The first two episodes of “Disenchantment” are more amusing than funny with entertaining enough puns and parodies of modern-day brands in the names of shops in the Kingdom of Dreamland.

Take away the fun and silliness of “RuPaul’s Drag Race,” add more robust production values and dim the lights and you’ve got this self-serious bore.

UnReal continues to give short shrift to the meta commentary on reality TV that made season one such fun.

Sort of a comedic “X-Files”--but only mildly amusing--“Ghosted” needs to be funnier and less predictable if it hopes to win over TV viewers with thousands of options.

This is “True Lies” in title only. The film’s concept has been reduced to a paint-by-number, light CBS procedural. If that’s the type of programming you enjoy, have at it. Just don’t expect anything more.

For the People is OK but not great, too all over the place for any of the legal cases to make much of a dramatic impression.

The characters are all the shades of unlikeable – lazy, thieving, selfish, etc. – but surely there’s an audience for this kind of humor, based on past bad boy successes, so it’s fair that the women get a turn. The humor is often not subtle and the dialogue tends toward the unpleasant with some regularity.

The show’s visuals — often achieved through a combination of puppetry and computer-generated effects — can be enchanting, especially in a library location, but the backstory of Thra society requires a lot of unpacking. Telling the puppet characters apart sometimes proves a daunting challenge, and it’s difficult to mount much enthusiasm for the task given the first episode’s plodding pace.

It mostly plays like an unproduced early 1990s “Star Trek” spinoff, complete with holodecks, replicators, alien crew members and missions of the week. It’s also pretty dull.

Even though the premise of The Crossing seems like it’s another TV show that should really be a movie or limited series and not an ongoing drama, the pilot offers (for a broadcast network series) some decent twists, welcome casting against type and a somewhat intriguing plot.

Much of the humor is of the predictable, fish out of water variety ... but “Bless This Mess” is at its funniest when it gets weird with characters like Rudy (Ed Begley Jr.), who lives in the couple’s barn, and Jacob (JT Neal), the dim-witted son of the neighbors.

To be sure, there are interesting ideas floating around in Heathers but surely too many at once.

Casting Ms. Kreuk as an anti-hero would be a unique twist but Burden quickly undoes that, settling for the more pedestrian idea of Joanna crusading for the little guy while also, thankfully, voiding the notion that the show is pro anti-vaxxer.

Sure, it takes time to build characters, but “Night” feels super sluggish.

Fans of CBS crime dramas will probably find “Gone” perfectly acceptable. Viewers who gravitate toward more complex, character-driven cable/streaming dramas will be unimpressed with the plots but may enjoy the local scenery.

It’s fine, escapist fare but lacking in much imagination.

There are occasional glimpses of “Seinfeld”-style humor. ... But the pilot is neither as funny as that NBC classic nor as topical as “The Carmichael Show.”

OK-not-great Indiana Jones-inspired series that adds terrorists — who blow up a pyramid in the first five minutes of the premiere. Tonally, it’s very similar to ABC’s “Whiskey Cavalier.”

The pilot offers fine post-teen drama, but it lacks the nod and wink of lead-in “Riverdale” and so far is more grounded and less insane, a positive or negative depending on one’s love of the crazy.

Waco is a surprisingly pedestrian, paint-by-number docudrama. It’s fine but doesn’t soar like the two installments of FX’s “American Crime Story”: “People v. O.J. Simpson” and “The Assassination of Gianni Versace.”

It’s unclear who “Not Too Late” is aimed at — certainly not kids, who aren’t known for their love of celebrity interviews. Maybe it’s meant for die-hard Muppets fans?

It’s a cute premise. But the pilot is not believable or funny, which isn’t to say it couldn’t have been either of those things, but the details don’t ring true and the humor is sort of amusing but rarely elicits a laugh.

With the Chicago setting and local politics at play, “Pearson” sometimes resembles a watered-down version of “The Good Wife”/”The Good Fight.” Fans of “Suits” and Ms. Torres may still want to give “Pearson” a try but no one can blame them if they choose not to stick with this series.

It’s all a little too on-the-nose and predictable. Falco is fantastic as always, but the writing in early episodes lacks anything approaching the nuance and sophistication of Falco’s past series, “The Sopranos” and “Nurse Jackie.”

Too much in the pilot gets short shrift at the expense of the show’s love affair with mood. Snow covers streets and then disappears in a scene set moments later; foreboding dialogue comes off as too on the nose. ... Episode two shakes off the unsavory visuals and moves the story and character relationships forward with less emphasis on the heaviness that hangs over the first hour, but by then, some viewers will have moved on.

In episode two the tone lightens up a good bit – you can see network notes at work – and more typical CW storylines set in, including a romance with a bearded hunk (Casey Deidrick). This makes “In the Dark” more bearable but less unique.

When the show focuses on Beecham and his staff, it’s not terrible. But when it ventures off the grounds of Beecham’s ornate estate, things go sideways.

Though I find it boring as can be, my kids enjoy watching YouTube videos of other people playing video games. I suppose “Dead Pixels” might be for those entertainment consumers – and those alone.