Season two goes deeper as it explores the characters’ insecurities and strengths. “Ted Lasso” remains funny and focused on kindness. A wealth of compassion for its characters courses through the show’s writing.

More deadpan than laugh-out-loud funny, “Wellington” will require some American viewers to turn on closed captions, as the New Zealand accents pose a significant barrier to entry/comprehension.

“The White Lotus” plods through its first episode — a cringe-worthy luau of misery — but the longer viewers sit with the show, the better and more engrossing it becomes.

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).

Patinkin is always fun to watch but through the first four episodes his arc as a disruptor to the judicial system is more entertaining than driving a dramatic storyline with stakes, something “The Good Fight” seems to be having some difficulty finding in a post-Trump environment.

“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.

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 overall vibe of “Loki” is, like “WandaVision,” more off the beaten Marvel path. Both the MCU as a whole and this individual series are the better for it.

It’s dumbfounding how much the show elides fertile territory for dramatic story in favor of the usual, predictable CW-patented relationship drama.

“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.

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 effortlessly entertaining and frequently funny; an easy, breezy eight-episode binge.

HBO Max’s best series since “The Flight Attendant” and easily the funniest new TV/streaming comedy of the year.

“Pose” seems to be sprinting through story — the seven-episode season begins in 1994 and ends in 1998 — to fit everything in in its final season. It’s a little all over the place but entertaining enough in the soapy way “Pose” always is.

“Rutherford Falls” has the building blocks to become a smart comedy hit. It just needs more time to build its characters’ relationships.

The show piles on enough mysteries to make it intriguing and then answers some questions fast enough to be satisfying.

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

The series gets off to a somewhat sluggish start but by the end of the first hour, “Mare of Easttown” gets its hooks into viewers, building tension around the murder investigation that engulfs Mare’s life. Episode two ratchets up the mystery further as multiple suspects come into focus.

True’s penchant for fisticuffs, reminiscent of the leads of every past Whedon show, ensures action aplenty as “The Nevers” develops characters alongside an engrossing, deepening mythology.

“Rebel” is an OK broadcast network soap thanks to snappy dialogue and dramatic scenes that should earn the show the nickname “10 Ways to Get Disbarred.”

Representation matters, so the existence of an almost all-Asian cast on a broadcast network series is a welcome development even as the show’s format and themes feel overly familiar.

“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.”

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

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.

Because it’s a series, “Game Changers” has more layers than a film. While Alex initially insists they just play for fun, by the end of episode two Evan says losing every game isn’t fun, ensuring this series will have some smarts to accompany its big heart.

The musical moments are fantastic — as is Erivo, who evinces no sign of a British accent — but what comes between the musical numbers is a bit of a slog.

“The Falcon and the Winter Soldier,” is a bit of a come down from “WandaVision.” “Falcon” isn’t bad, just more familiar.

“Genera+ion” will likely prove insufferable to plenty of adults while ringing true to at least some adolescents. ... “Genera+ion” is more grounded and relatable in other scenes, particularly those featuring Chester and Sam or the longing for friendship, acceptance and love as evinced by Greta.