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 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.

The Punisher isn’t nearly as pretentious as Hannibal was, but it’s certainly as deliberately paced. The violence of the show is up-close and brutal. ... The show would be too dull without its action scenes, but when those arrive, your first instinct may be to cover your eyes.

Ill Behaviour has some thoughtful things to say about right-to-life issues and alcoholism, and if you can buy into the kidnapping-to-save-his-life development, you might stick around for the series’ full six episodes.

A lot of Damnation feels an awful lot like homework or worse: homework you’re forced to do on the sly while sitting in church listening to a sermon.

Stories from the Edge loses its edge once its celebrity writers take over the focus.

Harron has found an original cinematic language to convey Grace’s memories, a dream-like narrative propulsion that carries us along. ... Levi is Alias Grace’s only false note: he seems to have walked right off the set of Chuck without adjusting for the time-period here. Sarah Gadon’s performance is transfixing.

The new S.W.A.T. has become something other than a cops-versus-bad-guys drama. Now it’s an hour spent in awe of its star, Shemar Moore.

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

This new Jeremy Piven series is proving to be one of the more naive and ludicrous shows of the fall season.

Too Funny to Fail succeeds in being funny about failure.

There’s not much suspense or any thrill of discovery as we watch Holden and Bill slowly tumble to the patterns in serial-killer methodology. ... That said, Mindhunter is engrossing, and the central performances by Groff and McCallany are highly distinctive and complementary. The whole production has an assurance that’s comforting in the midst of all the unsettling time we spend with depraved law-breakers.

As the series progresses, Loudermilk’s sobriety and his pessimistic attitude toward life are tested, making the character more three-dimensional. He and the show named after him start off interesting and get better as they proceed.

The third season, based on the four episodes I’ve watched, is strong and exciting and moves the narrative along at an invigorating pace.

If you’re in the market for a nighttime soap with beautiful people behaving badly, Dynasty--an update of the 1980s camp classic--will serve your needs. But as cleverly reimagined as the original has been by producers Josh Schwartz and Stephanie Savage (both vets of The O.C. and Gossip Girl), I couldn’t escape the feeling that the Kardashians and the Real Housewives franchise has made a Dynasty reboot irrelevant.

Even--or especially--if you don’t get the humor in that last one, the country-music knowledge being arrayed before you in Tales From the Tour Bus is sure to both enlighten and entertain you.

The best moments in this show are when Hayes is prepping for combat with his team. ... Where SEAL Team is weakest is when any scene turns away from fighting enemies to a discussion of fighting enemies.

The degree to which the show succeeds will probably rest on how many viewers tune in and like what they see in Hall’s brash, energetic performance.

This is the sort of show that could just as easily have premiered in 1997, or 1987, or 1977. ... [The] waste of talent that is most irritating about 9JKL.

This hour-long dramedy relies heavily on Ritter’s ability to sell its outlandish, at times confusing, premise, and to the degree that it succeeds, it’s almost entirely due to the star’s powers of persuasion over any objective standard.

I’d like to say that Marvel’s Inhumans is so spectacularly awful, it’s worth tuning in just to witness the superhero train-wreck. But alas, Inhumans does not even yield sarcastic pleasures--it’s just bad. Bad in a dull way, bad in an irritating way. ... Marvel’s Inhumans is just inhumane.

The return of Will & Grace on Thursday after an absence of 11 years is pretty much a success. If you liked it before, you’ll probably be pleased with the new episodes, which are well-executed and excellently performed.

About four hours into this six-episode series I just wanted to know how it all turned out so that I could be free of these mostly-unpleasant people. That I stayed to the end is a measure of the Williams brothers’ skill as plot-creators, I guess, but it’s also not a huge recommendation.

Falco is good, but Josh Charles is doing the stuff that made me smile. Of course, smiling is not something you’re supposed to be doing while watching a show about a double homicide, but the pleasures of familiar facts presented in a lively, engaging way will not be denied.

Kelly is now trying to show her softer side, but it manifests itself as intense squishiness. ... The entire cast of the network’s revived sitcom Will & Grace trotted out to submit to a long but skimpy interview. (By contrast, the interview the cast did with Kathie Lee Gifford and Hoda Kotb in the very next hour was far more relaxed and funny.) ... First-day jitters are understandable, and perhaps by the end of the week, Kelly won’t be contorting her face into a rictus grin. Perhaps she will allow for exchanges with the studio audience and with guests that don’t sound scripted.

Young Sheldon has a certain Wonder Years glow to it. The challenge for the show going forward is to keep young Sheldon a believable, likable kid while also emphasizing the eccentric qualities that make him an effective comic creation. From this first episode, it really feels as though that’s not going to be a problem.

[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.

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.