Fox’s latest prime-time soap, “Filthy Rich,” won’t be mistaken for great TV but its pilot episode is a hoot. Future installments prove uneven.

Written by Jac Schaeffer, who was the showrunner on “WandaVision,” “Agatha All Along” lacks the creative spark that made “WandaVision” worth watching.

“Murder on Middle Beach” proves affecting in its portrayal of a grieving family and a questioning son seeking to root out the truth. But it doesn’t have enough germane material for four installments – the second episode goes off on a tangent that proves largely fruitless – and it ends at a seemingly premature juncture.

“Friends: The Reunion” is at its best when the camera captures the cast in more candid moments — seeing the set rebuilt for the first time, playing a trivia game.

It’s fine? I guess? ... Thankfully, “Discovery” doesn’t seem to be pulling-a-“Voyager” and jettisoning its “far from home” premise.

“Mr. & Mrs. Smith” is a slow-burn series that’s smart and attentive to its characters’ psychological details, but it’s only fun in drips and drabs.

“The Comey Rule” may feel a bit book report-ish to those who followed the 2016 election cycle obsessively, but there’s been so much water under the national political bridge since then that “The Comey Rule” remains engrossing for the small details amidst the familiar broad strokes of the FBI’s investigation into Hillary Clinton’s use of a private e-mail system during her stint as U.S. secretary of state.

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.

By the end of the first hour the characters come into better focus as the pilot sets up what could be a soapy, fun, ongoing series.

[The “Accused” premiere] made me want to see Chiklis in a series again, maybe playing against his tough-guy type. Future episodes deliver diminishing returns.

The title character is a welcome departure, but the plotting is patented CW fare.

“Love & Death” works as well as it does thanks to Olsen’s controlled performance.

While the jury’s out on what “Georgie & Mandy” will become, an opening credits sequence of the title characters doing an energetic tango is a winner from the jump.

Tonally the new “Bell” rings cheekier and more meta than any previous iteration.

Unlike plenty of past Netflix shows in this genre (think: “Tiger King”), “Meltdown” is relatively right-sized with only the fourth, 45-minute episode feeling somewhat repetitive.

Episode four suggests this new threat might be an allegory for Earth’s response to covid-19, but more concerning for fans will be how the show handles a beloved character’s growth.

The first “Stumble” episode is particularly meh. But the second episode, which allows Potter some wins, shows signs of improvement with funnier moments and better writing.

Cute enough traditional sitcom in the “Reba” mold but half-sisters squabbling threatens to get old fast.

Ultimately, “Telemarketers” succeeds more as a character study of a passel of shady individuals who don’t normally turn up on TV than it does as any sort of expose.

So far season two feels more promising now that character introductions are largely out of the way and the whole team shares a goal.

“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.”

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.

Light and escapist, the new “Fantasy Island” is as unessential as TV viewing gets but for viewers seeking an anthology with close-ended, weekly stories, it’s not bad.

Added relationship drama helps this series rise slightly above the middle of the pack among CBS procedurals.

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).

Some of the songs are catchy, but the story and plots fail to surprise and the whole thing is rather humorless.

The four-part miniseries occasionally strives to be a “Hot Zone”-like thriller while also offering a compassionate depiction of first responders, public health officials and victims. Sometimes it leans heavier into the character stories at the expense of thrills but the story of a nerve agent transferred through skin contact has resonance in the covid-19 era.

“The Sticky” isn’t as funny as its premise suggests. It’s entertaining enough at times but not quite laudatory.