Jeff Korbelik

The humor is biting, which you would expect from Meyers, Michaels and Howerton, whose been at his biting best for 12 seasons on “Always Sunny.” And while Howerton is the star, it’s really the supporting players, especially the nerdy kids, who make this one kind of fun.

I wanted more about Bradlee and Graham’s relationship, but that’s my only real complaint. The documentary opened up other windows into the fabled man for me.

The opening is a groaner, but after that it’s a wonderful journey back to an era when Carson was king.

Inhumans is more comic book-y, with an emphasis on special effects. The target audience appears to be teenagers rather than a mass audience. The effects, though, which include a teleporting giant dog, are pretty cool.

The story, like it did in early 1990s, grabs your attention. The actors are the reason it keeps it.

Unlike the previous six seasons, there is no supernatural element to this one. It’s just people being unsavory people, which is scary enough.

The Sinner is a procedural. But unlike most others that are obsessed with the “who,” this gets at the “why.” Talk about intriguing.

Like “True Blood,” the cheese factor is high here, but that’s what made the HBO series so fun.

Created by Craig Pearce, the series is brash and vibrant, driven by punk rock. It makes the Oscar-winning “Shakespeare in Love” look tame in comparison.

The pilot had more holes than a piece of Swiss cheese.

This one’s OK, but not great. Transitions in the narrative are a bit clunky and the acting is on B level. Still, it offers some summertime horror thrills.

A thoroughly entertaining early summer revelation.

Sassy and fun.

The laughs, as you can imagine, are few and far between -- what with that death hanging over the comics, who come off as some of the unhappiest, bitter and jealous people ever. ... [Michael Angarano and Clark Duke] play two penniless and naive comics from Boston who come to L.A. seeking fame and fortune. They are funny. I wanted to see more them (and their story) and less of everyone else.

Viewers unfamiliar with Gaiman’s novel may have trouble following the TV series. The story contains lots of sides and flashbacks. But stick with it. The payoff is there. This is Starz’s most ambitious and satisfying offering yet.

It’s more interested in whether she gets away with [killing people]--the “B” story is about an undercover cop trying to catch the doctor in the act.

Each episode brings a sense of foreboding, making viewing sometimes uncomfortable. And Moss, well, she captivates as the heroine with the odds stacked against her. This one is must-see television.

McGregor’s portrayals, especially when the brothers share the screen, are astonishing, reminding me of Emmy winner Tatiana Maslany’s multiple-role performances in “Orphan Black.” Winstead and Coon are noteworthy, too.

Some of the stuff raises an eyebrow, but, heck, the original was that way, too. That was part of the fun. Prison Break was always a guilty pleasure. It remains so for the second go-round.

[A] clever comedy.

Elfman’s character brings back her imaginary friend, Mary, from her childhood to help her deal. Mary, voiced by Rachel Dratch, is not funny, just annoying, extremely so.

Shots Fired tends to get preachy--watch for James’ speech in front of news TV cameras in the pilot that really sets the show in motion--but it sheds a bright light on what’s been playing across newspaper pages.

It’s stark, harsh and sometimes difficult to watch. It’s also some of the best-made television, dramatizing real-life issues that are as eye-opening as a slap across the face.

The humor is a combination of sight gags, slapstick and wordplay. And, again, nobody does it better than Lithgow in all three phases.

If you’re a fan of “Fire” and “PD,” you’ll like this one, too.

The humor is low-brow and juvenile.

It’s based on the 1979 novel and movie and is more romantic fluff than thriller.

This is just pure camp. This is what Murphy does best. Get out the popcorn.