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.