Unfortunately, in the first episode, the show overdoes Backstrom's unlikability to the point where it's an open question whether viewers will return to see subsequent episodes, where he becomes less hard to take, and we learn more about why he is the way he is.... The more encouraging news is that judging from two additional episodes made available for preview, Backstrom--which is based on a series of novels written by Swedish criminologist Leif G.W. Persson--calms down and gets better as it goes along.

Though much of The Ranch feels familiar, and an odd fit for Netflix, that doesn't mean it's terrible. For all the crude jokes (the premiere, for example, goes on and on about how Uggs are girly footwear, not suitable for a real man), Kutcher and Masterson have an easy, unforced brotherly rapport.

The show isn’t great, exactly. But it’s also a bit smarter than we might have expected. In the early going at least, “BH90210” is campy, but self-aware.

The first episode gets us in the mood for the TV equivalent of a beach read adventure..... [James Wolk] easily rises to the task, making Jackson charming, sympathetic, and capable. Though Zoo may turn out to be more silly than sensational, Wolk is always delightful TV company.

Too often feels like a show about an institution, instead of an exploration of characters. ... Forever has genuine warmth and affection for its characters, and it ends with some of the best work Armisen and Rudolph have ever done. ... But Forever would be better if it moved a little faster, and gave viewers more reasons to stick with it until the end.

The early episodes of “Hollywood” are an entertaining mix of earnest inclusiveness and dishy wallow in showbiz lore. But, like those Murphy-produced TV series that went on too long, by the end, “Hollywood” is floating on so many alt-history good vibrations that it becomes less of a celebration, and more of a lecture.

In the Season 5 premiere, Sheridan draws on his well-broken-in “Yellowstone” playbook, giving a variety of characters moments to be funny (the crew at the ranch bunkhouse), sassy (Beth’s withering putdowns of those who displease her) or warm (Rip’s sympathetic understanding of Beth). But Sheridan also indulges in a few too many speeches from John. ... If the Season 5 premiere of “Yellowstone” doesn’t exactly soar, it does serve up “Dallas”-style drama, juicy performances (particularly by Reilly) and gorgeous scenery.

Like HBO's doomy apocalyptic drama, "The Leftovers," The Path just misses being as profound as it wants to be, but remains watchable largely thanks to the superb cast.

Even when the plot gets a bit muddled, it all goes down easily, with elaborate gowns on the women, beautiful furnishings in elegant rooms, and rolling green fields to keep us diverted even as we're wondering who that gentleman or that lady is related to. The cast is hit-and-miss.

With only three episodes to judge, “American Rust” so far, at least, doesn’t seem totally successful at transcending stereotypes, and creating characters who come across as individuals who are caught up in specific situations. As was the case with “Mare of Easttown,” “American Rust” boasts a skilled cast, who help bring dimension to their characters.

Garland’s vision is in the forefront here, and the result is a limited series with a frosty emotional tone, and a story heavy on cutting-edge techno-speak, but skimpy when it comes to characterization.

The cast has easy chemistry, the New Orleans setting is colorful, and Pounder lends class to anything she does. The CBS procedural formula works, but that doesn't make it feel any less formulaic.

While the first few episodes of the new Comeback make stingingly accurate points about the sexism and ageism Valerie has to contend with, The Comeback has its own problems. As in the first go-round, Valerie comes off as cartoonish, a caricature of a so-so celebrity.

The fourth one isn't as much silly fun of the first two, but it's a few bites better than last summer's dismal "Sharknado 3: Oh Hell No!"

With only the first couple of episodes to go on, it's too soon to tell if this is going to be one of those seasons where Homeland stretches credibility like overworked taffy, or if it turns out to be so intense we can overlook plot holes.

The best thing about the new NBC series, Constantine, which is based on The DC Comics "Hellblazer" series, is that its hero has a roguish sense of humor

As with the first season, the actors all do their best, and the loving but challenging relationship between Donna and Gordon remains the show's most appealing, layered element. But Halt and Catch Fire still lacks a point of view that would make this trip back to the '80s feel relevant.

“Watchmen” suffers from the sense that anything can happen at any time, so nothing really matters. ... As with “The Leftovers,” the talented cast members do their best to tie together the various portions of the unfocused storyline.

Despite a distinguished voice cast, the new animated comedy is hurt by uneven and unsure writing. [9 March 2000]

About halfway through the 10 episodes, “Space Force” starts to get better, and settle down a bit, as the multiple characters begin to bounce off each other, and we get more of a sense of the show as a workplace comedy.

This Fox effort at least gets points for its novel, wackadoodle premise.

One of the characters says it seems like they’re in an episode of “Lost,” and unfortunately, “La Brea” is the latest TV show to borrow from the “Lost” playbook.

This is some serious feel-bad TV, which would be OK if there were any character, human or android, we cared about, or if the show was saying something fresh and insightful.

In the first four episodes, Here and Now suffers from wanting to cover too many topics. By episode four, the characters start to become less annoying, but that's asking viewers to be patient in a world where there are hundreds of other shows to watch. The main problem, in the early going, at least, is that "Here and Now" feels less like a drama with fully developed characters than an essay on The Way We Live Now, with doomstruck observations about the difficulties of finding harmony among races, cultures, genders, and so on.

The documentary does a fine job of explaining why Franklin was such a consequential figure. Unfortunately, “Benjamin Franklin” doesn’t really bring this founding father to life. ... The life of Franklin doesn’t need to be turned into “Hamilton,” but some artistic interpretation of the man might help fill out a portrait that seems accurate, but dry.

At times, Sorrentino's approach is bracingly different. But many, many more times, The Young Pope leaves us alternating between admiring Sorrentino's craft and wondering why this is so lugubriously paced and cryptically written.

Unfortunately, the mystery isn't very gripping, and there's precious little wit in the proceedings, which come off like a CBS crime procedural dressed in Jane Austen clothing.

The new season has its strengths – Episode 7 is a high point, for example, even at its lengthy running time. But other moments drag, and Hopper’s incarceration in Russia feels particularly endless.