This is one fun – and sometimes bonkers — show.

“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.

“Landman,” streaming Sunday on Paramount+, is Taylor Sheridan’s best series yet. It’s even more entertaining than “Yellowstone.”

It’s a cynical and often predictable look at the seamy side of the entertainment industry.

There’s loads of great music on the soundtrack that’s representative of the era (not just by The Sex Pistols) that’s matched by Boyle’s shooting style that embraces the period in an off-kilter, slightly chaotic manner.

[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.

While the family story and conflicts with the neighboring Tillersons — you know they’re bad news because they ride ATVs and the Abbotts ride horses – feels overly familiar, credit series creator/writer Brian Watkins with building to shocks at the end of the first two episodes that leave viewers eager to learn what will happen next.

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.

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.

Like many programs of the streaming age, this one probably would be better as a movie – Jack continues to find ways to kick the can of truth down the road into a potential second season — but ultimately “Hello Tomorrow!” made me hope the show will have enough tomorrows to reach an adequate resolution.

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

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

After the first episode, the cynical “Your Honor” becomes a little less painful to watch but also more predictable. ... The arrival of the always-welcome Margo Martindale in episode four immediately improves “Your Honor” but it’s not enough to overturn the initial verdict: “Your Honor” is guilty of being a major downer.

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

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.

If “Downton” and “Gilded Age” offer a smooth blend of melodrama and lighter moments, “Forsytes” is choppier. It takes itself and its characters with utmost seriousness – until it doesn’t midway through episode three.

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.

“Away” tries to build the backstories of its characters through flashbacks but these tend to be as predictable as the outcome of the “dramatic turn” each episode takes.

“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.

It gets repetitive and dull, though the musical numbers should help maintain some viewer interest.

“Not Dead Yet” is only mildly amusing, not laugh-out-loud funny.

“Bel-Air” is a glossy, expensive-looking soap that, like Fox’s “Our Kind of People,” puts the spotlight on uber-wealthy Black families. But “fresh?” Not so much.

“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.

Feels derivative and shallow.

The plotting is similar to “Little Shop of Horrors.” Just sub in a digital assistant for the talking plant (and remove songs). When the concept gets stretched to become a series, it loses steam fast.

It’s an intriguing start to the series but the beats that follow flow predictably from the show’s premise.

“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.

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.

“The Madison” moves at the snail’s pace of Sheridan’s “1923” — and the music score sometimes sounds nearly identical — but “The Madison” also borrows some of the humor that’s made Sheridan’s “Landman” a hit. Michelle Pfeiffer’s Stacy Clyburn isn’t as sarcastic and profane as Billy Bob Thornton’s Tommy Norris, but Stacy displays more backbone and bite than viewers might expect.

True’s penchant for fisticuffs, reminiscent of the leads of every past Whedon show, ensures action aplenty as “The Nevers” develops characters alongside an engrossing, deepening mythology.

The writing and plotting by series creator Mark Gross (“Man with a Plan”) is as pedestrian as one would fear going into this bland multi-cam sitcom.

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

Raymond Lee makes a decent first impression as the new Leaper, physicist Ben Song. ... The new “Leap” does have the added element of a connection to Beckett and his hologram companion, Al (the late Dean Stockwell), but that serialized story seems destined to drag on endlessly unless and until Bakula reprises his role.

“Rebel” is an OK broadcast network soap thanks to snappy dialogue and dramatic scenes that should earn the show the nickname “10 Ways to Get Disbarred.”

It’s a high-quality cast of actors but they have little to do beyond dole out exposition that pushes the plot forward while supporting Robyn’s efforts to aid the helpless.

Viewers who can suspend their disbelief about that setup may be able to enjoy this conspiracy thriller that feels, frustratingly, like a wild goose chase.

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.

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.

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.

Dull crime procedural.

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.

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

It is meat-and-potatoes storytelling served as a tiny portion on an oversized platter. As in real life, the story peters out with an unsatisfying conclusion.

Perhaps this third episode bodes well for continued improvement, but in the early going, “Clarice” is meh-see TV. It’s fine but surely there are better TV dramas to pair with fava beans and a nice Chianti.

“Good Sam” offers both medical-case-of-the-week and soapy storylines along with the who-needs-who more back-and-forth between father and daughter. This one’s more middling OK than good.

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.

Basically, “Happy Face” jumps off from the real story then moves into fiction immediately, a disappointment for anyone expecting this “true crime” story to be, well, true.

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.

“Wheel of Time” is very self-serious, which makes it easy to mock, particularly if you’re apt to make comparisons to other fantasy franchises: One screechy villain has Voldemort’s nose; an Army of horned beasts are this show’s version of Orcs. It’s all slathered on thick with an over-reliance on special effects-heavy battle scenes.

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

Viewers who can make it past this bumpy beginning, this new chapter starts to settle into its changes in the second episode.

“Kingstown,” written by Sheridan, is another muscular soap that’s long on characters talking in indecipherable lingo and short on clarity.

Overall, the whole endeavor feels overly familiar. McCallany owns the screen anytime he appears, but the story wasn’t original enough to inspire viewing beyond the first two episodes.

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.

The medical case in the premiere is pretty dense and sometimes hard to follow but future episodes are more streamlined. Still, it’s not a show you can multitask through and completely grasp what is going on in the medical cases.

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.

Unlike 2023’s winning Apple TV+ thriller “Hijack,” “Last Frontier” is another streaming series that should have been a movie.

All the gags are telegraphed and obvious. A second episode shows some improvement, but not enough.

Joe Morton devours the scenery with gusto. Storytelling competency improves a little in episode two but not enough to recommend.

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.

“Chad Powers” offers a welcome mix of cringe comedy, raunchy humor and even some sweet, odd couple moments.

[Her boss] strangely does not immediately kill her when she gives him guff.

“Joe vs. Carole” is competently made and entertaining enough but having already sat through the first season of Netflix’s bloated “Tiger King,” “Joe vs. Carole” can’t help but feel like a rerun of something I already saw.

It’s depressingly pedestrian as it tells the story of recent law school grad Rudy Baylor (Milo Callaghan) who fights for the underdog in court against jerky legal lion Leo Drummond (John Slattery, chewing scenery with wild abandon)

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.

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.

“Zero Day” is another TV series that shoulda been a movie. Or maybe a four-hour series, but six hours is too much.

One thing all five episodes have in common: They’re smart, thought-provoking and worth watching.

“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.

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).

With so many characters, there’s not as much time for busting up bad guys — and when Walker goes too far in one beat-down he gets a mild reprimand from his boss — so this isn’t your grandfather’s “Walker.” It’s clearly The CW’s cookie cutter iteration.

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

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.

Meh traditional multicam sitcom.

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.

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

Light legal drama that’s neither funny enough nor dramatic enough to make much of an impression.

It’s a pretty light-hearted action-drama, the kind of show where Syd and Nancy banter their way through a bullet-riddled convenience store hold-up/hostage crisis.

Through it all the performances of Paulson, Davis, Cynthia Nixon (as Paulson’s potential love interest) and Sophie Okonedo (as a mental hospital patient) keep “Ratched” watchable even as the quality droops under the weight of too much melodrama.

“The Ark” is poorly written (grating exposition galore!) with mediocre special effects and cardboard characters. Syfy’s latest disappoints on every level.

If there’s a reason to watch – and judging by the first three episodes, I’m not convinced there is – it’s for the mystery. But even that seems like it might be predictable.

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.

The sleuthing quartet gives the show some “Scooby-Doo” vibes. “Winchesters” feels like it exists in the same world as “Supernatural.”

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.

Fans of Hollander’s “Ray Donovan” will recognize Hollander’s style of storytelling.

Unfortunately, the resulting product is frequently too on-the-nose. If there’s any reason to watch, it’s for the performance of actor Matthew Goode as legendary Paramount executive Robert Evans.

Dialogue hammers home arguments that sound more like something from a middle school textbook than how humans might speak.

It’s dumbfounding how much the show elides fertile territory for dramatic story in favor of the usual, predictable CW-patented relationship drama.

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.

“Pulse” may appeal to “Grey’s” fans who prefer their medical shows on the soapy side, but anyone who’s given up on “Grey’s” and embraced “The Pitt” would be wise to let “Pulse” flatline on its own.

New team, same stories investigating crimes involving military personnel.

A focus on younger, female characters buys “World Beyond” a somewhat fresh take initially but by the end of the first hour sisters Iris (Aliyah Royale) and Hope (Alexa Mansour) take off on a distaff “Stand by Me”-style quest to rescue their scientist father with two nerdy boys in tow.

This gives the show slightly more depth than many broadcast series today, but it’s nowhere near the entertaining, complex psychological machinations on display in “The White Lotus,” which airs on HBO at the same time.

In the premiere episode, a girl is kidnapped by terrorists. Nikki rescues the girl but only after risking her life by shooting the driver of a car the girl is in. It’s this sort of ridiculous storytelling, coupled with the uncredible recurring Keith storyline, that make “Alert” a series to avoid.

While too many first episodes go overboard on exposition, “Rust” is often needlessly opaque.

The original series showed some restraint, keeping Punky’s mom, who abandoned her, off-screen for the show’s four-season run. Having exhausted all there is to say about 40-something Punky in its premiere, the revival grasps for something new and in so doing suggests restraint may be off the table.

The live-action “Bebop” is at its best in episodes three through eight where the bounty-of-the-week stories build camaraderie among the Bebop crew and their adopted Corgi, Ein.

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.