This tautly emotional and up-close look at a mettle-testing day in Iraq seems certain to become its most resonant and valuable production to date.

Being gross, graphic and disagreeable has not kept Shameless from having a long run on Showtime. SMILF is in that vein, and perhaps also will find enough of an audience to sustain it. It’s hard to know what going to work anymore. But this one just doesn’t work for me.

Alias Grace doesn’t wrap everything up tidily -- and at times can be a bit messy and far-fetched. ... The performances are uniformly first-rate, though, and viewers will get closure rather than any dangling cliffhangers.

Heavy-handed in both its law enforcement and dialogue.

Hit the Road is relentlessly broad and determinedly offensive. It’s also quite funny in fits and spurts, primarily when Alexander is throwing the fits and having the spurts.

Livingston excels as the point man, making Sam Loudermilk both his own worst enemy and a guy who would be damned interesting to be around. This is one of the ongoing TV season’s better new comedies.

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

Patience is recommended, because it takes a while for Mindhunter to embed its hooks and acclimate Groff, who at times seems to be almost painfully “finding” his character. ... Based on what we have, Mindhunter is plodding at times but promising in the main.

Some fun possibly can be had here amid all the back-stabbing, sneering, secrecy and infidelity.

This all probably sounds ridiculous, and pretty much is. Even so, Valor is more entertaining and accessible in its own way than network TV’s two other hard-charging combat hours. Ochoa and Barr blast off in their lead roles and also play well together.

The Mayor can be preachy and predictable, but is also spirited and reasonably amusing in this opening scene-setter. Hall brings considerable charisma to the lead role and Brown supplies the needed anchoring presence. Michele, the former Glee star, still seems to be finding her way, though, in a role that at the moment doesn’t really fit her.

Ritter brings solid appeal to the title role while Herbert Gregory has a strong grip on her “warrior for God.” Even so, Saves the World can be overly goofy at times and remains murky in terms of just what Kevin represents or is supposed to do as “the last of the righteous.” Whatever the potholes in the plot, Saves the World commendably aspires to be bracing and uplifting in times when a second coming of Touched By An Angel might just do a world of good.

This latest Marvel concoction is better than ABC’s Marvel’s Inhumans, which launched on Friday of last week. Still, an overall weariness prevails, perhaps even among the most fanatical Marvel diehards.

[Mark Feuerstein] brings exuberance and a certain likability to the role as a good son who’s still trying to please his parents. But geez, what a grind 9JKL is. You’ll find more originality in the recipe for cream of boiled water soup.

Piven’s OK in his latest starring role while Jones brings some ‘tude as Cavanaugh.

Ghosted includes a few halfway decent special effects, but not much else, en route to the inevitable.

Although laboring like the rest of them in servitude to a mostly nondescript script and a standard issue Marvel plot, Rheon makes the most of his latest dastardly character. Villainy still suits him, even if the drop in quality from Game of Thrones to Marvel’s Inhumans is both obvious and precipitous.

The broad histrionics of Will, Grace, Jack and Karen, who are still cavorting before a guffawing live studio audience, at times seem more dated than NBC’s early reluctance to let Will have a same-sex kiss or be seen in bed with another man. But there’s no hesitancy from the actors in terms of re-committing to these roles with a vigor that still drives the series like an old Wild Mouse amusement park ride from back in the day.

Falco is fine in this role and Jaeger brings some nice touches to the role of detective Zoeller. Josh Charles (The Good Wife) adds a little extra marquee value as the brothers’ compromised psychiatrist, Dr. Jerome Oziel. ... Just don’t expect any style points or departures from the straight ahead Wolf playbook.

Just don’t expect much more than Boreanaz’s command presence in Seal Team. You’ll see where it’s going long before it gets there, no matter how far off the missions might be.

Young Sheldon ends up having a mind of its own, even if it’s a prequel to a long-established hit. Armitage and Perry in particular are a perfect pair as precocious son and protective but not overbearing mom. There’s an awful lot to like here, with high expectations not only met but exceeded.

Me, Myself & Irene appears to have boxed itself in. The opening episode is pleasant enough to watch, although not really very amusing. But the prospects for a sustainable series seem highly limited by all that unfolds here.

Highmore plays his lead role to near-perfection amid all the considerable medical jargon and jockeying for position among his supposedly more enlightened colleagues. The Good Doctor engagingly drops Dr. Shaun in their midst as both a lamb and a lion with a muted roar. The story possibilities are readily apparent on a number of fronts in the best broadcast network medical drama since Hugh Laurie contrastingly bruised his way through House.

The opening hour ends with an unexpected, big boom of a cliffhanger designed to bring viewers back for more. In that it’s unique. Otherwise The Brave is broad-stroked and pro forma in highly volatile times both at home and abroad.

A reasonably fond look at some of country music’s most celebrated and talented self-destructive forces, most of them now dead.

In its scope and a mostly impeccable selection of images, quotes and anecdotes (Ho Chi Minh once worked as a New York city pastry chef), The Vietnam War boldly and bravely stands its ground and almost assuredly will stand the test of time. Its story is told in affectingly human terms by the mostly unheralded men and women who bled, died and survived.

The Orville needs considerable work to accomplish whatever it wants to be--assuming that MacFarlane and company even have that answer. For now it’s boldly but very unsteadily going forth, with its jokes working here and there while the action and “messages” bump along at best.

Each hour’s blazing horns, during the closing credits, are a weekly must-hear. The dialogue is sharp and suitably dicey ... There’s nothing pretty here. But in the eyes of this beholder, you’ll otherwise know great drama when you see it.