Early episodes are one fetch quest after another with copious flashbacks to develop character backstories. Episode four, set largely in Alaska, is most like the action-adventure movies “Monarch” spins off from. But the back half of the season devolves into convoluted, continent-hopping efforts to rescue a presumably kidnapped May before coming full circle in episode eight

When the story remains in Iceland, exploring the whodunnit of the murders that occur at the retreat, “Murder” entertains. But inevitably the show segues to the overlong Darby-and-Bill flashbacks that, while they do serve to inform elements of the Iceland story, ramble on and on.

It takes a few episodes for a lot of the new season’s setup – more politics than space exploration, really — to pay off but when it finally does, it proves worth the wait.

Fans who like “NCIS” will surely approve of this brand extension. Viewers who see it as a simplistic procedural will ignore it as they have past versions over the franchise’s 20-year run. Anyone looking to get drunk need only chug every time “NCIS: Sydney” features views of the Sydney Opera House. You’ll be out cold before the first episode ends.

Co-created by Sadfie and Fielder, “The Curse” accomplishes what it sets out to do with gusto – amuse through embarrassments that make “Curb Your Enthusiasm” seem staid – but I could only make it through three episodes before deciding I didn’t need to subject myself to more.

The first two episodes move at a brisk enough pace and have a few shocking, gory turns as “Lawmen” depicts battles and shootouts with fatal head wounds galore. As a balance to that, Oyelowo brings a decency to Bass and a sweetness to the relationship between Bass and his wife, Jennie (Lauren E. Banks).

Equal parts political thriller and steamy, doomed romance, “Fellow Travelers” proves to be an addictive yarn that, despite its period setting, feels vital and relevant in 2023 America.

It’s a fascinating, previously unexplored (as far as I know) premise for a dramatic series (with a great theme song, “I Remember You (Hey, Little Bird)” by Buffy Sainte-Marie). But stretching the story over six overly long episodes does the show no favors as it veers between taut drama and occasional lapses into obvious, stereotypical heroes and villains.

Through the first five episodes, the new “Frasier” proves adept at the classic sitcom form and it’s certainly funnier than many of the CBS comedies viewers have seen in recent years.

“Usher” saves almost all its big revelations, emotionality and its most biting humor for its last episode — which explains all that’s come before as the pieces fall into place as surely as the house of Usher must also fall, given the show’s title. It’s a satisfying ending, even if the series as a whole doesn’t quite live up to Flanagan’s previous, better efforts.

The “Gen V” premiere has the most shocks while subsequent episodes deepen the character backstories and the show’s mystery. It’s engrossing enough thanks to the efforts of showrunners Michele Fazekas and Tara Butters, veterans of genre series “Agent Carter,” “Reaper” and “Resurrection.”

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

The comedy comes fast and furious in early episodes, rarely taking a breather, and the comedic hit-to-miss ration favors the hits.

The procedural aspects are typical for a meh broadcast drama, but there’s a “Gabi’s hiding a secret” twist that’s way over the top.

A very Hallmark-style light drama.

[Lea] Thompson gets the quickest, cattiest lines in this show that’s fairly entertaining.

Easily the fall’s best original scripted series.

It’s as pedestrian a procedural as NBC’s “Found” but with a less heightened twist.

“The Gold” proves less compelling than “Hijack,” but perhaps more cerebral with a greater emphasis on character development and the stratified nature of England’s social classes.

A “Star Wars” series built around a trio of female heroes offers a welcome change and there’s hope that future episodes will pick up the pace. “Andor” started slowly too and turned into a masterpiece. That may be too much to hope for from “Ahsoka” but I’m willing to stick with it for now.

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.

This Netflix limited series manages to stand on its own. At six episodes, compared to eight for “Dopesick,” “Painkiller” tells its story with more expediency.

The season is worth watching for Streep and the show’s ode to Broadway showmanship; just prepare to be disappointed when she and the music are not part of an episode.

Aside from a few repetitive cat-and-mouse moments between Leaphorn and the new Big Bad, “Dark Winds” benefits from its short run because it’s not bloated like so many streaming series are these days. The show makes every episode matter and keeps up a breakneck pace that relentlessly drives the story forward.

Mackie, borrowing some comedic delivery stylings from Eddie Murphy, proves again he’s a welcome lead actor, effortlessly playing the humor while also evincing the anguish of John’s past that’s brought to the fore through flashbacks. .... Sometimes characters from these episodic adventures recur as “Twisted Metal” engages in satisfying world-building.

Unlike “1923,” which moseyed at a glacial pace, director John Hillcoat keeps “Lioness” moving apace. It also helped that the first episode is a brisk 41 minutes, avoiding the bloat that mars too many streaming dramas these days.

The first semi-bloated, 90-minute episode of “Barbie Dreamhouse Challenge” still entertains as two teams of two have to make over portions of a home to resemble a Barbie doll dream home.

The best ones [reboots and sequel series] take what’s great about the original and layer in something new. That’s just what FX’s “Justified: City Primeval” delivers.