Cuse and Tucker (the latter also worked on True Blood) do a good job of translating the deeply unsettling miracle at the heart of this show.

One reason the new Match Game was so much fun was that it remained essentially true to the original.

Likable but not especially funny.

There’s not much verbal wit in Trollhunters--the jokes are pitched to a kid audience that has probably heard better ones in DreamWorks feature films such as How to Train Your Dragon and Shrek. But it looks terrific, with sleek animation that moves back and forth between human and troll worlds with fluid skill.

Each individual hour of The Affair holds your attention, and perhaps it’s best to just keep watching before deciding whether the overarching narrative is cohering in a satisfying way.

Kelli Garner manages to bring a freshness to her interpretation of Monroe that never feels like caricature.

It remains to be seen where Runaways will go when the show really establishes what the powers of these teen heroes are--in these early episodes, it’s all the producers can do to simply sketch in the personalities of what is, when you add in the parents, a very large main cast. Right now, there’s a nice tension here between the ways adolescents often tend to isolate versus the ways they’re forced to come together as a team.

[Billy Eichner and Julie Klausner's] collision in this sitcom they’ve created for themselves is a black mushroom cloud that some viewers are going to find too strong to take.... Klausner and Eichner are such intelligent performers in every medium they’ve chosen, you have to root for the success of Difficult People. And I say that while still not entirely convinced that this is the best vehicle for those talents.

Legends of Chamberlain Heights does have an engaging visual palette, a good soundtrack from music supervisor Erykah Badu, and enough cleverness beneath the dirty jokes to make it worth keeping tabs on.

Quantico is slick enough, and well-enough cast, to probably keep a good-sized audience watching.

How much you enjoy these Series of Unfortunate Events depends on your appetite for the TV equivalent of consuming bowlsful of meringue--there’s a lot of excessively rich, fluffy, eggy humor here. The show is, over the long haul of near-hour-long episodes, rather too precious and campy for my taste, but I can certainly imagine a large audience for such well-written joking.

Dave is late-period-Dave, wry, amused, and relatively relaxed. Here, Obama is very much the same. ... It’s not a great interview, but it’s a cozy one. The conversation has the easy intimacy that can occur when two famous, successful men have reached points in their lives when they can be slightly less guarded.

I like Donovan best when it’s more of a crime show, but I’ll take this version for the intermittent rewards it yields regularly.

Letty may be a hot mess, but she’s an essentially decent person--why, she even listens to self-help tapes to try and psych herself into leading a better life. But if you let the show carry you along--especially into the strong second episode, directed by Carl Franklin--you may find yourself rooting for these antiheroes.

[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.

It makes for a funny pilot, but the exact quality that made Parks and Recreation such a novel, engrossing series--its exploration of goodness and decency; its rejection of cynicism--is what weighs down The Good Place somewhat. Its punchlines, after a while, seem based on the same set-up: Eleanor bad, Good Place good.

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.

He’s got some work to do in the pacing of the table discussions, but Wilmore’s sensibility is immediately relatable: common sense enlivened by a healthy dissatisfaction with the status quo.

As always, this episode of Mad Men had entertaining moments.... Weiner wants you to realize that, over time, a wiseguy like Roger inevitably becomes insufferable. The problem is, removing such fun from Mad Men only makes the overall experience of watching Mad Men more joyless.

Get Shorty is an intriguing, curious new show. ... Get Shorty is a little wobbly in the quality of the writing.

The Detour has already been renewed for a second season, so the show has time to develop into something more interestingly amusing.

When Brockmire is in the broadcast booth, Azaria’s arias of baseball lore are mesmerizing and witty, but the show also relies too frequently on jokes about Brockmire leaving the microphone open during embarrassing moments.

The GLOW team--that are walking clichés who gradually become somewhat filled-in creations. The weakest parts of GLOW occur when the action stops to trace the backstory of this fighter or that one--in other words, when GLOW is most like OITNB. It’s best when the show is exploring the complex friendship between Ruth and Debbie, or whenever anyone is bouncing off of Maron’s director Sam Sylvia.

What keeps the first episode from slipping into absurdity is the commitment to action displayed by star Alexander and creators Martin Gero and Greg Berlanti.... Blindspot could be a good show--nothing revolutionary, but a fun escapade in the weeks ahead.

W/ Bob & David is, pretty much, an of-its-time sketch show following the same format as Mr. Show--one sketch leads into the next, in a funny, often tenuous, manner.

Show creators Chris Brancato, Carlo Bernard, and Doug Miro want to tell two parallel tales: The DEA investigation and hunt for Escobar, and Escobar’s point of view in his ever-increasing ambition, power, and ruthlessness. Narcos is superb at delineating the latter: You really get an understanding of how a poor, not especially charismatic man rose from the rabble to become one of the richest, most feared men in the world.... In contrast to this, the efforts of Murphy and Pena to defeat Escobar are, of necessity, more hit-or-miss.

There are frequently times when the production comes across like an episode of late-period 7th Heaven. But at its best, Recovery Road does a good job of capturing the complex web of both emotions and actions that are taken in the journey to sobriety suggested by the show title.