“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.

It’s heady, highbrow horror that, though talky, grows more engrossing the longer you stick with it.

Through its first five episodes, the show’s final, sixth season is stronger even as it gets stranger.

It’s fine? I guess? ... Thankfully, “Discovery” doesn’t seem to be pulling-a-“Voyager” and jettisoning its “far from home” premise.

Both nostalgic and a painful reminder of the violence visited upon Black Americans, this “Wonder Years” capably walks a narrative tightrope in its premiere.

“Wonder Man” stands on it[s] own, although fans who know the character may have a better grasp on Trevor’s background. For Marvel, “Wonder Man” is a slight story with limited action sequences and at times feels too subtle for its own good. But credit Marvel with taking a risk and trying something different that often succeeds.

HBO Max’s “Tokyo Vice” looks gritty and authentic, marinating in its setting physically and culturally. But it’s also a little slow-paced.

For “Trek” aficionados, hewing to canon is important and necessary, but the episode’s A story is something “Trek” fans have seen too many times before. Episodes three and five are episodic away team missions, a welcome return to the show’s roots. .... The best story so far is found in episode four, an offbeat outing directed by Jonathan Frakes.

What “A Man on the Inside” lacks in laughs it makes up for in a humane, occasionally depressing but realistic depiction of the ravages of old age.

While early episodes are heavier on “300”-style bloody fights and full-frontal male and female nudity – sometimes in the same scene! — the franchise’s delicious character drama amps up a few episodes into the season. This is the good stuff that makes “Spartacus” more than the sum of its arguably gratuitous parts.

“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.

It’s more like soapier, sexier Jane Austen-lite that would benefit from a dash more wit.

These characters offer a fresher take on “Star Wars” lore than Andor’s story, which is a rote rebel mission. If the series finds a way to further blend familiar storytelling with the more-unusual-for-“Star Wars” vibe of palace intrigue, “Andor” might yet prove itself to be a favorite among fans much the way “Rogue One” has become embraced in the eight years since its initial theatrical run.

The show piles on enough mysteries to make it intriguing and then answers some questions fast enough to be satisfying.

Thanks to Voisin’s charisma, “Carême” entertains consistently through its first three episodes, though it loses some points for its blatant rip-off of “The Good Fight’s” exploding-objects opening credits.

A tension-filled, character-driven psychological thriller that's a worthy successor to their early 1980s Soviet spies drama [Joel Fields and Joe Weisberg's "The Americans"].

“The Falcon and the Winter Soldier,” is a bit of a come down from “WandaVision.” “Falcon” isn’t bad, just more familiar.

While there are some nice small moments – a few Will (Noah Schnapp) scenes indirectly address his sexuality; Max (Sadie Sink) and Lucas (Caleb McLaughlin) have some welcome interactions – it’s all the overheated bombast that feels like filler that disappoints.

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

The overall vibe of “Loki” is, like “WandaVision,” more off the beaten Marvel path. Both the MCU as a whole and this individual series are the better for it.

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.

Sometimes it feels like not a lot happens in this 1890-set period drama, but thanks to a game cast of mostly Broadway veterans, “Gilded Age” remains an entertaining enough soap.

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.

“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 Big Leap" delivers engaging dance numbers and characters that grow in the show’s second episode.

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

Coarse but clever comedy abounds in “Sprung,” with Plimpton stealing almost every scene as a crusty mama bear with a contorted face and a squishy core.

“Boots” proves to be a smart, empathetic, character-driven drama that explores coming of age in a time when Cameron can’t be his true self, while also showing the toll that repression takes on another character, conflicted and similarly closeted Sgt. Sullivan (Max Parker).

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 “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.”

“The Chair” has a lot it wants to address — gender dynamics in academia, cross-cultural adoption, grief and self-destruction, white privilege, wokeness and cancel culture — and it’s probably too much for a six-episode, half-hour show that’s also a romantic comedy. ... To its credit, “The Chair” offers no easy answers. It’s more interested in exploring the complexities of transgression and the multitude of reactions than in villainizing or lionizing the individuals involved.

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.

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.

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.

“Archive 81” starts strong with creepy atmospherics, gets a little confusing in its mythology around episode six but then clears everything up in time for a cliffhanger in the eighth episode.

It’s rare for a TV comedy to return in as strong form as this new “Scrubs.” Fans who loved the show in its early seasons on NBC should happily scrub back in for ABC’s new iteration of the series.

“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.”

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

“Promised Land” proves a much better viewing experience in episode two. All the setup is out of the way and the parallel storylines are less confusing and more engrossing. It’s that rare occasion where it might have been smart to start with a two-episode premiere. As it is, one wonders if viewers will stick around to become invested in this propitious soap in the vein of the original “Dallas” and “Dynasty.”

More situationally and character-driven funny than jokey funny, “The Afterparty” offers a decent enough blend of humor and mystery.

Disney fans who have consumed unofficial books, blogs, podcasts and YouTube videos may find themselves bored and not learning anything new. More casual Disney aficionados will likely fare better overall.

Perhaps the funniest streaming comedy since “Hacks,” Amazon Prime Video’s “Overcompansating” presents as a wild, profanity-filled “Animal House”-style bacchanal. But at its heart, the eight-episode series is an endearing coming-of-age story centered on two good people trying to find themselves.

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.

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.

“The Penguin” stays interesting thanks largely to a litany of episode-ending cliffhangers and its female characters, Cobb adversary and former Arkham Asylum patient Sofia Falcone (Cristin Milioti, stealing many scenes) and Cobb’s mother, Francis (Deirdre O’Connell, “One Dollar”), who gives off Livia Soprano vibes.

Even as the series depicts period-accurate racism directed at Nina and her Native American colleague, Awan (Asivak Koostachin, a standout for his character’s cheerfully innocent disposition), “Duster” isn’t a super-serious show. It’s as playfully madcap as Holloway’s character.

More deadpan than laugh-out-loud funny, “Wellington” will require some American viewers to turn on closed captions, as the New Zealand accents pose a significant barrier to entry/comprehension.

Because it’s a series, “Game Changers” has more layers than a film. While Alex initially insists they just play for fun, by the end of episode two Evan says losing every game isn’t fun, ensuring this series will have some smarts to accompany its big heart.

This one’s a winner thanks to an incredibly likable lead character, skate-boarding, comic book-loving Naomi (a winning Kaci Walfall).

This first hour is a slog punctuated by the occasional battle with a Ray Harryhausen-esque snow troll. The second episode, written by Gennifer Hutchinson (“Breaking Bad,” “Better Call Saul”), proves more satisfying.

When the focus is on Pyre, interrogations and the investigation, “Under the Banner of Heaven” can be a harrowing deep dive. But flashbacks that depict how tenets of the faith were rooted in the church’s history, while relevant to the characters’ motivations, leads to some plodding pacing.

“Stranger Things” lacks the wide-eyed, Spielbergian wonder of its early seasons. But even in its bloated, current form, there are still some charming character moments, bits of good humor and judicious use of ‘80s pop tunes (Tiffany’s “I Think We’re Alone Now” gets a spooky workout).

Tonally the new “Bell” rings cheekier and more meta than any previous iteration.

The season two plot, courtesy of new showrunners Jack Amiel and Michael Begler (“The Knick”), is less convoluted but still occasionally overly languid. “Perry Mason” remains at its best when the focus is on the series regulars and their relationships.

Kline excels at pomposity, Linney nails exasperation and Tenney holds his own as a warm balm fighting the lunacy around him, but “American Classic” offers little to recommend beyond a generally comfy vibe.

“Reboot” benefits from a great cast – Judy Greer and Paul Reiser are among the show’s series regulars – and some funny moments. But occasionally it feels like there’s something missing. ... Still, “Reboot” has enough going for it that I’ll stick with it to see how it develops in later episodes.

“Atlantic Crossing” proves itself a decent soap (think: a lower budget “The Crown”), albeit one that suffers from some plots holes.

Through its first three episodes, “Revival” showrunners/writers Aaron B. Koontz and Luke Boyce seem more interested in the impacts of Revival Day — personally, politically and culturally — than the mystery of it all, and that is to the show’s benefit.

An odd but welcome diversion.

As soaps go, one can certainly do worse than “Bridgerton,” but season two, streaming Friday, feels like a bland mimeograph of season one. ... Happily, the new season gives scene-stealers Queen Charlotte (Golda Rosheuvel) and Lady Danbury (Adjoa Andoh) more to do.

The new “Willow” feels a little fan-fiction-y. Some will surely lap it up, but I can’t imagine this series, despite its big budget, registering in the pop culture zeitgeist in the same way “Star Wars” and Marvel shows on Disney+ sometimes do.

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.

While the pilot episode shows promise and is funnier than “The Chair,” episode two disappoints and confuses with no clear answer as to what “Lucky Hank” will be on a weekly basis.

“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.

By the end of the first season, it’s hard not to be invested in the Peaches as a team, but it’s an occasionally bumpy road getting to the point that the series and its characters become entirely embraceable.

“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.

There are some moments in Hulu’s “Pam & Tommy” that will make viewers take notice one way or another, but early episodes of this limited series are fairly hum-drum when they’re not way over-the-top. Then it improves, becoming more nuanced in later episodes.

The first “Stumble” episode is particularly meh. But the second episode, which allows Potter some wins, shows signs of improvement with funnier moments and better writing.

Roberts’ all-in performance and those of her co-stars, especially Allison Tolman (“Downward Dog”) as a sympathetic reporter and Shea Whigham as an accurately unhinged G. Gordon Liddy, are a delight, and the whole endeavor is entertaining enough to recommend.

Big, loud and sorta dumb but often fun.

The combination of Tudyk’s otherworldly performance and Sheridan’s execution of stories running on multiple, parallel tracks make “Resident Alien” a welcome addition to the dwindling ranks of scripted basic cable originals.

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.

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.

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).

Making Jake gay, a reflection of openly gay “Child’s Play” creator and “Chucky” writer/director Don Mancini, offers an admirably different perspective for a horror franchise – but viewers will need to buy into the teen drama to appreciate this iteration of “Chucky.”

In “Our Flag Means Death,” the farcical humor is more of the subtle, knowing variety than it is playing for big belly laughs.

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

The four-part miniseries occasionally strives to be a “Hot Zone”-like thriller while also offering a compassionate depiction of first responders, public health officials and victims. Sometimes it leans heavier into the character stories at the expense of thrills but the story of a nerve agent transferred through skin contact has resonance in the covid-19 era.

When it’s not rehashing plot elements of past seasons, “Stranger Things 4” foregoes the Amblin-esque, ‘80s movie joy of previous seasons in favor of a more gruesome, horror-tinged story. True believers may not care about this tonal shift but more casual viewers – and those who value not having a TV show waste their time with needlessly over-long episodes – probably will.

“Industry” seems unlikely to have broad appeal – the characters are too uniformly unpleasant – but it’s worth watching for fans of intriguing niche dramas.

Just an entertaining, 52-minute program shot in the style of classic Universal Studios monster movies. ... This Halloween-season special is a true treat, not a trick.

Funnier and more of a rom-com, “Too Much” largely isn’t too much in the way “Girls” was, thanks to Dunham leaning into a lighter tone and the likability of star Megan Stalter. ... Stalter is a riveting performer.

The ghosts begin as well-drawn archetypes (Viking, Scout troop leader, Prohibition-era singer, Wall Street bro) and the comedy is broad but often quite funny.

Through its first three episodes, “Étoile” focuses more on the politics behind the scenes (the donors, management, conflict between the business and creative sides) and mines humor from casting a bull in a ballet performance and from a wealthy right-wing donor who drives Jack crazy.

So far season two feels more promising now that character introductions are largely out of the way and the whole team shares a goal.

Series creator/director Abe Forsythe gives “Wolf Like Me” some occasionally funny moments, but it’s mostly a somber downer, careening from one traumatic event to another.

That’s the frustrating thing about “Paradise”: It toggles between compelling moments, mostly featuring Brown and/or the cataclysmic event, and people spouting uninspired TV dialogue that renders the characters one-dimensional.

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.

While the first episode takes a bit of time to get going, once it does it’s clear there’s some “Servant”-like dark fun to be had watching this “Baby.”

If early seasons of “Game of Thrones” meandered a bit or felt slow as the series followed assorted characters on multiple quests, “House of the Dragon” barrels through its story.

It only takes a few episodes for “Shrinking” to feel like a true ensemble.

Even if some elements of “Dopesick” feel too pat, the story as a whole is a worthwhile indictment of a government regulation system that allowed Purdue to operate for years with impunity, ruining the lives of thousands of Americans.

To succeed in the long-term, “Animal Control” needs to get funnier fast and spend more time on its human characters and less time on animal gags.

Fargo is significantly better than the disappointing third season, though probably not as good as the near-perfect second season.

“Unstable” proves consistently funny and involving. The father-son dynamics, while familiar, do manage to feel real (for a TV comedy) amongst the whiplash comedy.

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.

Perhaps what is most notable and welcome about “Winning Time” is its sheer sense of fun. ... While too many dramas today take viewers for granted with self-indulgent, drawn-out storytelling, through its first four episodes, “Winning Time” smartly builds each episode to a cliffhanger crescendo that, even with full, one-hour running times, leaves viewers wanting more.

“The Gilded Age” is easily the best new series of 2022 and sets a high bar for shows that will follow.