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.

While some of the geopolitical commentary proves cutting, the father-daughter relationship tussle is pretty much the sitcom pabulum you’d expect.

This latest Disney+ series showcases the best writing and performances in a Marvel project since “WandaVision.”

It’s a twisty conspiracy thriller with a confusing, complex scientific theory at its center.

A chattier Hamm character is a differentiator. But in early episodes, it’s kind of a one-note story that didn’t inspire me to want to watch more.

The pilot episode is eerie and surprising at times but it also has that will-any-of-this-get-resolved? vibe hanging over it. There’s also a love-will-heal resolution that’s fairly cheesy as well as a frustrating opaqueness.

“1883” but make it sexy! And ridiculous!

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.

“Reginald” lacks much dramatic or comedic bite.

Where “Lone Star” was cold, “Ordinary Joe” is warm. ... It’s too soon to know if the show’s writers can sustain this premise but the pilot episode is a winner.

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.

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.

The show, written by David E. Kelley (“Big Sky”), still feels fairly broadcast network-y, albeit slightly elevated.

Early on “The Undoing” seems like it may cast a spell, too, but that feeling wears off.

Elements of Amazon Prime Video’s “Cross” make it stand out, but those positive attributes often get canceled out by predictable, unseemly scenes of violence against women.

Rauch and Larroquette evince great chemistry and the new characters show promise, but much of the writing seems stuck in the ’90s.

The supernatural elements are more grounded than in the usual CW fare, and the backdrop of an impoverished community adds unexpected realism. This “Trickster” is worth watching.

The “B Positive” pilot is decent enough as CBS sitcoms go. It doesn’t show the promise of “The Big Bang Theory” pilot but it’s not as bad as plenty of other CBS’s past sitcoms, like last season’s “Carol’s Second Act.”

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

Whether “Dexter: New Blood” offers a decent ending that the original run lacked remains to be seen, but for “Dexter” fans there will be comfort in the familiarity of this new iteration.

“Moonbase 8” has its absurdist comedic moments but they’re too hit-and-miss.

It’s not as funny as one would hope. But the series improves as it continues, expanding on the characters and their relationships, which become more recognizable, realistic and funny with each episode.

Steinberg runs with the “Amelie” homage in the first and last episodes, especially, from applauding stuffed animals to a camera that rotates 360 degrees. However, in between, “Twisted Tale” becomes more serious as it explores the injustices that befall all the primary characters, not just Knox, but also the prosecutor, Mignini (Francesco Acquaroli), who sends Knox to prison.

“Woke” is a funny, smart show and the always likable Morris handles the lead character’s predicaments in the every-man style fans of “New Girl” would expect.

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.

While there is undoubtedly some “Tiger King”-grade entertainment observing a conspiracy theorist verbally spar with a “Lord of the Rings” cosplayer, so much of the behavior displayed in “Neighbors” is unpleasant to behold.

“Derry” dribbles out character details episode-by-episode through five (of eight) episodes made available for review, routinely connecting seemingly disparate characters. That “Stand by Me”-meets-“Stranger Things” vibe of the first episode returns in episode three, thankfully, since it’s the show’s most potent element.

Where this all goes and whether the balance tips more toward character and story or more toward video game-like battle scenes is unclear, but if the first two episodes are any indication, character stories will win out. As long as that remains the case, I’ll gladly go along for this sci-fi ride.