Take Two is honest advertising. It’s the second grab at a winning premise, for the same network, no less. You deserve more.

There are larger-than-life characters and then there are impossible-to-believe roles, and “Yellowstone” runs deep with the latter. ... There’s a much easier way of summing up “Yellowstone”: Horsepucky.

Man in an Orange Shirt aspires to be a both a romantic tearjerker and a heartfelt family drama. It doesn’t quite succeed on either point, but it has merit nonetheless.

Cynical shows can be fun; Deep State is undercut by some atrocious acting. One character seems to be the love child of Larry Hagman’s J.R. Ewing and about 180 pounds of ham. The faux Texas accent might cause your eyes to sting.

While the production values may be loose, Impulse’s entertainment value runs strong.

Suvari and Bartels are competent, but don’t have a lot to do in the early episodes. The scripts hit every beat you might expect. “American Woman” makes “Sex and the City” look timeless.

Their journey should be thrilling, fascinating. It’s a chore. The young leads do the best with what the scripts give them, even as they are forced to run over the same story beats.

Nash is a great find, but Plum’s unrelenting self-loathing, communicated through too many voice-overs and the occasional meltdown (which, yes, the show reminds us with zero subtlety, is the result of years of mass media brainwashing and brutal cultural expectations) makes spending time with her such a downer.

Succession makes it clear that the Roys are not especially nice people. They are also, alas, not especially fascinating. Pink slips for everyone.

Arrested Development is back. You’ve earned the insanity.

Picnic at Hanging Rock is lush, gorgeous, Gothic and at times plotted tighter than a corset.

The courtroom scenes are among the least convincing scenes in the series.

Safe is one of those series, like HBO’s “Big Little Lies,” that focuses on the lives of the beautiful and the well-to-do. It doesn’t suggest the rich are just like us. It suggests they are even more miserable, and in the case of Safe, probably quite monstrous. That’s a story that translates just about everywhere, apparently.

Despite some shaky attempts to build a convincing world, The Rain has much in common with “The Walking Dead.”

Judging from the first three episodes, the plan seems to be to throw enough explosions and gunfights at the screen so viewers are lulled into thinking they are watching some “Chicago: NCIS: Law & Order: Criminal Minds: Frontal Lobotomy” spinoff and forget to change the channel.

In its sophomore season, the series creeps deeper and serves up countless harrowing, haunting moments.

Netflix’s energetic reboot of the cult sci-fi series adheres to the best spirit of creator Irwin Allen’s vision of a family in space fighting for their futures.

The script is deliciously witty, but it never lets you forget some nice people are coming to perfectly horrible ends.

A star arose during NBC’s Jesus Christ Superstar: Live in Concert last night. No, not singer John Legend, though he did grow into his part as the son of God in this adaptation of the Andrew Lloyd Webber rock opera, and not pop star Sara Bareilles, who was technically sound as Mary Magdalene but never seemed to find her heart. Broadway veteran Brandon Victor Dixon stole the show as Judas.

The Crossing has its moments, but if you look too closely at its story, it melts away like ice cream cake left out in the sun. ABC is promising flashbacks to fill in the visitors’ stories, another “Lost” tic.

The workplace segments are rife with sexual innuendo that don’t creep so much as just haul off and whack you in the face. ... There are some funny bits.

Trust at times seems about as factually accurate as the “B.C.” comic strip, and Boyle’s visual affectations and his over-reliance on split-screens do not always serve the story well. (He directed the first three episodes.) .. Whatever Trust’s hold on the facts, it more than makes up for in its performances.

Harris is especially terrific as a man growing into his own heroism even as forces mortal and not so mortal conspire against him. But as the 10 episodes unspool and the body count mounts, the only dread you may experience watching The Terror is that feeling you are wasting your time.

Roseanne’s ability to pivot from silly to somber and back again without ever missing a beat made it unique in prime time. The revival looks to be just as authentic.

If only Instinct had a little more going for itself, it might be worth making room on your DVR.

NBC is hoping to capture the same sort of audience moved by bathos and treacle [as those on "This is Us"]. This show has its moments.

“I Kissed a Girl” pop star Katy Perry, country superstar Luke Bryan and music legend Lionel Richie form a panel that doesn’t so much practice tough love as dole out “Chicken Soup for the Soul” critiques.

Hale is pretty but bland. The voice-overs range from precious to Carrie Bradshaw impersonations.