One doesn’t expect a whole lot of nuance from Last Ship maestro Michael Bay, who’s also produced all four Transformers movies, with another one in the works. You just sit back, swallow this thing whole and wait for sturdy, studly, stolid Captain Chandler to fire off another round of uniformed rhetoric.

Good Omens continues to have its special effects moments. But there aren’t enough of them to overcome the basic tedium afflicting it.

This latest Marvel concoction is better than ABC’s Marvel’s Inhumans, which launched on Friday of last week. Still, an overall weariness prevails, perhaps even among the most fanatical Marvel diehards.

Lines like ""Did you feel that? It was like the Fourth of July in my mouth." help to make Lost Girl see-worthy without taking it to the level of must-see.

The script very occasionally crackles when not making a fool of itself with lines like, “Badge or no badge, I’ll always come after scum like you.” Most of the better lines go to Bishop when confronting Hollister about his overall comportment. Deputy otherwise is never too far from an action scene replete with automatic weapons fire.

The end result isn’t a very good biopic and certainly not a noble one.

The screws need some tightening but the basics are in place and the cast is more than capable.

After a pretty clumsy start, DM does start to find itself amid a whirl of characters populating not one, not two, but five households.

Things aren’t breezy enough here to be a jaunty sword-and-dagger fest. Talon is too serious-minded for that with her understandable determination to kill her mother’s killers in addition to avenging the attempted wiping out of an entire race. The first episode never dawdles in this respect. Future hours may calm down considerably on the action front. But even at a slower pace, The Outpost seems to promise enough mayhem, intrigue and burgeoning feminism to make for a satisfying enough summer run.

It’s still the usual story of women being victimized and mutilated. Wicked City otherwise is no great shakes in the script department, with Sisto’s Roth spitting out too many lines from a well-worn playbook.

Breaking Greenville is stupid fun for all, even if some of the featured players almost assuredly will bitch about being edited into cartoons of themselves.

The performances, particularly by Zendaya, Schaefer and Ferreira -- are not the problem. But getting “real” doesn’t have to mean diving head first into a cesspool of drugs, profanity, promiscuity and a borderline indifference to it all. That’s where Euphoria so far fails not only itself, but the many impressionable youth that likely will be the series’ core audience.

Power has some pull, but maybe not enough to win a tug of war. Its overall pacing could use a perk-up and its portrayals of minorities (who twice drop the n-word) might take more heat if 50 Cent wasn’t both calling the shots and rapping a theme song that includes the lyric, “I’m an undercover liar. I lie under the covers.”

Bitten is mildly diverting while also being pretty goofy in spots--even for a werewolf drama.

How to Live is decently performed in light of the oft over-reaching material at hand.

It’s kind of all over the map for starters, with the funny business sometimes peeking through the clouds while also hiding behind them.

The Code, which is both nicely produced and also thoroughly predictable, looks destined to likewise get a Season Two.

Too much of Black Monday is sounds and furious self-absorption/deception.

Although affecting at times, Parade's End tends to congeal rather than gel.

Red Widow isn't as compelling as Last Resort was in its early episodes. But it's appreciably better than those other two. Still, consumer confidence in Red Widow's staying power should be rightfully suspect at best. And in Sunday's second half, the premise already shows some signs of unraveling on the road to potential ridiculosity.

Fox made the first two episodes available for review. They’re watchable but also sadly a little comical, with Jack again all clenched up while speaking in a gasping-for-air rasp or silently clenching his jaw.

The scripts are serviceable, although some lines land with a Richter Scale thud.

Its spirit is willing, but the construction has foundation problems.

The overall effect isn’t quite intoxicating, and it might be better if you’re intoxicated in one form or another. Still, Sharknado 2: The Second One is part of a continuing pop culture chain of events that doubles as a rags-to-riches success story for a likable rag-tag director.

It’s fairly sturdy and convincingly gruesome in terms of showing a variety of battle wounds. It’s also predictable and oftentimes stilted, with the dialogue regularly preachy.

Cooper and Pulver are fine in the lead roles, although there’s little to like about either character’s comportment. The music swells on cue but the story just doesn’t jell.

Dominion perhaps has the makings of a passable post-apocalyptic tale. But it can also be over-wrought and half-baked, with a premise that never really delivers any of the implied biblical goods.

There’s nothing wrong in aspiring to be purely entertaining. Good Cop is quite good at that in Episode 1, but pretty much falls on its face in the second hour. Each story ends with a newspaper headline teasing the next one.