Viewers accustomed to Connie Britton playing Teflon-strong characters on “Friday Night Lights” and “Nashville” may take a minute to adjust to her role as a soft-spoken, breathy interior designer who falls for a scam artist in Bravo’s pulpy, addictive “Dirty John.”

Ms. Chenoweth is a smart addition but the humor is often too broad and, worse, predictable. When the show’s humor offers a more surprising take, Trial & Error shines--the “East Peck Lady Laws of 1952” are particularly amusing--but that seems to happen with less frequency in season two.

The first two “Runaways” episodes offer an organized introduction to the kids — from jock to religious zealot — and their more intriguing parents in an entertaining enough fashion to make the show recommendable to anyone who hasn’t overdosed on comic book-based series already.

In Evil Genius, Mr. Borzillieri offers an attempt at an “ah-ha!” moment in the final episode. But the filmmakers’ thesis is not completely convincing. Other evidence presented in Evil Genius suggests a less clean cut, more nuanced scenario may be closer to the truth.

It’s filled with music and some high-energy dance numbers. But what comes between those highlights is often dull and without stakes. It’s the perfect show to do laundry to; it only beckons viewers to lean forward and pay attention during the occasional musical number.

The immigration angle is new and does add an element that wasn’t there before but the rest of “Party of Five,” while admirable and certainly watchable, doesn’t demand to be seen.

Three episodes in, this season three reboot offers some hope but. ... The problem: when nothing in “Westworld” is reliably real, there’s little for viewers to cling to, which makes the entire enterprise more exasperating than cleverly twisty drama.

The writers use a contrivance viewers will see coming miles away to pull I’m-done-with-all-this Eve back into the game. It’s an eye-roll-worthy plot turn. The acting remains impeccable, the costumes amaze, the locations offer beauty shots galore. Maybe for some viewers that’s enough. But it’s tough to get past the unbelievable relationship at the show’s core.

It’s a well-made teen drama pilot that traffics (mildly) in some social issues and ends with a welcome, soapy wallop.

The hammy wink Mr. Spacey brought to these breaking-the-fourth-wall moments was fun in the beginning, but they grew tiresome and predictable. At this point, it’s probably better to breathe fresher air into the proceedings, which Ms. Wright does. Claire as the lead offers a different perspective, a worthy way to end a series that launched hundreds of other shows.

Whether Dietland can sustain the will-Plum-get-caught? story remains to be seen, but early episodes show promise.

The new season’s second episode picks up the story from season one, untangling confusing character turns and detailing how events came to pass in a brilliantly-executed bit of plot jujitsu that avoids retroactive continuity. ... The remaining five episodes then backfill character information, which fails to be as compelling as season one’s plot.

Lodge 49 goes down easy but perhaps too easy. It feels unessential in the 500-series era, an OK diversion but not a must-see series.

The Menendez Murders lacks the multiple social themes of “The People v. O.J. Simpson,” settling instead for an occasionally pulpy story that takes a turn into purple prose when it begins to explore the role of Erik’s therapist, Dr. Jerome Oziel (Josh Charles). ... The presence of Ms. Falco, whose character gets a husband (Chris Bauer) and workaholic back story, elevates the proceedings, but she appears sparingly in the premiere.

All the best moments are in that [trailer] preview and everything else is OK but very much a tween show with higher, streaming service-level production values.

HBO’s remake of “Perry Mason” pulls together great elements, casting and period production design in particular, but it takes a full five episodes to get to the courtroom drama viewers familiar with the character expect.

When Atypical keeps its focus on the teen characters, including Sam’s ready-to- leap-to-his-defense younger sister, Casey (an outstanding Brigette Lundy-Paine), the series is at its best if sometimes most familiar. The show turns more annoyingly soapy when it turns to Sam’s father, Doug (Michael Rappaport), and mother, Elsa (Jennifer Jason Leigh).

Comrade Detective certainly has its moments, but its one-joke premise may make it a tough sell for all six half-hours.

While the character drama is compelling and often well-acted, the viciousness of this world proves a barrier to entry some viewers will understandably choose not to cross.

“Picard” certainly introduces a deeper “Star Trek” which has its appeal but at times it also seems a little convoluted with talk of a “shared mythical framework.”

The show’s cocaine-fueled energy is undeniable, although some may find it exhausting. In early episodes “Black Monday” seems to be trying to find its footing while rushing headlong into schemes and character development at as loud a volume as possible.

The Exorcist started wobbly in season one, quickly grew into a smarter-than-expected, horror-themed drama and then turned wobbly again toward the end of the season. Season two begins similarly, but thanks to Mr. Cho’s character and storyline “The Exorcist” shows promise.

The relationship between Courtney and Pat forms the spine of the series and it’s a welcome change of pace from the network’s twentysomething heroes. Whether that's enough to justify yet another superhero show remains to be seen.

“BH90210” offers a delicious, entertaining return fans will want to gorge themselves on at least initially.

The 15-minute episodes are an easy binge and the two lead characters — Ryan and work friend Kim (Punam Patel) — are often a hoot even if some of the secondary characters (a witch-on-wheels boss, in particular) and situations undercut the show’s attempts at realism.

The Fix is not sophisticated drama, but it is smarter-than-average melodrama and Ms. Clark’s involvement adds an opportunity for viewers to play armchair psychologist.

Yeah, there’s a lot of stuff that would never happen in a real courthouse here, but the characters are quite likable, especially Wilson Bethel (“Hart of Dixie”) as an assistant district attorney and Ruthie Ann Miles as Carmichael’s know-it-all judicial assistant.

Sometimes the aliens-as-immigrants rhetoric is a little too on the nose but as remakes go, this iteration of “Roswell” seems like it will appeal to the current CW audience.