“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.

It’s occasionally but not frequently funny.

In its second episode, “I Love You, You Hate Me” explores how some of the kids featured on “Barney” rebelled (pretty typical child-actors-growing up stuff) and then it gets into the thorny question of Patrick Leach’s crime and whether “Barney” and its impact on his family contributed to Patrick Leach’s criminal act. Up to that point, this “Barney” doc is fun and even thoughtful, but then it starts to feel needlessly exploitative.

Machado is excellent as the ferocious Dolores but the show is aimless and predictable with no big twist at the end.

It’s a sweet, sunny series if not as endearing as Disney+’s “The Mighty Ducks: Game Changers.”

Most of the laughs come later in the [premiere] episode. Subsequent episodes prove funnier still.

“Chad” is sure to gain a cult following but it’s too niche to steal the thunder of the grand poobah of uncomfortable comedy, “Curb Your Enthusiasm.”

According to folklore, vampires can't enter your domain unless you invite them in. By the middle of the new four-hour version of Stephen King's "Salem's Lot," , I was ready to invite them in -- in hopes they could end my suffering.

It’s hard to judge from the pilot and a second episode what the balance of superheroics/teen troubles will be on a weekly basis, but if The CW insists on making more superhero shows at least this mashup of past Superman TV shows gets off to a rousing enough start.

The show approaches these themes [what it means when companies commodify and exploit employees’ personal stories and Joanna’s stunted-by-childhood-cancer inner life] with a deft subtlety but it’s enough to ground it and make the cringe comedy more palatable.

Embracing steampunk stylings, “Nautilus” is a serialized, family-friendly adventure with decent special effects.

“Dexter: Resurrection” proves most interesting when Dexter meets an elite collective of serial killers who convene at the home of a wealthy admirer (Peter Dinklage, “Game of Thrones”) and his henchwoman/enforcer (Uma Thurman). It’s the only element of this season that feels like new, semi-unexplored terrain.

Sure, there are tangents for “Kevin Can…” to explore, including a clean-cut guy (Raymond Lee) Allison knew in high school who’s returned to town. There are also hints of her attraction to a bad boy mechanic. But the main story feels limited and quickly stretched beyond a point where the concept ceases to be novel.

The series improves somewhat as it delves into the backstories of its Mexican characters. “Coyote” proves watchable but too derivative.

With too many characters whose introductions prove too slight to understand their place in this world that viewers get plopped into, “Dune: Prophecy” disappoints.

The role suits Quinto. Wolf is a bit of a loner but having him work with his longtime friend, Dr. Carol Pierce (Tamberla Perry), and oversee a batch of interns who serve as audience stand-ins makes this series work quite well in early episodes made available for review.

Since “Criminal Minds” was always a show about brutal crimes, the move to Paramount+ doesn’t result in that much more violence on screen, but it does allow star Joe Mantegna to drop the occasional f-bomb.

McEnany and Weigert have each starred in better series and this material is beneath them, but their lived-in performances prove they aren’t snobs, elevating “Tracker” every time they’re on screen.

This spin-off feels of a piece with “Blue Bloods” – police cases mixed with decent family relationship drama — so it should have similar appeal.

There’s some humor to be mined in flashbacks illustrating how Kenan and his wife met on the set of a sitcom – she was only three years older than him but played his character’s mother on the TV show – but the present-day stuff is pretty unfunny, marking this series as a dud on arrival.

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.

Did you like the original 2000-15 “CSI: Crime Scene Investigation”? Then you’ll probably enjoy this sequel series.

Early episodes offer some intriguing conflicts and points of view to consider. But later in the season – HBO Max made the first six of 10 episodes available for review — the show devolves into a less interesting cat-and-mouse game between the atheistic robots and the religious invaders.

“History of the World, Part II” would be more worthwhile if it was shorter in duration. It has one movie’s worth of strong material stretched out over eight streaming episodes. Maybe consider watching episodes one through four and then skip to eight.

There’s a ton of back-and-forth over who are the true heroes and it gets tedious fast.

Hulu’s FX-produced “Class of ’09” starts slowly but then ratchets up intrigue as the thriller tracks FBI Academy classmates in three time periods. It’s a limited series worth watching.

Once the show moves past its been-there, watched-that dystopian, scene-setting premiere episode with too many similarities to FX’s “The Strain,” “Y: The Last Man” (Monday on FX on Hulu) becomes a compulsively watchable series.

“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.