You’re the Worst proved to be one of the most amusing and unusual sitcoms to premiere last season, and Wednesday night’s second-season premiere lives up to its promise.

The Good Place is very well written, full of good jokes about bees and clowns and clam chowder. But it’s got another layer: it’s also about power dynamics and morality systems--how they shift and mutate depending on how people interact.

The main subplots of Bosch gather power as they proceed.

Tucked away on Cinemax and by now almost doggedly proud of both its cult status and its utter unpredictability, Banshee remains a pure pleasure machine, at once vulnerable and sturdy, and determined to go out on its own terms, whatever the hell those may be.

Sir resembles the Shakespeare character he’s playing, and that’s the chief flaw in Harwood’s play--a too-easy irony. But Harwood makes up for it with the crackling dialogue that pushes The Dresser along at a terrific pace.

For all its cynicism about the elites who run the finances of the country, Mr. Robot is almost genially high-spirited: It excites you to keep following Elliot, Mr. Robot, and their improbable plan of revenge.

I’ve watched four episodes, and every one of them is hugely entertaining and frequently surprising.

World has some terrific set pieces, such as the duo’s sloppy robbery of a gas station, and some dull patches, such as a meeting with Alyssa’s father late in the series that almost drags the story to a halt. But overall, James and Alyssa are ultimately two people we care about, and Lawther and Barden give exceptional, subtle performances.

Every time the show switches to an Oleg moment--watching him trudge through dirty slush to the gloomy home of his parents--I find my mind wandering. More invigorating is the season’s further development of Paige as a possible future spy.

The Good Fight has been assembled in such a way that you don’t need to have seen so much as one episode of The Good Wife to follow what’s going on. The new chapter in Diane’s life is also a new chapter in the genre of first-rate lawyer shows.

Funny and suspenseful, Sneaky Pete is an excellent idea for this weekend’s streaming TV viewing.

Thankfully, those voice-overs seem fewer this season, the better to concentrate on the show’s action, which is frequently startling and absorbing.

C.K. doesn’t even seem to be placing much value on eliciting guffaws during the stand-up segments that used to give his show a jolly lift at the beginning and end of each half-hour. Interestingly, over the course of the first four episodes I’ve seen, the warmest vibes emanate from Pamela.

This season of Archer has a great look: this cartoon version of film noir features richly dark blues, greens, and black, and the pacing has the hypnotic pull of a dream turning into a nightmare. Of course, this being Archer, it’s also loaded with lots of double- and single-entendres, and energetic vulgarity.

In a TV world with so many choices, Manhattan is at least worth seeking out, to see if its kind of tense smartness appeals to you.

There’s a lot of melodramatic threatening. There are heated parent-teacher conferences so baldly unbelievable, you’ll have a hard time deciding which side deserves to be disciplined more. Still, the damn thing is irresistible. The performances crackle, and each of the lead women forges her own brand of indelible unhappiness.

This is the kind of show that’s not going to make the big pop-culture impact of the series that precedes it--Girls--but it’s a worthy dispenser of pleasure.

The sad thing--but also the thing that makes this show so compelling--is that the contestants care so much about winning this hideous, spirit-killing show. It’s that paradox that gives UnREAL its true soul.

Corden did a terrific job of showcasing all his talents, including singing a ballad at the end of this first night. He’s well on his way to being a nightly crowd-pleaser whom you may be talking about the next day.

It’s as though this show wants to set up hurdles for itself to overcome. Happily, it does. Much of this is due to Foster, who radiates so much eager energy, you have no trouble buying the premise of the sitcom.

The Defiant Ones works on almost every level: as a primer on the music industry, as gossip, as biography, as a time capsule of the 1980s, the 1990s, and the beginning of the 21st century. Neither Iovine nor Dre is particularly eloquent about their own achievements, but The Defiant Ones does that work for them, excitingly.

Most of the time, Girls remains impressive.

Meyers delivered a carefully crafted monologue that took well-phrased shots at Weinstein, Kevin Spacey, and Woody Allen, while also making room for Poehler, talking from her seat, to deliver the biggest laughs of the segment with a couple of raucous, mansplaining jabs. ...Sure, some of the chatter was a little bit tedious because of sheer repetition, but it was a higher class of tedium — nobler and more heartfelt, and effective in its fervor and sincerity. Later in the evening, Oprah Winfrey turned her acceptance speech for the Cecil B. DeMille Award into a stirring talk about race and class and history. It was a world-class speech.

The achievement of The Returned is that it creates its frights chiefly from an atmosphere of the quietly uncanny. Indeed, the show is at its best when it’s impossible to tell who is more dead: the returned population, or the living whose souls have expired from despair.

The Emmy-nominated Archer is one of the most satisfying comedies of any sort, its densely packed jokes contrasting with the airy, assured confidence a show achieves when its characters seem so three-dimensionally real to their audience.

I didn’t laugh very frequently watching Lady Dynamite, but I was never less than absorbed by it.

There are subplots about Plum’s job in a Brooklyn coffee shop and a police detective investigating the militant group’s crimes that, two episodes in, don’t seem particularly promising. But Nash’s performance is awfully good, and Margulies manages to bring her own stamp to a role that seems inspired by Meryl Streep’s in The Devil Wears Prada.

Julie and Billy are enthusiastically mean, sarcastic, and lovable--all at once.