“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.