Ahmed created the series, and he’s clearly having a blast making fun of himself and wringing laughs from the situations he puts his alter ego into, absurd as they often are.

She’s still funny, sometimes foolish and still prone to malapropisms. .... In a season as upbeat as Valerie herself, “The Comeback” allows itself some moments of earned emotion.

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.

Fast-paced and funny with an undercurrent of authentic emotion, “Rooster” is a half-hour comedy worth crowing about.

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.

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

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

“Reggie Dinkins” uses quick cuts and cartoon-like tangents in a manner that will feel familiar/comfortable to “30 Rock” fans. The return of “Scrubs” and the debut of “Reggie” offer solid evidence that with the right talent involved, comedies still have a place on broadcast TV.

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.

While there is undoubtedly some “Tiger King”-grade entertainment observing a conspiracy theorist verbally spar with a “Lord of the Rings” cosplayer, so much of the behavior displayed in “Neighbors” is unpleasant to behold.

Although the new fourth season lacks a defining episode like season three’s sixth episode, “Abidooniidee (What We Had Been Told),” featuring lead character Joe Leaphorn on an emotional, hallucinatory journey, season four manages to advance all its characters’ stories, even as they spend more time than ever off the reservation.

This “Muppet Show” is the sincerest effort yet to re-create the manic lunacy and charm of the original and feels of a piece with the series that started it all.

“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.

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 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 textbook example of how to write a second season that sticks to what made the show great: Complex characters, a real-time format and medical cases depicted with an unwavering dedication to authenticity.

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.

This import from New Zealand charms from start to finish.

This new story – a collection of vignettes, really – strays from the initial concept of elves who work to prepare the way for Santa, instead focusing more on the characters and their lives when not on the clock, which is not as magical or entertaining.

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.

“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).

It’s unclear where this is going — early episodes suggest a doomed affair à la “Fellow Travelers,” or maybe it will become more upbeat like “Heartstopper” — but through its first two episodes, the show definitely lives up to its title.

“Pluribus” is the most original, unexpectedly thought-provoking and frequently funny series of 2025, thanks in large part to star Rhea Seehorn (“Better Call Saul”), who throws herself with gusto into almost every scene of the series.

By the last hour, the more serious tone takes over again, but it’s earned given what we’ve seen Garfield endure (though I could have done without Garfield’s widow visiting Guiteau in prison, which never happened in real life and seems designed to unnecessarily juice the drama quotient). Still, for fans of historical fiction, “Death by Lightning” remains worthwhile.

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.

“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).

Aside from an unearned character turn in the season finale that seems to come out of nowhere, “The Diplomat” delivers another great season of political intrigue mixed with character drama.

There’s a ton of back-and-forth over who are the true heroes and it gets tedious fast.

“Derry” dribbles out character details episode-by-episode through five (of eight) episodes made available for review, routinely connecting seemingly disparate characters. That “Stand by Me”-meets-“Stranger Things” vibe of the first episode returns in episode three, thankfully, since it’s the show’s most potent element.

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

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

Tim Robinson returns with another hilarious cringe comedy, but the emphasis is on cringe, which makes “The Chair Company” an acquired taste that not everyone will want to acquire.

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

This spin-off feels of a piece with “Blue Bloods” – police cases mixed with decent family relationship drama — so it should have similar appeal.

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

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

“Task” proves engrossing and propulsive throughout, a smart, generally sophisticated crime drama, although there are a few too many moles and turncoats that detract from a story that otherwise feels authentic.

Just as a viewer might suspect the plot will go one direction, Harjo gives the story an unexpected, shocking turn. It’s a potent mix that makes “The Lowdown” a welcome addition to a short list of TV’s best current series.

The first “Paper” episode is amusing but rarely outright funny. The comedy quotient improves in later episodes, particularly episode four, when Esmerelda moves from sabotaging Ned to working alongside him on a scheme.

Steinberg runs with the “Amelie” homage in the first and last episodes, especially, from applauding stuffed animals to a camera that rotates 360 degrees. However, in between, “Twisted Tale” becomes more serious as it explores the injustices that befall all the primary characters, not just Knox, but also the prosecutor, Mignini (Francesco Acquaroli), who sends Knox to prison.

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)

That remains true in the revival, which is funny and clever in the way the first episode’s script, by Daniels, Judge and new showrunner Saladin K. Patterson, updates viewers on the characters and what they’ve been up to.

In lesser hands, a series spinoff of the theatrical “Alien” franchise might seem like just another IP play — a money grab. But pair Noah Hawley, the writer behind FX’s “Fargo,” with “Alien,” and you get a show that’s significantly better than that.

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.

“Dexter: Resurrection” proves most interesting when Dexter meets an elite collective of serial killers who convene at the home of a wealthy admirer (Peter Dinklage, “Game of Thrones”) and his henchwoman/enforcer (Uma Thurman). It’s the only element of this season that feels like new, semi-unexplored terrain.

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.

Embracing steampunk stylings, “Nautilus” is a serialized, family-friendly adventure with decent special effects.

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.

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.

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.

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.

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.

It’s not as funny as one would hope. But the series improves as it continues, expanding on the characters and their relationships, which become more recognizable, realistic and funny with each episode.

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.

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.

Season two of “Andor” stands proudly alongside season one as the most sophisticated, smartest “Star Wars” storytelling to date, thanks to showrunner Tony Gilroy.

Max’s “Hacks” remains a comedy gem in its fourth season.

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.

“North of North” is an easy, entertaining watch that’s improved by its cultural specificity.

The show excels as both an intimate character study — this year’s most affecting theme: how each generation of parents screws up but tries to incrementally improve on how they were parented — and an action-packed adventure.

“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.

FX’s latest half-hour comedy won’t be for everyone because of the graphic depiction of a woman. .... But “Dying for Sex” — all eight episodes stream April 4 on Hulu — inspires a lot of laughs, too, thanks to Molly’s voiceover observations and her interactions with scattered best friend Nikki (Jenny Slate).

“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.

“The Studio” becomes an often screamingly funny series through the course of its first season, making it the best new comedy series of 2025 so far.

“The Residence,” now streaming all episodes, benefits from snappy (though profanity-laced) dialogue and quick cuts for comedic purposes, but the story and characters aren’t strong enough to support eight hours, especially given the formulaic approach to episodes.

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.

There are grittier, hipper, more popular crime dramas coursing through the TV/streaming ecosystem – “Tulsa King,” “Presumed Innocent,” “The Rookie” — but none of those shows can match the quality of AMC’s “Dark Winds.” .... “Dark Winds” continues to feel taut and rightsized.

Feels derivative and shallow.

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.

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

Really, it’s hard to imagine how “SNL50” could have gone any better as it delivered a welcome mix of comedy and music over almost 3½ hours, wrapped in a warm blanket of nostalgia (without getting sappy).

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.

Much of the acting is masterful, but Parker Posey proves the revelation. .... White’s attention to local details, from visual close-ups of flora and fauna to the use of regional music, give “White Lotus” a vibe unlike any other series.

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.

“Hunting Party” is a predictable procedural. .... Eminently skippable.

By the end of the second season, a few aspects of the mystery plot come into better focus but it’s one step forward, two steps back. Still, “Severance” remains a rare, unique and completely distinctive series.

What makes “The Pitt” worth watching are its characters. .... Creatively, “The Pitt” succeeds by any measure.

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.

While some of the geopolitical commentary proves cutting, the father-daughter relationship tussle is pretty much the sitcom pabulum you’d expect.

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

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

“Cruel Intentions” a serviceable soap but nothing more.

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.

Shockingly well made. Tense and intense, “The Agency” gives off “MI-5” and “Sleeper Cell” vibes

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.

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

“St. Denis” will conjure a smile but it doesn’t elicit belly laughs through three episodes made available for review.

With too many characters whose introductions prove too slight to understand their place in this world that viewers get plopped into, “Dune: Prophecy” disappoints.

Returning drama “The Diplomat” is that Netflix rarity: A great show.

A genuinely smart, funny, entertaining and timely comedy.

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.

It’s a feel-good program that highlights not only the efforts of students from all walks of life (wealthy, impoverished, liberal, conservative) but also the dedicated teachers doing their best to lead them.

Unlike, say, Showtime’s “Episodes,” which depicts how the TV sausage gets made in all its absurdity while still showing characters with heart, “The Franchise” gives no reason to have sympathy for any of its selfish narcissists.

“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.

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

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

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.