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.

The original series showed some restraint, keeping Punky’s mom, who abandoned her, off-screen for the show’s four-season run. Having exhausted all there is to say about 40-something Punky in its premiere, the revival grasps for something new and in so doing suggests restraint may be off the table.

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.

“It’s a Sin” offers one of the most honest, moving takes on the AIDS crisis and in its final episode delivers a searing critique of the shame that ensured the disease’s spread.

There’s a too-crazy-to-be-true quality to Johnson’s real-life story that plays well in a TV comedy but it’s wisely leavened with more grounded, vulnerable moments, particularly the warts-and-all portrayal of Johnson’s father (Joseph Lee Anderson), and the complicated relationship Johnson had with his dad.

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.

Perhaps this third episode bodes well for continued improvement, but in the early going, “Clarice” is meh-see TV. It’s fine but surely there are better TV dramas to pair with fava beans and a nice Chianti.

It’s a high-quality cast of actors but they have little to do beyond dole out exposition that pushes the plot forward while supporting Robyn’s efforts to aid the helpless.

The combination of Tudyk’s otherworldly performance and Sheridan’s execution of stories running on multiple, parallel tracks make “Resident Alien” a welcome addition to the dwindling ranks of scripted basic cable originals.

With so many characters, there’s not as much time for busting up bad guys — and when Walker goes too far in one beat-down he gets a mild reprimand from his boss — so this isn’t your grandfather’s “Walker.” It’s clearly The CW’s cookie cutter iteration.

Through clever re-creations of sitcom theme songs, sets and tropes, “WandaVision” proves a unique entry in a genre that’s too often overly similar.

Spooky without getting too scary, the show walks a fine line – edgy enough but not too mature as to be off-brand for Disney — as it embraces a serialized storyline by creator Tracey Thomson (“The Young and the Restless”) that will keep young viewers (and their parents) guessing as the characters attempt to unlock the town’s secrets.

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

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.

A winning, offbeat animated comedy.

The breaking-the-fourth-wall shtick grows old fast in the pilot — only one in four of the comments proves charming/funny — so it’s no surprise there’s less of it in the second episode.

It’s more like soapier, sexier Jane Austen-lite that would benefit from a dash more wit.

After the first episode, the cynical “Your Honor” becomes a little less painful to watch but also more predictable. ... The arrival of the always-welcome Margo Martindale in episode four immediately improves “Your Honor” but it’s not enough to overturn the initial verdict: “Your Honor” is guilty of being a major downer.

A jaunty spy thriller score set the tone for what the fast-paced show becomes in episode two once Cassie regularly imagines conversations with the dead guy (Michiel Huisman, “Game of Thrones”) as her way of coping. “The Flight Attendant” becomes a comedic mystery-thriller and Cuoco’s presence and performance capably sell its delicately balanced tone.

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

“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.

Robinson, in particular, delivers a nuanced performance in a series that could best be improved by less build-up and even more exploration of the affair’s victim.

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.”

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

“Industry” seems unlikely to have broad appeal – the characters are too uniformly unpleasant – but it’s worth watching for fans of intriguing niche dramas.

It plays immaculately. Some of the appreciation for this special can be chalked up to nostalgia – for the show and its idealism about public service; for a simpler, comparatively chaos-free time in American politics – but this “West Wing” special also delivers a patriotic balm with entertaining calls to vote, delivered with clever word play, that substitute for commercials.

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

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