The bits of writing with real teeth are crowded out by a generally broader and more winking comedy style and pacing that seems to be anticipating more laughter than the material could reasonably expect.

In season three, it’s clear the complex web of relationships will deepen and tangle even further. The show’s writers continue to craft the story with expert care, giving each character moments to shine. Masters of Sex continues to be a Sunday TV must.

The brilliance of Showtime’s Ray Donovan expresses itself not only through the impactful intelligence of star Liev Schreiber, but through nuanced moments in its literary-quality storytelling--written and visual.

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.

Most characters are reduced to a single joke repeated endlessly, under the assumption that the repetition of words or phrases constitutes comedy.

Molly’s extraterrestrial and emotional challenges threaten to overwhelm both the character and the actress, but Berry rallies in the second half of the premiere, seeming to finally embrace the absurdity of the space-invader plot with a “if we’re doing this, let’s do this” determination.

While a subplot involving a John Brown-type Synth liberator, Leo (“Merlin’s” Colin Morgan), is a heavy-handed distraction, Humans holds up as a slightly humorous, thought-provoking, creepy piece of sci-fi filled with sympathetic performances and solid writing.

Luxe environments mixed with bitchy teen entitlement and karmic vengeance drive Scream beyond its slasher-exploitation film genesis to a stylish metaphor about a new generation’s excesses and mean-girl cruelty.

Overall, Ballers is good bro-down TV in the same vein as “Entourage.” Dwayne Johnson does a solid job of leading the ensemble, and he’s totally believable as a guy who’s best buds with athletes.

The dialogue is smart, biting and sporadically funny as it convincingly argues that its strange fiction is truth and turns the wartime stuff of our nightmares into the blackest of comedy.

Despite the lack of A-list Hollywood star power, the mysterious show boasts strong characters and compelling actors bringing them to life. And though the story sometimes meanders about like a child at play in a schoolyard, the premise holds enough intrigue to call viewers back to experience more.

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.

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

By episode three, Tomlin and Fonda find their comedic voices and cement Grace and Frankie as the candid and humorous series it truly is.

Happish is impressive as it convincingly drives themes of selling, selling out, anger, whoredom, mortality and the true meaning of happiness--and whether it’s even attainable--drawing upon established talents such as Ellen Barkin, Carrie Preston, Molly Price and Andre Royo. They provide Coogan, Hahn and Whitford with great foils and sounding boards for both the mundane and serious matters addressed.

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.

The fictional Crystal and Gad have zero chemistry as the series launches, which becomes a pivotal part of the plot as the series progresses. Unfortunately, their real-life counterparts portrayed this lack of comedic chemistry so well in the beginning that it not only impacted the development of show within the show “The Billy & Josh Show,” it was leaving a lukewarm first impression of The Comedians as well.

Sumptuous costuming and a believable period setting aren’t enough to make up for weak storylines that intend to make more of killer Lizzie than she actually was.

If Biblical-style fantasy is your bag, then its for you, but audiences who have feminist leanings will find the number of times the women are--as with too many Bible tales--called whores and prostitutes extremely grating.

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

Corden is a talent worth watching for his sheer likability, musical and comedy talent, and genuine love of culture, pop and otherwise. He’s bending the late-night comedy show formula to fit his skill set, which given this first outing, is impressive.

The show doles out morsels of information slowly, like a trail of bread crumbs, which makes for a satisfying viewing experience and feeds your curiosity while making you question other aspects even more.

[A] thoughtfully lighthearted and frothy comedy.

It feels familiar and fresh, with myriad possibilities in front of it thanks to smart new cast additions and a renewed focus on those characters over just getting lost in the creatively inane.

Show creator Rob Thomas‘ touch on iZombie is a marriage of his tenacious super-sleuth “Veronica Mars” and his irrepressible love god “Cupid” (remember that 2009 Jeremy Piven gem?) with just the right mix of sleuthing and snogging.

With The Royals, E! has a juicy soap opera that’s addictive, naughty and just the right amount of silly.

It is a refreshing amalgamation of the two genres that creates a fascinating exploration into the world of four-color comics by imagining what it might really be like to live among costumed superheroes and villains.

The result, like “30 Rock,” is another sharply written, often offbeat, endearing and funny comedy.