Big, loud and sorta dumb but often fun.

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.

“Genera+ion” will likely prove insufferable to plenty of adults while ringing true to at least some adolescents. ... “Genera+ion” is more grounded and relatable in other scenes, particularly those featuring Chester and Sam or the longing for friendship, acceptance and love as evinced by Greta.

Spooky without getting too scary, the show walks a fine line – edgy enough but not too mature as to be off-brand for Disney — as it embraces a serialized storyline by creator Tracey Thomson (“The Young and the Restless”) that will keep young viewers (and their parents) guessing as the characters attempt to unlock the town’s secrets.

There are some good twists through the first two episodes that largely focus on Matty and lawyer Olympia (Skye P. Marshall), Matty’s boss.

“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.

“Impeachment” is not subtle but it can be entertaining. The real-world scandal, driven by gossip and people constitutionally incapable of keeping their mouths shut, was equal parts salacious, delicious, infuriating and just plain sad, which is true of “Impeachment,” too. The series thankfully allows space to be hilarious.

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).

It’s more character-driven than many CBS procedurals, at least in its first episode.

“Dark Winds” is at its best when focusing on aspects of Navajo culture that give “Dark Winds” a unique flavor and at its most TV-unreal when officers wander into dangerous situations without calling for backup.

A lot of the humor lands well and the pilot’s end-credit bloopers are a scream. The show gets retooled in episode two with the radio station disappearing as Poppa starts recording from home; we’ll see what impact that has on the series.

“Flatch” could stand to be a little funnier at times, but the characters are goofily likable enough to make this another broadcast comedy worth watching.

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

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.

“Evil” is the rare show that’s both frequently scary — one jump-scare was enough that my reaction scared my dog sitting next to me on the couch — but in a generally sophisticated way. ... Episodes three and four of “Evil’s” second season, particularly three, are less commendable, splitting up the lead trio for too long and sending characters on paths that lack clear motivation.

Perhaps the affable Thompson, so reliable on “Saturday Night Live,” was talked into that awful opening, because he quickly returned to tell some jokes that successfully scored laughs. The remainder of the telecast was funny, entertaining and moved like a freight train.

“Tulsa King” leans too hard into obvious jokes about Dwight’s age and Dwight’s cluelessness about modern tech. ... But, “Tulsa King” benefits from a few surprise plot turns, Stallone’s comic timing and a winning supporting cast, particularly the aforementioned Savage and Martin Starr (“Freaks and Geeks”) as the poor pot shop owner Dwight sets his sights on.

Reilly consistently delivers the more compelling performance. It’s unlikely “Dutton Ranch” will make as big a splash as “Yellowstone” did – sequels rarely do – but there’s enough similar storytelling that this show will either satisfy “Yellowstone” fans craving more or bore them to tears because it all seems so familiar.

Yes, this is a fairly straightforward police drama, but it’s buoyed by some well-drawn characters even in its pilot episode, not always an easy task.

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.

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

It’s a pleasant enough comedy-drama – though not as funny as one might hope — that’s true to the original while telling new stories.

Proves itself a pretty good queer soap if you can tolerate how self-absorbed, narcissistic and generally unlikeable most of the characters are.

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.

In a cascading series of unmotivated twists, enemies team up, a villain has an unconvincing change of heart and the whole thing ends on a frustrating cliffhanger. But give Murphy and company credit: “The Beauty” may be semi-hollow headed, but it’s never boring.

The show barely develops its adult characters. One hopes that will come in future episodes but in the meantime the vibe coming off the kids who want to be more worldly than they actually are proves alternately alluring, dispiriting and fascinating, which makes “We Are Who We Are” a tough show to embrace — and impossible to entirely dismiss.

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.”

Typical Netflix series bloat disappointments aside, “Inventing Anna” is a pretty engrossing ride largely due to Chlumsky’s relatability and Garner’s bonkers accent.

Allen is in “Last Man Standing” mode as a conservative crank but what makes “Gears” work is his sparring with Dennings, who holds her own against the sitcom veteran and gives as good as she gets.

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.

“Prodigy” grows “Trek”-ier in episode two once the teens steal the Protostar and get to know their hologram adviser, Kathryn Janeway (Kate Mulgrew, voicing the character she created on “Star Trek: Voyager”). Janeway means nothing to this show’s target audience but her presence might make some parents smile.

“Julia” is by no means a must-see series but it will be a want-to-see show for a segment of the audience that’s historically been undervalued by ad-supported TV networks.

There’s a refreshing sweetness to both the guys and their friendship that’s more pronounced than in some other Lorre sitcoms on CBS. Whether there’s enough story to draw from culture clashes and Al’s wide-eyed innocence (a little too wide-eyed at times) remains to be seen but the likability of the characters is never in question.

As much a love story between Susan and Chris as it is a true-crime caper, viewers expecting a straightforward tale may be baffled by what “Landscapers” delivers, which is sometimes interesting and different, other times overwrought and pretentious.

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

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.

“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.

“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.

Elements of Amazon Prime Video’s “Cross” make it stand out, but those positive attributes often get canceled out by predictable, unseemly scenes of violence against women.

Did you like the original 2000-15 “CSI: Crime Scene Investigation”? Then you’ll probably enjoy this sequel series.

“Delilah” doesn’t break new ground but it’s a decent legal drama.

Eliza Coupe, Ginnifer Goodwin and Maggie Q star in this series with occasionally funny moments.

While there is a sameness to all three of Kidman’s most recent TV/streaming projects, there’s no denying they’re addictive soaps. “Nine Perfect Strangers” benefits tremendously from Hall playing against type and the presence of McCarthy, who is so good in dramatic roles that she ought to consider passing on more of the blah comedies she’s starred in of late.

It’s a cute, novel trifle that could have used some punching up but worth watching for its comedy legend stars.

It’s got the same Florida-is-weird vibe as “Bad Monkey” and the short-lived “Maximum Bob.”

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.

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

“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).

“History of the World, Part II” would be more worthwhile if it was shorter in duration. It has one movie’s worth of strong material stretched out over eight streaming episodes. Maybe consider watching episodes one through four and then skip to eight.

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.

“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.

The student characterizations are overly familiar collegiate archetypes, which makes the professors/administrators the more interesting bunch, including Voyager’s holographic (now grouchier) doctor (Robert Picardo), sarcastic former Discovery engineer Jett Reno (Tig Notaro) and Ake’s No. 1, snarly half-Jem’Hadar, half-Kilingon Lura Throk (scene-stealer Gina Yashere, “Bob (Hearts) Abishola”).

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.

It’s a sweet, sunny series if not as endearing as Disney+’s “The Mighty Ducks: Game Changers.”

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.

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.

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.

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.

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.

“Mid-Century Modern” offers a mix of comedic zingers and groan-worthy gags that stars Matt Bomer, Nathan Lane, Nathan Lee Graham and Linda Lavin do their best to elevate.

Light-hearted procedural that’s better than it should be thanks to the comedic, charismatic personality of its lead performer.

A chattier Hamm character is a differentiator. But in early episodes, it’s kind of a one-note story that didn’t inspire me to want to watch more.

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.

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

“Small Town News” does have some heart as Vern chokes up discussing his questionably advisable dream to expand the station’s coverage to Vegas. But by the end the series feels both overly long and unsatisfying, wrapping up without a conclusion for whether Vern’s big Vegas bet pays off.

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.”

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.

In its second episode, “I Love You, You Hate Me” explores how some of the kids featured on “Barney” rebelled (pretty typical child-actors-growing up stuff) and then it gets into the thorny question of Patrick Leach’s crime and whether “Barney” and its impact on his family contributed to Patrick Leach’s criminal act. Up to that point, this “Barney” doc is fun and even thoughtful, but then it starts to feel needlessly exploitative.

Whether “Dexter: New Blood” offers a decent ending that the original run lacked remains to be seen, but for “Dexter” fans there will be comfort in the familiarity of this new iteration.

Fox’s latest prime-time soap, “Filthy Rich,” won’t be mistaken for great TV but its pilot episode is a hoot. Future installments prove uneven.

Written by Jac Schaeffer, who was the showrunner on “WandaVision,” “Agatha All Along” lacks the creative spark that made “WandaVision” worth watching.

“Murder on Middle Beach” proves affecting in its portrayal of a grieving family and a questioning son seeking to root out the truth. But it doesn’t have enough germane material for four installments – the second episode goes off on a tangent that proves largely fruitless – and it ends at a seemingly premature juncture.

“Friends: The Reunion” is at its best when the camera captures the cast in more candid moments — seeing the set rebuilt for the first time, playing a trivia game.

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

“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.

“The Comey Rule” may feel a bit book report-ish to those who followed the 2016 election cycle obsessively, but there’s been so much water under the national political bridge since then that “The Comey Rule” remains engrossing for the small details amidst the familiar broad strokes of the FBI’s investigation into Hillary Clinton’s use of a private e-mail system during her stint as U.S. secretary of state.

Despite the updates, this new series certainly feels like a piece of its predecessor in the style of humor, laugh track and direction (Pamela Fryman, who directed almost every episode of “Mother” returns to helm “Father” episodes). The theme song is the same and there are other Easter eggs of varying size and scope. Duff, formerly married to former Penguins player Mike Comrie, is the standout here.

By the end of the first hour the characters come into better focus as the pilot sets up what could be a soapy, fun, ongoing series.

[The “Accused” premiere] made me want to see Chiklis in a series again, maybe playing against his tough-guy type. Future episodes deliver diminishing returns.

The title character is a welcome departure, but the plotting is patented CW fare.

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

While the jury’s out on what “Georgie & Mandy” will become, an opening credits sequence of the title characters doing an energetic tango is a winner from the jump.

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

Unlike plenty of past Netflix shows in this genre (think: “Tiger King”), “Meltdown” is relatively right-sized with only the fourth, 45-minute episode feeling somewhat repetitive.

Episode four suggests this new threat might be an allegory for Earth’s response to covid-19, but more concerning for fans will be how the show handles a beloved character’s growth.

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.

Cute enough traditional sitcom in the “Reba” mold but half-sisters squabbling threatens to get old fast.

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.

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

“Chad” is sure to gain a cult following but it’s too niche to steal the thunder of the grand poobah of uncomfortable comedy, “Curb Your Enthusiasm.”

Once the show moves past its been-there, watched-that dystopian, scene-setting premiere episode with too many similarities to FX’s “The Strain,” “Y: The Last Man” (Monday on FX on Hulu) becomes a compulsively watchable series.

Light and escapist, the new “Fantasy Island” is as unessential as TV viewing gets but for viewers seeking an anthology with close-ended, weekly stories, it’s not bad.

Added relationship drama helps this series rise slightly above the middle of the pack among CBS procedurals.

Yes, this is a sexier, more drug-fueled and risqué “Gossip Girl,” but only by a matter of degrees. It’s not all debauchery and the conflict generally comes from character and not gender (so far, no cat fights).

Some of the songs are catchy, but the story and plots fail to surprise and the whole thing is rather humorless.

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.

“The Sticky” isn’t as funny as its premise suggests. It’s entertaining enough at times but not quite laudatory.