It's definitely worth your watch as a brief summer binge.

Morgan and Haddish are reliably funny, and the story of Tray's return to a world that passed him by has a lot of potential.

It's true. The Last O.G. may be the best thing Tracy Morgan has ever done.

Ex-con rebuilds his life in crude yet oddly sweet comedy.

The show indulges and evokes melancholy to curious effect. The story line gathers threads concerning penitence, rehabilitation, gentrification, racial tension, and filial duty with some seriousness, only to abandon them.

Once it settles into its groove, The Last O.G. is a wonderfully enjoyable comedy.

The Last O.G. plays with [its] dynamic in an entirely expected way.

It's Tray's story, but the secondary characters provide just as much reason to stick with The Last O.G.

Perhaps Morgan never knew he had this in him. Maybe audiences didn't either. Surprise, surprise.

The Last O.G., like its protagonist, may be a little imperfect. Still, with [Tracy] Morgan and [Tiffany] Haddish at its center, you're rooting for it and their characters to succeed.

Overall, the show is coming out of the gate swinging in a way that can not be ignored. It very much has the potential to become a mainstay series for TBS, as well as a long-term gig for Morgan.

Lines may fall flat, but there is enough chemistry among the players to keep The Last O.G decent, indecent company.

Nevertheless, you breathe a bit easier when Shay's on screen, if for nothing but the simple pleasure of watching [Tiffany] Haddish elevate occasionally stale, uninspired writing with her moxie and comic instincts.

Writer/director Aaron Katz pokes fun at the all-consuming cinematic nature of Los Angeles by highlighting the intrusive culture of Hollywood.

The Last O.G. starts out good, if a bit stiff and formulaic, then gets better in subsequent episodes as we get to know the hero's circle and the cast gets into a new groove together.