Son of Zorn has the feeling of a show that wants to be edgier than it is (which may be one reason creators Reed Agnew and Eli Jorne stepped away from the project once production was underway).

Superior Donuts feels like the kind of sitcom that would have struck audiences as a cozy place to visit every week if it had premiered in the days before cable and streaming. As it is, it feels at once odd and stale.

Chemistry is key to a project like this, and Wayans and Crawford have it. Even in the series’ cartoonish exaggeration of what crime-fighting is about (yelling, screaming, and car-chasing), Lethal Weapon has a comic snap that is entertaining.

The stakes in this show are very low; so is the humor, sometimes delightfully so.

Disenchantment is pretty to look at--the background illustrations are often lovely--but it’s not very funny. The producers have said the show is filled with a budding mythology and lots of Easter eggs for the fan base it hopes to build, so if you’re into that kind of detail-oriented viewing, this may be a show for you.

Only Shannon’s Gary, as a calm-voiced negotiator, seems sensible or particularly intelligent. When you add in Kitsch’s charismatic performance, Waco comes out an oddity: A show that’s more or less on the side of a violent, exploitative cult.

Stewart gives a terrific performance, gliding through a song-and-dance fantasy in the second episode, and, throughout, delivering his lines with astutely timed gusto. It’s too bad the lines aren’t funny.

Cringy dialogue. ... The premiere features cameos by Grey’s stars Ellen Pompeo and Chandra Wilson, both of whom look as though someone is holding a pistol at their heads just off-camera.

Is the show funny? Sort of. It’s certainly charming, in a frequently vulgar sort of way, and well performed by the cast and guest stars.

Everything surrounding the colorfully bloody bastard-execution-ing is grungy soap opera.

The Punisher isn’t nearly as pretentious as Hannibal was, but it’s certainly as deliberately paced. The violence of the show is up-close and brutal. ... The show would be too dull without its action scenes, but when those arrive, your first instinct may be to cover your eyes.

The deluge of empowerment is relentless, repetitive, and boring. The supernatural elements of the plot seem borrowed from old episodes of Supernatural and Buffy the Vampire Slayer. The special effects are super-cheesy, not much better than an old episode of Bewitched.

Kelli Garner manages to bring a freshness to her interpretation of Monroe that never feels like caricature.

Zoo keeps things moving quickly enough to glide past its more portentous moments.

There isn’t much to laugh at in this production, which has taken its arch irony and presented it with an earnestness that works against the nature of the material.

Ill Behaviour has some thoughtful things to say about right-to-life issues and alcoholism, and if you can buy into the kidnapping-to-save-his-life development, you might stick around for the series’ full six episodes.

With an hour that spends much of its time focusing on people chatting about what they’re doing now and what they should be doing in upcoming scenes, Fear The Walking Dead is in danger of putting Chris Hardwick out of business: This whole episode of Fear is itself like a slightly soggier version of Talking Dead.

The new AMC show is packed with rigorously choreographed and slicingly edited action scenes, and it builds a mythology that combines elements of Asian martial-arts movies, American Westerns, film noir, horror, biker flicks, and nighttime soap operas.... One big problem with Badlands is its punishingly dour tone, utterly devoid of humor or any fleeting moments of lightness.... I just wish Into The Badlands was more fun.

Animals is intriguing, and if you’re in the right mood, its leisurely pace and slacker rhythms can pull you in for a while.

Miranda sings badly with great gusto; she is witheringly sarcastic to people even though we know she has misunderstood what they’ve said. It’s a very impressive, thought-through presentation by Ballinger. I admire it, but I also didn’t find it funny.

The show tries very hard to give us believable female characters in this context, but I’m afraid the best Six can do is achieve a kind of high-class soap opera. ... When the show travels outside of America, it’s still full of macho dialogue that can be wearisome--“We’re gonna fix this because that’s what we do; we’re gonna bring Rip home!”--but it has a blend of action and moral inquisitiveness that makes the show intriguing.

A solid reimagining of the Stephen King novella of the same name, The Mist is an intriguing new example of scary TV.

The conversations are conducted via a Russian translator, and you have to be in the mood to read a lot of subtitles to engage with Putin and Stone’s policy discussions, but that small effort is well worth it. There are light moments here and there.

Lively, action-packed, and occasionally quite funny.

It wants to evoke that sense of non-stop crisis, and it’s willing to sacrifice believability and good writing in the service of frantic pacing.

This TV series tries to capture some of the adventure in venture capitalism, but it suffers from an excess of aggressive cutesiness. ... The whole thing is alternately tedious and tiring.

Rendered without much embellishment and acted with firmly controlled vigor, Killing Jesus, a TV adaptation of the bestselling book by Bill O’Reilly and Martin Dugard, is a fine retelling of the story of Jesus Christ as a historical figure.

There is a lot of clunky, melodramatic dialogue, like, “You have to find the Fortress; you have to save Superman!” There is a glowering supervillain in the form of veteran DC Comics bad guy Brainiac. Last month, I ventured a guess that, sight unseen, Krypton would be lousy. Now, sight seen, I confirm this is so.