Dull crime procedural.

The role suits Quinto. Wolf is a bit of a loner but having him work with his longtime friend, Dr. Carol Pierce (Tamberla Perry), and oversee a batch of interns who serve as audience stand-ins makes this series work quite well in early episodes made available for review.

Much less wild (and less entertaining) than “9-1-1.”

Unlike many CBS procedurals, this one’s lighter and while the lawyering isn’t always in the realm of reality, the show’s breezy tone should win over CBS viewers with ease.

Sometimes all it takes is the right casting to make a show that on paper sounds “meh” turn out so much better. That’s the case here thanks to the likeable lead performance by Kaitlin Olson.

Mel is a great friend. She’s smart, funny and has a great personality but her insecurities lead to bad choices that make “How to Die Alone” less fun and enjoyable than it could be.

“Chicken Sisters” is a sweet, entertaining enough trifle.

Fans of Fox’s existing male-­skewing animated comedy lineup will likely welcome “UBG,” which offers a similar comedic point of view: dumb dudes doing dumb things designed to make viewers laugh.

“English Teacher” delivers consistent laughs, evincing a sunny disposition even in the face of complex and complicated societal issues that constantly — and usually hilariously — encroach on its high school classrooms.

Through seven episodes made available for review, this season of “Only Murders” hangs together quite well thanks to both viewer familiarity with the returnees and the influx of Hollywood characters that add humor and a multitude of new suspects.

Zeus is petty and vindictive, which makes him an entertaining character. But it’s the way the eight-episode first season of “Kaos” unspools — introducing a legion of gods and humans — and how they ultimately interconnect that makes the series an addictive, intriguing addition to the Netflix roster.

Season two proves narratively more cohesive, more entertaining and just plain better on all fronts.

“Chimp Crazy” paints a more complex, nuanced portrait of chimp owners than “Tiger King” did of folks who collect Big Cats. “Chimp Crazy” also proves more entertaining with surprising twists and outlandish characters who are hard to dislike even as they make terrible, self-destructive life choices.

There’s a loosey-goosey quality to “Bad Monkey” that keeps the tone light, emphasizing the comedy even when it sits alongside more dramatic moments.

None of the acting shines the way Maslany did the first time around. “Echoes” offers fan service at best but too often it’s just a degraded copy of the original “Orphan Black” series.

Episode four ends on a promising cliffhanger, which makes it too soon to pass final judgment but “The Acolyte” gets off to a rocky start.

The best supernatural, religious-themed comedic drama you’re not watching.

Since “Criminal Minds” was always a show about brutal crimes, the move to Paramount+ doesn’t result in that much more violence on screen, but it does allow star Joe Mantegna to drop the occasional f-bomb.

It’s a sobering chronicle of a romance surrounded by death that’s, by virtue of its subject, more affecting than entertaining. It’s also slow-paced, suggesting the story may have been better told as a compact feature film rather than the drawn-out miniseries that has all episodes now streaming on Peacock.

While “A Man in Full” begins with promise, this limited series – like its lead character — falls apart by the end, which tosses out the novel’s denouement in favor of an ending that relies on Kelley’s baser instincts.

Perhaps more than past seasons, these new episodes deftly balance comedic moments with insightful dialogue that explores generational differences in grounded scenes that don’t come off as preachy.

“Dead Boy Detectives,” which seems ready-made for fans of Netflix’s “Wednesday,” is fine but unexceptional, like a lot of Netflix fare these days.

Jarecki certainly knows how to create drama, and “The Jinx Part Two” continues to provide good entertainment though it remains to be seen if it will again end with a bombshell. Regardless, the series offers examples of smart, pointed lawyering by prosecutors and Durst’s defense team.

There’s a lot of wandering around before the show gets to that. Viewers’ enjoyment of “Fallout” may depend on their tolerance for the fetch-quest story that makes up the bulk of the first season.

The seven-episode limited series zips along with all manner of surprising plot turns.

Other than unnecessarily elongating the story and filming it in black and white, Netflix’s adaptation does nothing to improve on the Oscar-nominated film that already exists.

It’s great to see an action-adventure with a young woman in the lead role as Disney+’s “Renegade Nell” offers. But this series is too violent for its intended audience of kids, teens and families.

If there’s any downside to this new season it’s that the first half feels stronger than the second half. Returning characters’ personality changes in the first half of the new season are necessary tweaks that help lift the show’s overall mood, which makes “American Rust” more entertaining and less depressing.

The show’s fly-on-the-wall intimacy – surely it will make some viewers uncomfortable — combined with Carmichael’s winning but deeply flawed nature makes this series a viewing experience that’s hard to tune out.

Bad choices naturally lead to worse outcomes in this anti-hero series that would have been innovative in 2005 but today feels like a dull relic.

“3 Body Problem” is the rare series that consistently surprises, making me (mostly) forget my worries during initial episodes that this could be another “Lost,” a show with great ideas but no concrete story path.

fter six hours “Palm Royale” didn’t make me care enough to continue, though I did skip to the last episode and discovered the show does not wrap up in a way that suggests it’s intended to be a limited series.

“Diarra from Detroit,” furthers the niche streamer’s reputation for quality shows after last summer’s Pittsburgh-set “Average Joe,” which had a similarly well-balanced tone of comedic drama.

For a comedy about authoritarian rule to be truly funny, especially in an era with many crazier real-world examples, it needs to be “Borat”-style over the top. The six-episode “Regime” never gets there. Instead, this limited series plays everything subtle and low-key, refusing to indulge in the satire of the situations presented.

Fans of “Monty Python” or “Blackadder” are the ideal audience for “The Completely Made-Up Adventures of Dick Turpin,” a family-friendly, often silly 1735-set adventure-comedy series that also brings to mind “Galavant” (without the songs).

The premiere episode, with a story by “Good Wife” creators Michelle and Robert King and directed by Robert King, efficiently introduces new characters. Officer Kaya Blanke (Carra Patterson) warms up to Elsbeth’s quirky ways quickly and serves as a grounding force. NYPD Police Capt. C.W. Wagner (Wendell Pierce, always a welcome presence in any series) comes across as more of a wary ally.

Kids can forgive a lot and the sometimes-shaky effects work won’t detract from the story. But adults coming to this “Avatar” might be disappointed. From the performances (occasionally stunted and wooden young actors) to the general gee-whiz tone, “Avatar” is an OK but not amazing adaptation.

The love story is perhaps the least convincing aspect of this iteration of “Shōgun,” but the rest of it feels impressive in its scope, attention to detail and storytelling that sucks viewers in by the end of episode two and holds their attention from then on.

It’s a twisty conspiracy thriller with a confusing, complex scientific theory at its center.

McEnany and Weigert have each starred in better series and this material is beneath them, but their lived-in performances prove they aren’t snobs, elevating “Tracker” every time they’re on screen.

“Mr. & Mrs. Smith” is a slow-burn series that’s smart and attentive to its characters’ psychological details, but it’s only fun in drips and drabs.

There’s just not enough story to keep this second “Feud” frothy and fun.

Missed opportunities and mid-stream course corrections suggest a better, more coherent version of “Masters of the Air” could have been constructed. But fans of WWII, brothers-in-arms action-adventure tales will likely be satisfied regardless thanks to the aerial derring-do amidst time spent with the four lead characters.

Through eight often interminable episodes made available for review, “Death” has occasional moments of intrigue. But there’s way too much time dedicated to buildup.

Ted” offers intermittent but not consistent laughs, and, at those one-hour drama episode lengths, it’s not worth viewers’ time.

Your next crime fiction obsession arrives with the fourth season of HBO’s True Detective,” this time subtitled “Night Country” (9 p.m. Jan. 14). It’s far superior to the show’s disappointing second season.

Despite game efforts by Jon Cryer (“Two and a Half Men”) and Donald Faison (“Scrubs”) “Extended Family” is the kind of sitcom that gives multi-cam comedies a bad name.

“Grimsburg” jokes fly by at warp speed. Some of them are quite funny, but the show’s unrelenting barrage of one-liners, non-sequiturs and word play does feel familiar.

The casting is on point, particularly Simhadri, who brings a lovely gentleness to Grover. .... “Percy Jackson” works for kids and adults thanks in part to the attention to detail in casting those guest stars.

Sure, this latest season also stars Jon Hamm (“Mad Men”), Jennifer Jason Leigh (“Hunters”) and Joe Keery (“Stranger Things”), but this is unequivocally Temple’s season and yeah, sure, you betcha, she shines.

Early episodes are one fetch quest after another with copious flashbacks to develop character backstories. Episode four, set largely in Alaska, is most like the action-adventure movies “Monarch” spins off from. But the back half of the season devolves into convoluted, continent-hopping efforts to rescue a presumably kidnapped May before coming full circle in episode eight

When the story remains in Iceland, exploring the whodunnit of the murders that occur at the retreat, “Murder” entertains. But inevitably the show segues to the overlong Darby-and-Bill flashbacks that, while they do serve to inform elements of the Iceland story, ramble on and on.

It takes a few episodes for a lot of the new season’s setup – more politics than space exploration, really — to pay off but when it finally does, it proves worth the wait.

Fans who like “NCIS” will surely approve of this brand extension. Viewers who see it as a simplistic procedural will ignore it as they have past versions over the franchise’s 20-year run. Anyone looking to get drunk need only chug every time “NCIS: Sydney” features views of the Sydney Opera House. You’ll be out cold before the first episode ends.

Co-created by Sadfie and Fielder, “The Curse” accomplishes what it sets out to do with gusto – amuse through embarrassments that make “Curb Your Enthusiasm” seem staid – but I could only make it through three episodes before deciding I didn’t need to subject myself to more.

The first two episodes move at a brisk enough pace and have a few shocking, gory turns as “Lawmen” depicts battles and shootouts with fatal head wounds galore. As a balance to that, Oyelowo brings a decency to Bass and a sweetness to the relationship between Bass and his wife, Jennie (Lauren E. Banks).

Equal parts political thriller and steamy, doomed romance, “Fellow Travelers” proves to be an addictive yarn that, despite its period setting, feels vital and relevant in 2023 America.

It’s a fascinating, previously unexplored (as far as I know) premise for a dramatic series (with a great theme song, “I Remember You (Hey, Little Bird)” by Buffy Sainte-Marie). But stretching the story over six overly long episodes does the show no favors as it veers between taut drama and occasional lapses into obvious, stereotypical heroes and villains.

Through the first five episodes, the new “Frasier” proves adept at the classic sitcom form and it’s certainly funnier than many of the CBS comedies viewers have seen in recent years.

“Usher” saves almost all its big revelations, emotionality and its most biting humor for its last episode — which explains all that’s come before as the pieces fall into place as surely as the house of Usher must also fall, given the show’s title. It’s a satisfying ending, even if the series as a whole doesn’t quite live up to Flanagan’s previous, better efforts.

The “Gen V” premiere has the most shocks while subsequent episodes deepen the character backstories and the show’s mystery. It’s engrossing enough thanks to the efforts of showrunners Michele Fazekas and Tara Butters, veterans of genre series “Agent Carter,” “Reaper” and “Resurrection.”

This latest Disney+ series showcases the best writing and performances in a Marvel project since “WandaVision.”

The comedy comes fast and furious in early episodes, rarely taking a breather, and the comedic hit-to-miss ration favors the hits.

The procedural aspects are typical for a meh broadcast drama, but there’s a “Gabi’s hiding a secret” twist that’s way over the top.

A very Hallmark-style light drama.

[Lea] Thompson gets the quickest, cattiest lines in this show that’s fairly entertaining.

Easily the fall’s best original scripted series.

It’s as pedestrian a procedural as NBC’s “Found” but with a less heightened twist.

“The Gold” proves less compelling than “Hijack,” but perhaps more cerebral with a greater emphasis on character development and the stratified nature of England’s social classes.

A “Star Wars” series built around a trio of female heroes offers a welcome change and there’s hope that future episodes will pick up the pace. “Andor” started slowly too and turned into a masterpiece. That may be too much to hope for from “Ahsoka” but I’m willing to stick with it for now.

Ultimately, “Telemarketers” succeeds more as a character study of a passel of shady individuals who don’t normally turn up on TV than it does as any sort of expose.

This Netflix limited series manages to stand on its own. At six episodes, compared to eight for “Dopesick,” “Painkiller” tells its story with more expediency.

The season is worth watching for Streep and the show’s ode to Broadway showmanship; just prepare to be disappointed when she and the music are not part of an episode.

Aside from a few repetitive cat-and-mouse moments between Leaphorn and the new Big Bad, “Dark Winds” benefits from its short run because it’s not bloated like so many streaming series are these days. The show makes every episode matter and keeps up a breakneck pace that relentlessly drives the story forward.

Mackie, borrowing some comedic delivery stylings from Eddie Murphy, proves again he’s a welcome lead actor, effortlessly playing the humor while also evincing the anguish of John’s past that’s brought to the fore through flashbacks. .... Sometimes characters from these episodic adventures recur as “Twisted Metal” engages in satisfying world-building.

Unlike “1923,” which moseyed at a glacial pace, director John Hillcoat keeps “Lioness” moving apace. It also helped that the first episode is a brisk 41 minutes, avoiding the bloat that mars too many streaming dramas these days.

The first semi-bloated, 90-minute episode of “Barbie Dreamhouse Challenge” still entertains as two teams of two have to make over portions of a home to resemble a Barbie doll dream home.

The best ones [reboots and sequel series] take what’s great about the original and layer in something new. That’s just what FX’s “Justified: City Primeval” delivers.

For viewers who appreciate so-bad-its-entertaining movies, “Dawn” may hold some promise. But unlike, say, “The Rocky Horror Picture Show,” which knew it was camp, it’s completely unclear if “Dawn” is trying to be campy.

Machado is excellent as the ferocious Dolores but the show is aimless and predictable with no big twist at the end.

While early episodes are a little too slow-paced, “Hijack” grows more engrossing over its run.

The show has a “Breaking Bad” circa 2008 vibe, a show where smart people make bad choice after bad choice. But don’t take that as a knock on “Average Joe,” which is better than average and does what it sets out to do quite well.

With most episodes running around a compact 30 minutes, “I’m a Virgo” entertains with a sly sense of humor (Cootie’s reaction when he finally gets to eat a Bing Bang Burger is a realistic disappointment) and Jerome’s sweet and grounded performance. The show has a lot of Big Ideas it wants to introduce even if “I’m a Virgo” doesn’t always follow through.

What’s great about this second season is the way Storer and co-showrunner Joanna Calo find growth in each of the characters while still staying true to who they were when viewers first met them.

The high concept, darkly comedic “Based on a True Story” takes two overly long episodes to set up its premise, but once it does the right-sized 30-minute episodes that follow have a blast satirizing true crime stories and those who love them. It’s an entertaining yarn that taps into the American bloodlust for true crime tales.

“American Born Chinese” proves to be one of the year’s best surprises. A coming-of-age story that at times brings to mind TV greats “My So-Called Life” (though this one is from a boy’s perspective) and “Freaks and Geeks.”

“Muppets Mayhem” puts the spotlight on these one-note secondary characters. It’s like taking a recipe that calls for a teaspoon of spice and instead using two cups of spice — and no other ingredients. The result is unappetizing — a dry, dull and disappointing Muppets series.

Hulu’s FX-produced “Class of ’09” starts slowly but then ratchets up intrigue as the thriller tracks FBI Academy classmates in three time periods. It’s a limited series worth watching.

On “Bupkis,” the deeper viewers dive into the eight-episode first season, the story becomes less “Entourage”-y and instead turns on Davidson’s demons and whether he can overcome them.

It’s not a somber re-telling of a familiar story but a sensitive, humanistic approach that allows room for humor and happiness even as viewers know the story will inevitably take a tragic turn.

It’s fine if unremarkable. The series basically takes the plot of the 1987 film and elongates and attempts to deepen it with winks and nods to the movie.

“Love & Death” works as well as it does thanks to Olsen’s controlled performance.

The results improve on the original.

A true original that’s completely strange, “Mrs. Davis” is a breath of fresh air in a reboot-happy medium.

“Jury Duty” starts strong but by episode four (of eight), grows tiresome with occasional bursts of hilarity. It’s another streaming series stretched beyond what the concept will bear.

The series is interested in serving up the fights viewers want to see, but it also peels back layers of the characters to ultimately reveal how similar Danny and Amy are. Whether it’s healthy for easily-triggered viewers to tune in to watch others get triggered, well, each viewer will have to decide on their own.

This second outing of “Schmigadoon” pales a bit compared to season one — too many ballads, not enough big song-and-dance numbers — but, at just six half-hour episodes, there are enough fun winks at Broadway to make it worthwhile for devoted musical theater fans.

“Schmigadoon!” is a hoot — an inventive and thoroughly enjoyable summer delight.