It goes down pretty easy if you'd like to set down for a spell with a disarmingly pleasant little down-home melodrama.

FBI moves swiftly and sometimes graphically through its earth-shaking opening investigation, adding and dropping suspects in a familiar pattern that nonetheless seems fresh and certainly isn’t dull.

It’s another nice original series try by Hulu in its efforts to someday play in the same league as fellow streamers Netflix and Amazon Prime. But as with Hulu’s ongoing 11.22.63, there’s just not enough in the tank to make the engine really hum.

If you liked Sons of Anarchy, which ended up as one of FX’s most-watched drama series, then you’re very likely to roll with this one, too.

Taxi Brooklyn turns out to be better than expected escapist fare, even if Leo still isn’t charging Cat anything for all those extended, often high-speed trips. He seems to know all the shortcuts. She takes it from there.

Manhunt’s navigations of clues and dead ends at times are enough to keep this pot simmering if not boiling. Nor is there anything wrong with Clunes’ lead performance, which unfortunately is in service to a not-so-greater whole.

All-American has overtones of NBC’s exemplary Friday Night Lights, but so far is not in its class.

The first two episodes hit some comedic sweet spots, both visually and verbally. But if the government again shuts down over DACA, Colbert and his writers will be increasingly hard-pressed to find the funny.

White Famous can be faulted in its conceits and concept, but Pharoah is fully invested and funny at times, too.

The grins and angst menu serves Casual well at times, but perhaps not well enough to keep a majority of first-time samplers coming back for more.

Crawford and Wayans prove to be a pretty good fit, as actors if not always as partners.

The Rookie’s action scenes are capably staged in a pilot episode that’s also brisk and well cast beyond the built-in marquee appeal of Fillion. But the lead character’s back story is barely touched on. And Nolan’s training to become a cop is completely omitted in the rush to get him out on the streets and imperiled.

Be assured that answers will be forthcoming before Loch Ness comes to a halt. Still, there are several too many side trips and attendant altercations before the big reveals.

Howerton makes the most of his central ribald rogue role while Oswalt seemingly was built to be a bumbler. Neither character is believably employed--if that really matters. Beyond that, A.P. Bio suffices as a teacher-student comedy.

Watsons Go to Birmingham is well-meaning to a fault and would play well as a teaching tool in elementary school classrooms.

There’s a bit of a free-form Arrested Development vibe in play, but not enough to elevate Working the Engels to anywhere near that level.

This is a genuinely scary and unsettling series.

The Goldbergs is amusing in fits and spurts before ending on several sweet notes--including REO Speedwagon’s “Can’t Fight This Feeling.”

The two episodes made available for review are not without pulling power. But how much staying power will American Gothic have over a long haul of 13 episodes ordered for Season One?

Clear History is amusing enough to pull a viewer through it, although those who haven’t yet acquired a taste for Curb might find it the equivalent of a pricey two-drink minimum without enough payback.

Outlander is beautifully shot throughout, which somewhat makes up for some of the early tedium. It may not ever rise to the level of enthralling. But by the second episode, the story at hand is flexing a firmer grip.

The problem, at least for now, is whether the show can find a happy medium between sharpening itself without resorting to any crude or unduly cutting humor. These first two episodes are watchable enough.

Its lead characters for the most part are appealing and accessible, even if their machinations aren’t always well-oiled.

Chaos can be amusing in spots, although it's hard to envision it as a long-distance runner. It might be housing a breakout star, though [in James Murray].

Hand of God’s strengths are its elongated scenes, enabling the characters ample time to play off one another.... The wheels keep turning but can take too long to get rolling while the plot hits some ruts in the road.

It starts to get better in Episode 2, courtesy of a killer raw rehearsal by the real-life band Reignwolf, which has been hastily signed to be the opening act in Memphis. The power of their music has some of the roadies believably transfixed. And for this short burst at least, the occasional magic of their profession is self-evident without any clunky pronouncements from Wilson’s Hanson.

Tyrant strives to be big, momentous and powerful. But while sometimes jabbing to good effect, it lacks a heavyweight’s punch.

A drama that accentuates mob violence but lacks the “charm,” humor and overall empathy generated by The Sopranos.