Chemistry is key to a project like this, and Wayans and Crawford have it. Even in the series’ cartoonish exaggeration of what crime-fighting is about (yelling, screaming, and car-chasing), Lethal Weapon has a comic snap that is entertaining.

It affirms all the reasons you liked the first Stranger Things, and deepens your knowledge and affection for its storytelling and characters.

At his best, as is frequently on display here, Harmon knows how to overload a scene with references to everything from dinosaurs to Lawnmower Man, and still keep the action moving.

The new season of Inside Amy Schumer is very funny, and, just below its surface, very thoughtful.

It was such a pleasure to sink down into these jokes with Seinfeld, such a treat to be carried along by such a confident professional. It’s rare to be treated this way by any piece of current entertainment; enjoy his achievement here.

Outlander’s appeal remains focused on the interplay between Claire and Jamie, a union of two very different people joined in mutual attraction, lust, and a meeting of the minds. No matter what country they’re in, they’re the duo that’s the twosome with the mostest.

Valley turns into the story of a young company fighting for a soul its founders never realized it had. As a result, it gives Silicon Valley a bigger heart than it’s ever had before.

Ultimately, the sheer pleasure of Godless defeats any reservations you may have about it. Daniels is both hilarious and scary, and he’s clearly having a great time pulling on his scraggly beard as this project’s ultimate villain. And there’s a long, well-staged shootout at the end that is both very-traditional-western and something totally new, because more than half the shooters are women, with guns blazing.

If you keep watching, The A Word gathers its own quiet power as a succession of portraits of people under stress (to add to the tension, money is tight for every member of the family) without becoming unbearably morose, thanks to regular bits of dotty British eccentricity and a few comic misunderstandings. The show is at its best, however, when it centers around sweet, solemn little Joe, who’s shutting out the world by singing along to Human League, subconsciously seeking human connection.

Once I accepted Project Greenlight’s cynical choice, I have to admit the show became immediately transfixing: It’s always fascinating to watch people who dislike each other in stressful workplace situations.

Longmire is in fine, tight-lipped-verging-on-surly form.

It’s usually the case that television procedurals that start concentrating on the heroes’ private lives make the rest of the show go soft--sentimentality creeps in. So far, thanks to the crisp, dry performances of Noble, Miller, and Liu, Elementary avoids that danger quite nicely.

Thanks to the presence of star Bruce Campbell, original Evil Dead director Sam Raimi and master producer of enjoyable junk Robert Tapert, Ash Vs. Evil Dead is a blood-squirting, wisecracking success as a half-hour TV series.

Idiotsitter, a smartly crass comedy, plays like a treatment for a wacky buddy-movie, shrunk to a smaller scale for TV.

Iit might sound a bit seen-it-all-before, but it’s what Red Oaks does with this material that makes the series worth watching.

Bosch is a fine piece of TV work, one of the best examples of how to take what works on tightly-formatted network crime shows and supplement it with some of the looser freedoms of pay-cable crime series.

It seems hell-bent on not failing us for one single second.

Younger never stays bogged down in one theme, or with one character, for long. Foster is, as always, glowingly convincing as Liza, and the show never lets us forget that what this character--and by implication, this series--is fighting against is.

Donovan is managing to walk a fine line between hardboiled entertainment and over-cooked melodrama.... it’s sometimes as good as almost anything else out there.

Lightning is distinguished by its instantly distinctive blend of social realism and sense of humor--it is simultaneously the most relevant and the funniest of The CW/DC Comics shows.

In the season premiere, the primary story line involves Nina, as a babysitter, trying to get Elmo and Abby to calm down enough to be put to bed. “You’re too excited,” she says. “You need to do something relaxing.” This is already a better premise for a half-hour show than 98 percent of the frenetic sitcoms on the air.... The Sesame Street touchstones remain in place: There is the letter (“B”) and number (“10”) of the day, for example.

Bloodline is well worth your time.

The Expanse has enough well-wrought plot to keep things moving swiftly without confusing those of us who aren’t hardcore sci-fi fans.

It’s all very disturbing and creepy. It’s also not new.... The A&E special might therefore be viewed partly as an attempt to get ratings by recycling already-heard allegations. On the other hand, there’s also a sense in which we cannot hear these dreadful tales enough, so that the memory of them can live on in people other than the victims.

It’s a measure of how confident this underrated-in-every-way show has become that it can confidently separate the two lovers and let Danny carry a completely independent subplot with such comic success.

Featuring fine supporting performances by an evil Josh Duhamel, a perverse T. R. Knight, and a sly Cherry Jones in addition to the aforementioned Cooper and Gadon, 11.22.63 is the kind of fantasy realism that any sort of viewer can latch onto and find something to be intrigued and moved by.

The War Room introduced us to the concept of corrupting-the-process campaign consultants as image-makers, and in its comic, half-hour way, Documentary Now!’s The Bunker--written with a pitch-perfect ear for 1990s blather by comic John Mulaney--does a fine job of distilling this feature-film message quite succinctly.

Having watched three episodes, I’m hooked on its mix of laughs and seriousness.