If you’re looking for a winter-time mystery that will show you people even colder than you may be these days, Fortitude is an absorbing one.

F Is For Family is an engaging portrait of a suburban family in the 1970s.

Girls is (at this point almost surprisingly) good.

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.

It’s a great-looking show, and one that doles out its drama at a stately pace that is unusual at a time when Shonda Rhimes and Lee Daniels have amped up the pace of family-strife storytelling in shows such as Scandal and Empire.

While we get an origin story, it’s not drawn out, and right from the start, Murdock is fighting crime. The fighting is particularly well-staged.... The dialogue, however, could use some of that snap. The exchanges between Matt, Foggy, and Karen aim for the sort of brisk funniness that was a hallmark of shows these producers have worked on, including Buffy and Angel, but it’s mostly strained stuff. Actually, the purely plot-driven lines are more amusing.

Fresh Off The Boat, when it has flashes of energy and well-written jokes, easily transcends ethnic stereotypes, but it’s these sitcom stereotypes that are the ones the show needs to defeat if it wants to be both long-running and distinctive.

Show creator Julian Fellowes has defeated jaded skepticism again.

The writing as overseen by veteran Roseanne producer Bruce Helford is sharp--the tone is very similar to the 10 years of the original Roseanne you may have watched and enjoyed.

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.

Some of the best aspects of A Year In The Life are the ways the four episodes continue, and deepen, the show’s richest themes.

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.

It’s got the sunny colors and optimistic energy of The Flash, a bright streak of feminism coursing through its storyline, and charming, star-making performance by Melissa Benoist as Kara Jor-El, aka Kara Danvers, aka Supergirl.

Bloodline is well worth your time.

A rare new sitcom with as much heart and soul as jokes and wackiness, Detroiters is a welcome surprise premiering on Comedy Central Tuesday night.

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.

At its best, the show does a good job of portraying each slave as an individual with his or her own strengths and flaws, while, on the other side, the whites are also placed in the social context of the times.... There are some jarring touches in Underground. One of them is good: the use of contemporary music by artists such as Kanye West to underscore bristling discontent. But another contemporary trope occasionally takes a viewer out of the drama, as when one character or another sometimes uses phrases that no 19th-century person would have uttered.

Michael Strahan has clearly studied his Dick Clark tapes--he’s smooth and relaxing to watch, very good at reminding players of the no-hand-gesture rules and in settling the nerves of any rattled contestant.

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.

A charming and even, yes, inspiring new series.

It’s fascinating to watch the ways these men--and most of the principals were men--gathered information, formed theories and conclusions, and butted heads with one another over plans of action. It’s dismaying to absorb one of this miniseries’ most timely subtexts: that during the most intense time leading up to the 9/11 attack, the American media was distracted by President Bill Clinton’s Monica Lewinsky scandal.

[The trip to Israel] As a change-up intended to place the family in a new, revelatory context, it doesn’t quite work: The Pfeffermans just get on a tour bus and kvetch about the same stuff.

Beautiful and puzzling, funny and exciting.

Humans is a clever piece of work.

The story is told in reverse chronological order, jumping back and forth, here and there, across the trail of Cunanan’s various crimes--can sometimes seem gratuitously confusing, but once you get used to its rhythm, this American Crime Story has an irresistible pull.

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.

The two tones--Sabrina behaving as though she’s caught in a teen soap opera; the aunts dithering animatedly--are frequently jarring.

Hopkins and Wright are excellent, as is Ed Harris as a guest who’s grown so comfortable in his role-playing of the Gunslinger that he says he rarely leaves Westworld. Evan Rachel Wood and Thandie Newton--playing an innocent farm girl and a jaded brothel madam, respectively--do very well in the context of Westworld’s inherently problematic sexual element. ... But much of the necessary scene-setting--of happy guests arriving and discovering the joys of shooting and screwing to their hearts’ content--becomes repetitive quickly.