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.

Because it’s a series, “Game Changers” has more layers than a film. While Alex initially insists they just play for fun, by the end of episode two Evan says losing every game isn’t fun, ensuring this series will have some smarts to accompany its big heart.

The “Gen V” premiere has the most shocks while subsequent episodes deepen the character backstories and the show’s mystery. It’s engrossing enough thanks to the efforts of showrunners Michele Fazekas and Tara Butters, veterans of genre series “Agent Carter,” “Reaper” and “Resurrection.”

“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.

This second outing of “Schmigadoon” pales a bit compared to season one — too many ballads, not enough big song-and-dance numbers — but, at just six half-hour episodes, there are enough fun winks at Broadway to make it worthwhile for devoted musical theater fans.

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.

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.

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.

“Chimp Crazy” paints a more complex, nuanced portrait of chimp owners than “Tiger King” did of folks who collect Big Cats. “Chimp Crazy” also proves more entertaining with surprising twists and outlandish characters who are hard to dislike even as they make terrible, self-destructive life choices.

Fargo is significantly better than the disappointing third season, though probably not as good as the near-perfect second season.

Just an entertaining, 52-minute program shot in the style of classic Universal Studios monster movies. ... This Halloween-season special is a true treat, not a trick.

Written with an exacting knowledge of the ride by Bill Baretta, Kelly Younger and director Kirk Thatcher, “Muppet Haunted Mansion” is the first Disney+ Muppets show to do right by the Muppets.

“Unstable” proves consistently funny and involving. The father-son dynamics, while familiar, do manage to feel real (for a TV comedy) amongst the whiplash comedy.

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

An engrossing, character-driven thriller.

There’s a loosey-goosey quality to “Bad Monkey” that keeps the tone light, emphasizing the comedy even when it sits alongside more dramatic moments.

This one’s a winner thanks to an incredibly likable lead character, skate-boarding, comic book-loving Naomi (a winning Kaci Walfall).

“Archive 81” starts strong with creepy atmospherics, gets a little confusing in its mythology around episode six but then clears everything up in time for a cliffhanger in the eighth episode.

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.

Aside from a few repetitive cat-and-mouse moments between Leaphorn and the new Big Bad, “Dark Winds” benefits from its short run because it’s not bloated like so many streaming series are these days. The show makes every episode matter and keeps up a breakneck pace that relentlessly drives the story forward.

True’s penchant for fisticuffs, reminiscent of the leads of every past Whedon show, ensures action aplenty as “The Nevers” develops characters alongside an engrossing, deepening mythology.

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.

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).

Unlike many CBS procedurals, this one’s lighter and while the lawyering isn’t always in the realm of reality, the show’s breezy tone should win over CBS viewers with ease.

Perhaps what is most notable and welcome about “Winning Time” is its sheer sense of fun. ... While too many dramas today take viewers for granted with self-indulgent, drawn-out storytelling, through its first four episodes, “Winning Time” smartly builds each episode to a cliffhanger crescendo that, even with full, one-hour running times, leaves viewers wanting more.

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.

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 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.