“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.

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.

“Chicken Sisters” is a sweet, entertaining enough trifle.

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

If CW dramas are your jam, you might like “Wednesday.” I was mostly bored and found the plot machinations predictable. “Wednesday” is at its best when it leans into the mordant humor Wednesday evinces.

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.

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

“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.

Episode four ends on a promising cliffhanger, which makes it too soon to pass final judgment but “The Acolyte” gets off to a rocky start.

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.

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

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.

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.

“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.”

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.

It’s occasionally but not frequently funny.

The show, written by David E. Kelley (“Big Sky”), still feels fairly broadcast network-y, albeit slightly elevated.

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.

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.

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

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

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.

“Let the Right One In” features strong performances, particularly from Bichir and Rose, but it’s a slow burn and doesn’t have much new to say about the themes it embraces.

Credit Marvel with attempting a half-hour comedy series for Disney+, but “She-Hulk: Attorney at Law” proves too timid about leaning into humor.

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 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.

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.

[Lea] Thompson gets the quickest, cattiest lines in this show that’s fairly entertaining.