While the story is initially fascinating and there are a few colorful characters sprinkled throughout, we often get lost in the weeds as the narrative swings this way and that, and the entire project feels a little too contrived and gimmicky, and populated with interview subjects who aren’t nearly as interesting as they fancy themselves to be.

The writers do an amazing job of pinging back and forth between various characters and their relationships on a level rarely seen in a TV comedy. ... You never know what goes on behind the scenes, but one gets the feeling Ford is having one hell of a great time on this show. We’re sure having a hell of a great time watching it.

The beauty part is watching the amazing Natasha Lyonne’s Charlie puzzle out the crime in clever and often hilarious fashion. Charlie might not even think of herself as a sleuth, but the likes of Lt. Columbo and Miss Marple would be proud.

Even though “Accused” moves from city to city and case to case each week, and there are different directors behind the camera, there’s a certain sameness to the visual tones; the series has the competent but not particularly stylish look of a crime procedural from the 1990s.

It’s a little edgy and occasionally chuckle-inducing and mostly sweet-natured, and it’s just OK and quickly forgettable.

The cast is terrific; Jane Lynch and Wanda Sykes are particularly good as Daphne’s parents, who are terrible cops. The problem is with the writing, which is so concerned with spitting out one hot pop-culture take after another that the convoluted and increasingly bizarre plots feel secondary to the meta humor.

Scotto is seen in numerous re-creations, either as an enigmatic mystery man with a chilling smile who says nothing, or a shadowy figure moving through Wall Street, alternately charming and bullying his employees, including his brother Peter and his sons Andrew and Mark. It’s an effective technique that supplies some much-needed color to proceedings that can get a little dry, though for the most part Berlinger makes great use of interviews with the expected roster of investigative journalists, former associates, financial experts, et al.

With the iconic duo of Ford and Helen Mirren (reunited after starring in “The Mosquito Coast” back in 1986) heading an impressive cast, cinematic-quality visuals, sprawling set pieces and a myriad of promising storylines, the pilot episode of “1923” holds the promise of yet another addictively compelling project from Sheridan.

Flashy, funny and action-packed, “The Recruit” is a slick confection that pulls off the difficult feat of juggling a multi-plot, twist-filled, globetrotting storyline that careens all over the place and yet is relatively easy and quite fun to follow.

“George & Tammy” is at times overwrought, and the dialogue occasionally veers into soap opera territory. But, thanks in large part to Shannon and Chastain delivering powerful, fiery, larger-than-life performances suitable for the characters they’re portraying, it’s a compelling period-piece melodrama, filled with impressive musical performances.

Director Andrew Renzi (“The Curse of Von Dutch: A Brand to Die For”) captures the zeitgeist of 1990s pop culture while treating this material like a non-fiction Adam McKay film, filled with popping visuals, colorful real-life characters and solidly researched intel.

“Welcome to Chippendales” features any number of imagined conversations and scenarios. But the major events depicted here really did transpire, which makes the ride all the more compelling and crazy. ... Nanjiani (“The Big Sick,” “Eternals”) plays against type and delivers the most complex and impressive performance of his career as Steve.

This is an exceedingly well-cast show, with Eisenberg, Danes, Caplan and Brody all playing to their strengths and hitting notes we’ve seen them master in previous roles. Even though Toby, Rachel, Libby and Seth can all be insufferable narcissists at times, we believe them as three-dimensional, feeling human beings, and we find ourselves rooting for them. Well, most of them. Well, maybe all of them.

The result is the perfect marriage of actor and material, with Stallone relying on his trademark formula of charisma, intimidating physicality and clever dialogue uttered in a low, often self-deprecating growl.

With so much bloodshed and so many haunting images, “The English” isn’t for the faint of heart, but it packs a stylized punch.

Fine work all around.

Not every true-crime documentary series requires a four-episode arc to tell the story, but in the case of Showtime’s exceedingly well-crafted, meticulously researched and consistently compelling “Spector,” the overall running time is justified.

It’s a wonderful mix of skilled veterans and relative newcomers, but “Blockbuster” is an exercise in tiresome premises. ... Ironic, maybe. Funny? Eh.

While much transpires, we still have little clue as to which character(s) will be killed, and who will be doing the killing. It’s a tribute to the depth of the writing and the excellent work by the ensemble that whoever winds up floating in the sea, I’m gonna feel bad for them but I’ll also probably understand why someone wanted them gone.

Some episodes are more effective than others. “The Outside” (Wednesday) has a kind of “Don’t Worry Darling” vibe, with a better payoff. It’s genuinely memorable. Not so much with “Dreams of the Witch House” (Thursday), which, despite a game performance by Rupert Grint of “Harry Potter” fame, is borderline campy in its execution. On balance, though, this is a suitably grisly and nightmarish feast for fans of the sinister and the supernatural.

When we look back through the filter of “I Love You, You Hate Me,” it seems ludicrous that a mildly irritating children’s TV program could inspire such vitriol from adults in certain quarters.

There’s no denying our fascination with these true-crime series, and this is a serious, well-edited and comprehensive effort. Still, for those of us who remember the Dahmer story and those who already know the horrifying details of the depths of his depravity, it just doesn’t feel vital.

A solid, impressively credentialed and entertaining albeit conventional series that plays like a comfort-viewing, hourlong show from the 1990s. ... Swank and the supporting players are terrific together.

The fusion of music and narrative works wonderfully as we follow a group of well-drawn (in more ways than one), hilarious, likable and empathetic characters.

Through an entertaining mix of interviews with hedge fund managers, journalists and retail investors who explain the phenomenon from different sides, augmented by a steady stream of clear and concise graphics and clips of often hilariously clever viral videos, “Eat the Rich” walks us through the madness of the GameStop story, and we come out on the other side understanding what happened.

I do wish we had seen more direct, on-camera challenges to the various conspiracy theorists. ... Perhaps the more journalistically conservative, neutral approach taken by “Shadowland” is best, leaving it up to the viewer to either side with the carnival sideshow characters and their mad tilting at windmills, or continue to place our belief in science, math and reality.

With an all-star cast of reliable veterans deftly handling the mix of pure sitcom dialogue with the occasional legitimately moving dramatic movement, “Reboot” is a breezy workplace comedy.

Director Skye Borgman (“Abducted in Plain Sight,” “The Girl in the Picture”) solidifies her standing as a master of this genre, skillfully weaving together present-day interviews with Vallow’s son Colby and her mother Janis Cox as well as investigative journalists and others close to the case; home video of the family; police bodycam footage from calls involving Vallow; news footage; and jaw-dropping audio of Vallow on phone calls and podcast recordings.