The problem is that series seems to take itself a bit too seriously. It could use a side of humor or an over-the-top quality. But these teens are mostly awkward, and while that could be charming, here it isn’t. Runaways doesn’t necessarily make you want to run away. It’s watchable enough, though not compelling.

The series is a wild ride, an old-fashioned Western with a contemporary edge. It carries the sweep and breadth of a grand tale with the larger-than-life ornery characters you expect to find living and dying in that rugged, lonely land.

In Future Man, it bounces amusingly along for a while and suddenly becomes weirdly sci-fi serious. In the third episode, “A Riphole in Time,” there’s a plot twist that makes you wonder what you signed up for. Still, Future Man is intriguing enough to keep you going, but I wouldn’t call it one to binge.

Geere gives a very lively performance and the rest of the cast is also strong. Not the happiest of topics, but Ill Behaviour, puts an interesting face on it.

Damnation has laid enough groundwork for a solid series, and the first episode ends with a kicker about Seth and Creeley’s relationship.

Shaw is likable and undoubtedly a selling point for the series, but unless the show finds its focus, it’s not going to be enough.

Simply baffling. ... Hit the Road is like “The Partridge Family” in the upside down. While Alexander is still masterful at getting laughs, there is a cynical quality to the series that takes the fun out.

Surprisingly affecting. ... The series from Peter Farrelly (“Dumb and Dumber,” “There’s Something About Mary”) and Bobby Mort (“The Colbert Report”) has an appealing likeability to it. Mostly, that is thanks to Livingston who always keeps the character real.

Pharoah, though, almost makes it worth it. He has a solid presence that lifts the show. You just wish it were a better show.

There may be a little more unpacking to do, but Dirk Gently has its own charming weirdness that you either go with or don’t. What’s fun about the story is that every character is obsessed with their own failings and problems while the cosmos keeps playing tricks on them.

The series is a slow burner, but the noir mystery and Laurie keep the flames going.

While often a sumptuous watch, it too often strays into the gaudy.

Valor quickly becomes about secrets and lies, guilt and bravery, and hot bodies and awful banter. It’s not the best mix, and not mixed the best way.

Wisdom of the Crowd gets a pass for now. The first episode addresses a number of interesting issues, although never going too deeply into them. ... Piven and Jones offer a strong presence for this type of show, and Natalia Tena works nicely as Sara Morton, Tanner’s head of the project, who gives him some balance and as something of a love interest.

Viewers have seen this all before so many times before that The Gifted feels just ordinary.

To its credit, SEAL Team attempts to examine the home life of the military men, but most of the story is devoted to action rather than drama. The action has a gritty “Zero Dark Thirty” look to it, but when the show does focus on the domestic side, it doesn’t dive as deep as History’s “Six,” another show about SEALs. ... It’s solid, if not going into new territory.

Transparent succeeds most of the time. The cast--led by Tambor--are terrific as usual. This year there are some rich, funny and moving moments, and the series continues to take chances other shows wouldn’t dare.

If you like watching rich people sashaying around with a vague mystery as an excuse, Riviera might do, but be warned the dialogue and scenes are often flat--giving you time to ponder the scenery and costumes--and the mystery takes a while to flesh out.

What anchors Better Things is the warmth Sam feels for her family. What makes it works are the tiny human moments.

Don’t expect a lot of out-loud laughs with the series, but it is constantly amusing.

No one is arguing that The Deuce isn’t entertaining, if slightly cliched. But we shouldn’t pretend The Deuce is the truth. It would be easy to praise the series for being unjudgmental and focusing on the human elements. However, there was a lot of pain involved in that world, and the series is too carefully constructed for you to feel it.

The humor is more throwaway and often falls flat while a lot of the drama can become stiffly serious. It’s not that the series is badly made. The action and effects are decent. The cast is fine, though the characters are still mostly unformed. ... Viewers may find the tone of series perplexing.

Notaro’s great at deadpan one-liners, which is where most of the humor in the series is generated. Much of the rest of the time, it’s lightly situational.

You’re the Worst has always been in danger of growing too hip or too stale. So far the series has kept changing enough to avoid that. The early episodes of season four show promise. It seems some reckoning is on the way, but it could also signal the beginning of the end.

Though well-done and watchable, season three of Narcos doesn’t really distinguish itself from a number of other drug-crime stories without Escobar.

The series enjoys deconstructing superhero tropes but in its own offbeat way. You will probably need a few episodes to get into “The Tick, but the first part of the first season builds up nicely. By Episode 6, the series is all powered up.

Ingesting Disjointed is pretty harmless. You might get a buzz, though. There are a few laughs, but I can pretty much assure you that you won’t get addicted.

Halt and Catch Fire has always been an acquired taste. The mixture of personal dramas and the tech world doesn’t always go down easily. Some of that continues in the new season, but the new world of the Internet kicks some life into the story.