It’s occasionally but not frequently funny.

If there’s a reason to watch – and judging by the first three episodes, I’m not convinced there is – it’s for the mystery. But even that seems like it might be predictable.

There are some moments in Hulu’s “Pam & Tommy” that will make viewers take notice one way or another, but early episodes of this limited series are fairly hum-drum when they’re not way over-the-top. Then it improves, becoming more nuanced in later episodes.

More situationally and character-driven funny than jokey funny, “The Afterparty” offers a decent enough blend of humor and mystery.

The low-rent special effects, presumably intentionally cheesy, are fine and even add to the charm that begins with the show’s title, but everything else about the series proves poorly done, from character development to supporting performances.

“Promised Land” proves a much better viewing experience in episode two. All the setup is out of the way and the parallel storylines are less confusing and more engrossing. It’s that rare occasion where it might have been smart to start with a two-episode premiere. As it is, one wonders if viewers will stick around to become invested in this propitious soap in the vein of the original “Dallas” and “Dynasty.”

“The Gilded Age” is easily the best new series of 2022 and sets a high bar for shows that will follow.

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.

“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.

Big, loud and sorta dumb but often fun.

Series creator/director Abe Forsythe gives “Wolf Like Me” some occasionally funny moments, but it’s mostly a somber downer, careening from one traumatic event to another.

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

Eliza Coupe, Ginnifer Goodwin and Maggie Q star in this series with occasionally funny moments.

[Her boss] strangely does not immediately kill her when she gives him guff.

“Good Sam” offers both medical-case-of-the-week and soapy storylines along with the who-needs-who more back-and-forth between father and daughter. This one’s more middling OK than good.

This NBC comedy has potential thanks largely to the presence of Echo Kellum (“You’re the Worst”) and Nicole Byer (“Nailed It!”). Even so, the writing for Byer needs to be as sharp as she is – which in the two episodes made available for review, it’s not.

Funny and fast-paced, this single-camera comedy is worth a test drive.

Viewers who can make it past this bumpy beginning, this new chapter starts to settle into its changes in the second episode.

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.

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.

“Hawkeye” features plenty of Marvel-standard action, but it’s the comedy and Christmas setting that make this entry stand out.

It is meat-and-potatoes storytelling served as a tiny portion on an oversized platter. As in real life, the story peters out with an unsatisfying conclusion.

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.

“Wheel of Time” is very self-serious, which makes it easy to mock, particularly if you’re apt to make comparisons to other fantasy franchises: One screechy villain has Voldemort’s nose; an Army of horned beasts are this show’s version of Orcs. It’s all slathered on thick with an over-reliance on special effects-heavy battle scenes.

The live-action “Bebop” is at its best in episodes three through eight where the bounty-of-the-week stories build camaraderie among the Bebop crew and their adopted Corgi, Ein.

An engrossing, character-driven thriller.

Though the performances are uniformly terrific – Ferrell has to walk the highest tightrope, making Marty believable but not too pathetic — “The Shrink Next Door” is Exhibit A in streaming series bloat. There’s not enough story to justify eight episodes.

“Kingstown,” written by Sheridan, is another muscular soap that’s long on characters talking in indecipherable lingo and short on clarity.