Through clever re-creations of sitcom theme songs, sets and tropes, “WandaVision” proves a unique entry in a genre that’s too often overly similar.

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.

The series improves somewhat as it delves into the backstories of its Mexican characters. “Coyote” proves watchable but too derivative.

The supernatural elements are more grounded than in the usual CW fare, and the backdrop of an impoverished community adds unexpected realism. This “Trickster” is worth watching.

A winning, offbeat animated comedy.

The breaking-the-fourth-wall shtick grows old fast in the pilot — only one in four of the comments proves charming/funny — so it’s no surprise there’s less of it in the second episode.

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

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.

A jaunty spy thriller score set the tone for what the fast-paced show becomes in episode two once Cassie regularly imagines conversations with the dead guy (Michiel Huisman, “Game of Thrones”) as her way of coping. “The Flight Attendant” becomes a comedic mystery-thriller and Cuoco’s presence and performance capably sell its delicately balanced tone.

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

“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.

Robinson, in particular, delivers a nuanced performance in a series that could best be improved by less build-up and even more exploration of the affair’s victim.

The “B Positive” pilot is decent enough as CBS sitcoms go. It doesn’t show the promise of “The Big Bang Theory” pilot but it’s not as bad as plenty of other CBS’s past sitcoms, like last season’s “Carol’s Second Act.”

“Moonbase 8” has its absurdist comedic moments but they’re too hit-and-miss.

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

It plays immaculately. Some of the appreciation for this special can be chalked up to nostalgia – for the show and its idealism about public service; for a simpler, comparatively chaos-free time in American politics – but this “West Wing” special also delivers a patriotic balm with entertaining calls to vote, delivered with clever word play, that substitute for commercials.

Early on “The Undoing” seems like it may cast a spell, too, but that feeling wears off.

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

Hawke mesmerizes as Brown — excellent casting for a wild-eyed character — and Johnson brings a mix of a child’s innocence and a young man’s recognition of the craziness of the world around him to his sometimes heartbreaking performance as Onion.

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.

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.

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.

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

“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.

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.

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.

There are few revelations that justify the four-hour running time. ... The fourth hour is the strongest, showing how members of the investigation commission used “bureaucratic jujitsu” to thwart efforts to protect NASA’s image.

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 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.

Superior to a Disney Channel, three-camera sitcom, each episode features a couple of original tunes that should get toes tapping.

“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.

Early episodes offer some intriguing conflicts and points of view to consider. But later in the season – HBO Max made the first six of 10 episodes available for review — the show devolves into a less interesting cat-and-mouse game between the atheistic robots and the religious invaders.

“Woke” is a funny, smart show and the always likable Morris handles the lead character’s predicaments in the every-man style fans of “New Girl” would expect.