Rob Owen

“Muppets Mayhem” puts the spotlight on these one-note secondary characters. It’s like taking a recipe that calls for a teaspoon of spice and instead using two cups of spice — and no other ingredients. The result is unappetizing — a dry, dull and disappointing Muppets series.

Hulu’s FX-produced “Class of ’09” starts slowly but then ratchets up intrigue as the thriller tracks FBI Academy classmates in three time periods. It’s a limited series worth watching.

On “Bupkis,” the deeper viewers dive into the eight-episode first season, the story becomes less “Entourage”-y and instead turns on Davidson’s demons and whether he can overcome them.

It’s not a somber re-telling of a familiar story but a sensitive, humanistic approach that allows room for humor and happiness even as viewers know the story will inevitably take a tragic turn.

It’s fine if unremarkable. The series basically takes the plot of the 1987 film and elongates and attempts to deepen it with winks and nods to the movie.

“Love & Death” works as well as it does thanks to Olsen’s controlled performance.

The results improve on the original.

A true original that’s completely strange, “Mrs. Davis” is a breath of fresh air in a reboot-happy medium.

“Jury Duty” starts strong but by episode four (of eight), grows tiresome with occasional bursts of hilarity. It’s another streaming series stretched beyond what the concept will bear.

The series is interested in serving up the fights viewers want to see, but it also peels back layers of the characters to ultimately reveal how similar Danny and Amy are. Whether it’s healthy for easily-triggered viewers to tune in to watch others get triggered, well, each viewer will have to decide on their own.

This second outing of “Schmigadoon” pales a bit compared to season one — too many ballads, not enough big song-and-dance numbers — but, at just six half-hour episodes, there are enough fun winks at Broadway to make it worthwhile for devoted musical theater fans.

“Schmigadoon!” is a hoot — an inventive and thoroughly enjoyable summer delight.

Some of the songs are catchy, but the story and plots fail to surprise and the whole thing is rather humorless.

“Unstable” proves consistently funny and involving. The father-son dynamics, while familiar, do manage to feel real (for a TV comedy) amongst the whiplash comedy.

“Ride” is emblematic of the new, more inclusive Hallmark because there’s also a gay, stereotype-defying McMurray brother whose name is — and I am not making this up — Tuff (Jake Foy, “Designated Survivor”). Like much about “Ride,” that name tries a little too hard, but at least Hallmark now reflects the real world more accurately.

A best drama nomination for “Yellowjackets,” which was nominated for its first season in last year’s Emmy race, seems pretty likely if the first six episodes made available for review are indicative of the season as a whole.

“Succession” proves particularly engrossing when the series finds new themes to explore and forces the characters to confront new situations as it does in season four. ... Allowing the series to conclude sooner rather than later insures it will likely continue to be regarded as one of the best TV dramas of all time.

That lighter touch the writers take with Hailey draws more humor out of Sutherland’s Weir. ... That may not be enough to recommend “Rabbit Hole,” which is largely a generic conspiracy thriller, but it’s at least a differentiator.

It gets repetitive and dull, though the musical numbers should help maintain some viewer interest.

While the pilot episode shows promise and is funnier than “The Chair,” episode two disappoints and confuses with no clear answer as to what “Lucky Hank” will be on a weekly basis.

The “Swarm” finale may not satisfy all viewers – it’s somewhat open to interpretation and not concrete – but it is a fitting finale to easily one of the year’s best, most outrageous series.

“History of the World, Part II” would be more worthwhile if it was shorter in duration. It has one movie’s worth of strong material stretched out over eight streaming episodes. Maybe consider watching episodes one through four and then skip to eight.

The season two plot, courtesy of new showrunners Jack Amiel and Michael Begler (“The Knick”), is less convoluted but still occasionally overly languid. “Perry Mason” remains at its best when the focus is on the series regulars and their relationships.

This is “True Lies” in title only. The film’s concept has been reduced to a paint-by-number, light CBS procedural. If that’s the type of programming you enjoy, have at it. Just don’t expect anything more.

Like many programs of the streaming age, this one probably would be better as a movie – Jack continues to find ways to kick the can of truth down the road into a potential second season — but ultimately “Hello Tomorrow!” made me hope the show will have enough tomorrows to reach an adequate resolution.

This season of “Picard” doesn’t feel like fan fiction; it feels legit.

To succeed in the long-term, “Animal Control” needs to get funnier fast and spend more time on its human characters and less time on animal gags.

A generally overlong, unsatisfying program.