Sure, some of the characters are stereotypes – painfully woke, white teacher Jacob (Chris Perfetti); ziti-making Melissa “I know a guy” Schemmenti (Lisa Ann Walter, another scene-stealer) – but they’re all uniformly funny.

It’s effortlessly entertaining and frequently funny; an easy, breezy eight-episode binge.

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.

The best ones [reboots and sequel series] take what’s great about the original and layer in something new. That’s just what FX’s “Justified: City Primeval” delivers.

Even with some wayward storytelling, “Fleishman” remains appealing for viewers whose primary interest is in complex characters (nobody is black or white, they’re all shades of gray) rather than plot. And while several characters make questionable choices, the ending defies expectations in a way that seems true-to-life.

As much a love story between Susan and Chris as it is a true-crime caper, viewers expecting a straightforward tale may be baffled by what “Landscapers” delivers, which is sometimes interesting and different, other times overwrought and pretentious.

The good news is the show’s second season, streaming Tuesday, is more like the back half of season one: funnier and more involved because we’re dealing with established characters and because the writers, led by showrunner John Hoffman (“Grace and Frankie”), have a firmer grasp on the show’s tone and a more confident hand in its plotting.

“Diarra from Detroit,” furthers the niche streamer’s reputation for quality shows after last summer’s Pittsburgh-set “Average Joe,” which had a similarly well-balanced tone of comedic drama.

Easily the fall’s best original scripted series.

An engrossing, character-driven thriller.

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

A true original that’s completely strange, “Mrs. Davis” is a breath of fresh air in a reboot-happy medium.

Through seven episodes made available for review, this season of “Only Murders” hangs together quite well thanks to both viewer familiarity with the returnees and the influx of Hollywood characters that add humor and a multitude of new suspects.

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.

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.

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.

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

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.

A winning, offbeat animated comedy.

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.

A best drama nomination for “Yellowjackets,” which was nominated for its first season in last year’s Emmy race, seems pretty likely if the first six episodes made available for review are indicative of the season as a whole.

The season is worth watching for Streep and the show’s ode to Broadway showmanship; just prepare to be disappointed when she and the music are not part of an episode.

“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.

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

Co-created by Sadfie and Fielder, “The Curse” accomplishes what it sets out to do with gusto – amuse through embarrassments that make “Curb Your Enthusiasm” seem staid – but I could only make it through three episodes before deciding I didn’t need to subject myself to more.

Equal parts political thriller and steamy, doomed romance, “Fellow Travelers” proves to be an addictive yarn that, despite its period setting, feels vital and relevant in 2023 America.

“The Serpent Queen” offers juicier period drama than either of the ballyhooed fantasy epics [“House of the Dragon” and “The Rings of Power”]. ... [Samantha] Morton mesmerizes.

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