While White Famous proves he [Jay Pharoah] can lead a series, it doesn’t give him many opportunities to show how funny he is. It does make a great argument that everyone in Hollywood is criminally unhinged.

Fans of the original “Dynasty” know Fallon’s nastiness is just a warm-up.

With the possible exception of Barnett, not one of the cast is remotely convincing or appealing in their parts. The helicopter action is neither impressive nor especially authentic looking.

One problem with the new season is we have too few favorites left and not nearly enough time with them.

Quibbles about the premise aside, Ritter makes and sells this show. He balances the pathos and the comedy. In lesser hands, this hour just would not be appealing.

Fox’s The Gifted is everything ABC’s “Marvel’s Inhumans” is not: exciting, suspenseful and brimming with interesting, smart characters.

The dialogue is so poor, even Tyler Perry would wince.

The innuendos would make a seventh-grader giggle. ... Mullally’s Karen remains one of network TV’s greatest comic creations, even when she’s saddled with such lines as “Hasta la homos!” Hayes’ shtick has not aged well. Messing seems to be reading her lines in the pilot. It’s not all bad. The theme song has been given a kick.

The stories move briskly and come together in a surprisingly emotional finish. “Me” is smart enough to realize you can’t exist on brains alone. You need a little heart.

The only takeaway from Young Sheldon is that his present is far more interesting than his past.

The Brave’s patriotism and its approach to dealing with threats to Americans is cathartic. Plausible? You’ll have to find another series for that.

Cult is a condemnation of the truly “deplorable” among us as well as a witty skewering of liberal correctness run amok.

Most of this show is stupid stoner humor. ... There aren’t enough drugs to find the funny in Disjointed.

The Tick shows its spirit. The half-hour action comedy moves briskly as Arthur struggles to shed that super-suit that comes with awesome powers and responsibilities he so does not want.

Defenders rises and falls on what its cast can bring to the mix. The less Finn Jones is onscreen, the better. He might be the most miscast actor in any series ever. Colter brings Luke’s look and nothing else. Now Ritter and Cox, on the other hand, I could binge on a Jones/Murdock spinoff all weekend long.

[Wayans] shouldn’t have to work this hard, but that’s the funny thing about comedy. When the material’s this light, somebody has to do some heavy lifting.

As a hangdog hitman and a long-suffering auteur, O’Dowd and Romano complement each other. Is Hollywood more cutthroat than a drug empire? This series might have something to say about that. Epix’s Get Shorty is worth having.

The scatological jokes run high, while some of the action sequences are worthy of a C-level thriller.

In one of the episode introductions, Tatum says he spent 107 hours in the studio dubbing his role, so much time that he ended up hurting his voice. There’s no way to be sure if he’s telling the truth. But if he is, it was time well and weirdly spent.

The glimpses of 1930s Hollywood come off like cotton candy dipped in bourbon. ... Of the cast, Grammer manages to keep his head above the material. His studio mogul can be gruff, but Grammer is canny enough to play against the dialogue.

Midnight, Texas could have been called “True Blood: The Next Generation” or even more precisely “True Blood: The Low-Budget Network Reboot.” Either way, it can’t shake a fang at the original.

The violence is stunning, shocking, messy and unexpected. Bateman, who also serves as executive producer, directed four episodes and is a master behind the camera. His work squeezes the suspense in any scene. The locations are both beautiful and sinister, and the show is superbly scored. Ozark will resonate with fans of “Breaking Bad,” although Walter White has little in common with Marty.

Germann plays Sam’s husband, who at first seems distant but then reveals touching devotion to his family. If only the main cast had such material to shine.

The conspiracy element is easily the weakest part of the show and seems present only to drum up some modicum of suspense. The tech babble, however, is a delightful callback to “Star Trek: The Next Generation.

The shifts from comedy to bloodletting can be unnerving, even if the whole thing is unconvincing.

This hyper-violent crime soap from creator, executive producer, director and writer John Singleton is punctuated with some terrific performances fighting against predictable plot bumps.

For anyone engaged in psychotherapy, Gypsy presents a nightmare, but its lazy execution is not worth the time commitment.

Their characters--Welfare Queen, Fortune Cookie and the Old Biddies, to name a few--are wildly over the top, borderline offensive and true to the era. The crowd has no choice and falls in love. It’s no tilt-a-whirl crossbody, but GLOW gets close.