractions do little to dilute Mercy Street as the imperative Civil War narrative it truly is.

This sitcom’s battering ram of madcap inanity can run aground when a particular episode doesn’t have an especially memorable storyline, and perhaps Angie Tribeca caters too much to an audience in thrall to the old “Airplane!” style of so-broad-it-hurts humor. From the 1980s’ “Sledge Hammer!” to the more recent “Brooklyn Nine-Nine,” smart-aleck cop comedies are nothing new. But in its minute-to-minute pleasures, Angie Tribeca is one big goofy grin of a sitcom. Season 2 can’t come quickly enough.

The Messengers is an appealing and entertaining cross between “Heroes” and “Supernatural” and has the potential to be just the hit The CW needs and viewers deserve.

Another season of fast-paced, dramatic antics with plenty of twists and turns to keep “Chapter Twenty-Three” on par with any of season 1’s installments.

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

Liza’s wonderfully written interactions with each of these characters, especially the women, will undoubtedly draw you in and keep you watching.

Fear the Walking Dead pulls off a great feat in prequel land: using that nagging sense of inevitability to its advantage. It shouldn’t work, but it totally does.

The production managed to capture the overall cheesy tone present in the original while moving through the many numbers with lightning speed. The three hours flew by quicker than expected at the outset thanks to giggle-worthy moments and fun numbers, with things really picking up in terms of overall entertainment and production value at the two-hour mark.

No part of the equation that makes up Galavant is subtle. It piles on the songs, the choreography, the bawdy humor and the clever writing. That deep dive into the genre is what will help viewers shake off the doubts we had going into it. Galavant is a uniquely enjoyable ride.

Stewart and Scarborough make Blunt Talk worth watching, as they’re an offbeat co-dependent pair who clearly have great affection and respect for each other, and watching Stewart embrace Walter’s often loony behavior is a treat.

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.

These characters are anything but flawless and one-dimensional. But, they are at their most believable and compelling when they relentlessly defend their children and loved ones and awkwardly try to make sense of their crumbling worlds.

Despite the kitchen-sink feel to it all, Extant has much going for it. Berry impressively handles the task of playing a woman who's coming to grips with both a interstellar conception and a laboratory-built “son.” And so far the series has done a good job of balancing the gee-whiz gadget fetishism of science fiction with the need for characters that the viewer will care about.

Girlfriend’s Guide to Divorce is worth watching this season because Marti Noxon and company are moving beyond Abby’s first taste of sexual freedom and addressing more of the harsh realities divorce entails. The guest casting alone makes the show watchable and Lisa Edelstein’s Abby continues to be an engaging, appealing catalyst for the show’s stories.

Iif the path is well-worn, Casual mostly transcends predictability thanks to a finely calibrated tenor that mixes gentle laughs with a wistful, resigned air.

Writer and creator Julian Fellowes provides a sweet parting gift, indulging fans with closure on so many dangling storylines, while offering fiery and long-overdue exchanges between some of the most popular characters.... His ensemble of actors is equally generous, each giving such steadfast performances in these last episodes of the award-winning series.

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.

Finding out how Escobar rose in power and status to become a murderous megalomaniacal drug lord is as fascinating as it is frightening. This is due in large part to the masterful performance Brazilian actor Wagner Moura delivers as Escobar. Menacing but never melodramatic, Moura is exceptionally convincing and subtle.... Murphy is a man who wants to “do good” and nearly ruins the series because it. Compounding the issue, Murphy’s voice-over commentary is excessive, occasionally states the obvious and at its worse, takes you out of the moment.

It’s moody, strange and a bit surreal, while still pulling you into its world and making you believe in it.

House of Cards has traded in the fun of watching Frank shuck and jive in exchange for accomplishing his long game, which isn’t as fun as watching all the manipulative plays go down on each episode. In certain ways, Frank and Claire are being forced to grow up and have grownup jobs to prove it.

Despite the audience-building challenges Fuller sometimes throws in the path of his monster--“Il Monstro,” the Italians call him--it’s hard to hate him; Hannibal Lecter is one of the most interesting characters you hope to never meet.