Vice Principals is as profane and outrageous as HBO comedies get. Once you realize where this is headed, you’ll want to stay after school just to see how it all plays out.

It’s sexy, sizzling and silly, all at one time.

It’s cute. But “Monsters at Work” might need a little more retooling on the scripts. They’re a laugh-a-10 minutes.

The attempt to make this a story about two men grates. It’s as if someone wanted to elevate Oswald in order to humanize Kennedy. It doesn’t work--nor does the Oswald funeral scene.

Cute, initially, the bull-in-a-china-shop premise wears a little thin until you realize there are others in the family capable of embarrassing dad, too.

“The Thing About Pam” is entertaining. Zellweger, Duhamel and Judy Greer (as the Lincoln County prosecutor) land their laughs and make you wonder how stuff like this happens. ... But it takes on a different feel when you see Betsy’s children and husband caught up in the big gulp world of Pam Hupp. While your eyes widen, your heart also sinks.

It’s gritty in a new way and, yes, lots of fun.

Directed by Steve Shill, Dracula intrigues but it may not have staying power. It doesn’t look as elegant as it should; it isn’t necessarily cast with an eye toward immortality.

Dull, sluggish and frequently lost, Walken had none of the spark you’d expect from the “swiniest swine in the world.”... Allison William’s Peter Pan was more successful but only because she took a very straightforward approach to a role that should have been bubbling with life.

Director Jason Winer gets the series off to a fun start, bringing Allen back to his old ways. But he also finds a way to make the former Scott Calvin look a little hip. (A Santa with abs? It’s possible.) He also fleshes out the workshop and finds enough ways to lampoon tradition without appearing ungrateful. ... The latest iteration may not be as snarky as earlier ones, but there's plenty of fun to ensure this isn't going to be a "lump of coal" year.

How this will ultimately play out depends on “The Swarm’s” ability to embrace a disaster film vibe. So far, it’s a lot of seeking, but little to destroy.

“Brave New World” looks like something NBC might have programmed in the 1980s. The sex and swearing are a stretch, of course, but there’s a lot of “Stepford Wives” to this that doesn’t really work.

[Paris Jackson and Kaia Gerber] hew closely to “Scream Queens” and push the envelope with scenes that explore their sexuality. Their acting abilities may be similar to their parents’ at the same age, but they pair well with McCormick, who seems more mature than anyone in the house. Bomer and Creel, oddly, don’t seem to fit in this setting. They embrace the humor but can’t quite promote the terror. ... Tveit does a much better job of straddling the “AHS” worlds.

Too traditional for its own good, it needs to mix things up on a grand scale.

Danson does a bit of the goofiness we saw to better effect in “The Good Place” and Hunter is so stern it’s surprising someone didn’t pull her aside and point out this is a comedy. Stray bits of information (like a straw ban in Los Angeles) bring a smile; direct steals (how to spell “syzygy” was a plot point in “The 25th Annual Putnam County Spelling Bee”) suggest someone didn’t do due diligence.

Ford and Regalbuto aren’t given enough new things to do and Charles Kimbrough (who played Jim Dial) checks in long enough to let you know he’s still around. The mother/son angle is the show’s best. ... But it’s English’s smart writing that will keep them [viewers] around.

Spacey did a great job explaining why he was host (using riffs on the nominated musicals to make his point), but he was playing to a home crowd. If you didn’t know anything about “Dear Evan Hansen” (and you should), you wouldn’t understand why he had a cast on his arm (and, later, on his leg).

It’s the kind of premise Andy Griffith might have considered years ago, but it’s not quite in tune with NBC’s other comedies.

On first blush, Deception is smart, stylish and involving. In time, it could drift. But, for now, enjoy the kind of storytelling that gives its core cast something interesting--and watchable--to do.

The sets and costumes are great. Now, the mysteries need to rise to the occasion.

It’s not about a “bad” teacher, just a slightly irreverent one.

Showing how [Houdini] got the bug, learned his craft and went from sideshow oddity to world-wide celebrity, the film holds interest and makes you want to know more. Then, it pulls back the curtain and shows the locks, keys and stunts he uses to open all those seemingly inescapable devices. It’s a bit like knowing a gift before you unwrap it.

“Shifting Gears” plays into the hands of audiences who loved its two stars. Neither goes too far afield from the personalities they helped create. While Dennings often seems like she’s on an uphill climb, Allen seems to be idling.

Clearly, there's a new camp experience to be mined. Early on, though, Camp doesn't do much digging.

With a different cast, it might actually work. Because she’s so immediately likable, it’s hard to buy Garner as woman with misplaced sympathies. ... Only Lewis (who’s outrageously good) and Arturo De Puerto as her new beau Miguel seem ideal. They cause much of the drama and don’t really care what the others think. When they’re around, Camping is more fun than fireside ghost stories. ... Gems drip out, but they don’t come often enough.

It’s a 1960s medical drama in a 2020 world. ... “Nurses” isn’t the medical series you’ve been longing to see. It’s just the one that happens to be here.

While it isn’t as much of a surprise as the first Sharknado, this one manages to up the ante and take advantage of its pop culture standing.

Because it’s like some 1950s melodrama, “Ratched” is quite attractive initially. ... Instead, it's just a shirttail relative of "American Horror Story," another series that isn't always sure what it wants to do.