A lot of the humor lands well and the pilot’s end-credit bloopers are a scream. The show gets retooled in episode two with the radio station disappearing as Poppa starts recording from home; we’ll see what impact that has on the series.

“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.

“Atlantic Crossing” proves itself a decent soap (think: a lower budget “The Crown”), albeit one that suffers from some plots holes.

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.

“Evil” is the rare show that’s both frequently scary — one jump-scare was enough that my reaction scared my dog sitting next to me on the couch — but in a generally sophisticated way. ... Episodes three and four of “Evil’s” second season, particularly three, are less commendable, splitting up the lead trio for too long and sending characters on paths that lack clear motivation.

Perhaps the affable Thompson, so reliable on “Saturday Night Live,” was talked into that awful opening, because he quickly returned to tell some jokes that successfully scored laughs. The remainder of the telecast was funny, entertaining and moved like a freight train.

“Tulsa King” leans too hard into obvious jokes about Dwight’s age and Dwight’s cluelessness about modern tech. ... But, “Tulsa King” benefits from a few surprise plot turns, Stallone’s comic timing and a winning supporting cast, particularly the aforementioned Savage and Martin Starr (“Freaks and Geeks”) as the poor pot shop owner Dwight sets his sights on.

Reilly consistently delivers the more compelling performance. It’s unlikely “Dutton Ranch” will make as big a splash as “Yellowstone” did – sequels rarely do – but there’s enough similar storytelling that this show will either satisfy “Yellowstone” fans craving more or bore them to tears because it all seems so familiar.

Yes, this is a fairly straightforward police drama, but it’s buoyed by some well-drawn characters even in its pilot episode, not always an easy task.

When the story remains in Iceland, exploring the whodunnit of the murders that occur at the retreat, “Murder” entertains. But inevitably the show segues to the overlong Darby-and-Bill flashbacks that, while they do serve to inform elements of the Iceland story, ramble on and on.

Early episodes are one fetch quest after another with copious flashbacks to develop character backstories. Episode four, set largely in Alaska, is most like the action-adventure movies “Monarch” spins off from. But the back half of the season devolves into convoluted, continent-hopping efforts to rescue a presumably kidnapped May before coming full circle in episode eight

It’s a pleasant enough comedy-drama – though not as funny as one might hope — that’s true to the original while telling new stories.

Proves itself a pretty good queer soap if you can tolerate how self-absorbed, narcissistic and generally unlikeable most of the characters are.

The first semi-bloated, 90-minute episode of “Barbie Dreamhouse Challenge” still entertains as two teams of two have to make over portions of a home to resemble a Barbie doll dream home.

In a cascading series of unmotivated twists, enemies team up, a villain has an unconvincing change of heart and the whole thing ends on a frustrating cliffhanger. But give Murphy and company credit: “The Beauty” may be semi-hollow headed, but it’s never boring.

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.

While the first episode takes a bit of time to get going, once it does it’s clear there’s some “Servant”-like dark fun to be had watching this “Baby.”

Typical Netflix series bloat disappointments aside, “Inventing Anna” is a pretty engrossing ride largely due to Chlumsky’s relatability and Garner’s bonkers accent.

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.

What “A Man on the Inside” lacks in laughs it makes up for in a humane, occasionally depressing but realistic depiction of the ravages of old age.

“Prodigy” grows “Trek”-ier in episode two once the teens steal the Protostar and get to know their hologram adviser, Kathryn Janeway (Kate Mulgrew, voicing the character she created on “Star Trek: Voyager”). Janeway means nothing to this show’s target audience but her presence might make some parents smile.

“Julia” is by no means a must-see series but it will be a want-to-see show for a segment of the audience that’s historically been undervalued by ad-supported TV networks.

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.

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.

Unlike “1923,” which moseyed at a glacial pace, director John Hillcoat keeps “Lioness” moving apace. It also helped that the first episode is a brisk 41 minutes, avoiding the bloat that mars too many streaming dramas these days.

"The Big Leap" delivers engaging dance numbers and characters that grow in the show’s second episode.

For “Trek” aficionados, hewing to canon is important and necessary, but the episode’s A story is something “Trek” fans have seen too many times before. Episodes three and five are episodic away team missions, a welcome return to the show’s roots. .... The best story so far is found in episode four, an offbeat outing directed by Jonathan Frakes.

“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.