We live in a world of spinoffs — just thinking of all the versions of “Yellowstone” makes me dizzy — and it’s always a gamble if we’re going to get another “Better Call Saul” or another “Joey.” Thankfully, “Neagley,” the spinoff of Prime Video’s “Reacher” series, is far closer to the former: It blends the best parts of “Reacher” with a clever handful of fresh ideas, creating something both familiar and fantastic all on its own.

“Neagley,” which premieres in its eight-episode entirety on Wednesday, doesn’t adapt any of Lee Child’s novels on which the character is based. Instead, it tells a wholly new story that puts Frances Neagley (Maria Sten, who portrayed the character in “Reacher”) at its center, rather than as a supporting character for Reacher (Alan Ritchson), who makes just a small number of appearances here. It’s the right call: This is Neagley’s story, and despite her and Reacher’s long history — from serving in the Army together to solving crimes together in the first three seasons of “Reacher” — the show is better for giving Neagley room to grow into her own.

Still, this being a spinoff, “Neagley” follows the basic rhythm of a season of “Reacher”: an eye-popping opening, a high-stakes crime mystery that Neagley and Co. have to solve, a bonanza of shootouts and fistfights, and a wild finale to wrap everything up. “Neagley” opens at 2 a.m. in Chicago, as an old friend of Neagley’s — naked and clearly high as a kite — walks onto the L tracks, whispers “it’s all so beautiful” and is killed by the oncoming train. The why of it all becomes the motivating element, as Neagley uses her top-notch investigating skills (along with her ability to sense danger like Spider-Man and use a sniper rifle at a moment’s notice) to figure out why her friend did what he did.

What begins as a mysterious suicide and a grieving friend sprawls out from there, eventually incorporating a nefarious pharmaceutical company, a cult-like commune, dirty cops, budding relationships and enough trauma to keep a therapist employed for years to come. It sounds like a lot, and at times it can be a little hard to track who’s doing what for what reason, but it’s all entirely engrossing — thanks in large part to the main cast.

And here’s where “Neagley” first starts differentiating itself from “Reacher.” When the latter’s protagonist works with others, it’s almost always a one-off (with the exception of Neagley). Reacher’s relationships start and end in the same season. “Neagley,” on the other hand, comes closer to being an ensemble piece, with each of the main quartet getting plenty of time in the spotlight, developing into well-rounded, interesting characters along the way.

Sten once again delivers a great performance, adding layers of depth to a character who’s mostly been on the sidelines. We become invested in Neagley’s inability to connect with others, both literally (her haphephobia prevents her from touching others) and emotionally (daddy issues — hers and others’ — pop up throughout the season). Like Reacher, her logical mind leads to supreme acts of confidence. Like with Reacher, they don’t always pay off, especially when it comes to the personal.

That at-times ice-cold demeanor mostly affects the crew that slowly builds around her, much to her initial irritation: Chicago detective Hudson Riley (Greyston Holt, a wonderful emotional foil to Sten), P.I. firm assistant Renee Birdwhistle (Adeline Rudolph, delightfully acerbic) and small-time criminal Keno (Jasper Jones, hilarious throughout). Each character has a reason for helping Neagley, and watching them come together to deal with the villains is pure pleasure — especially because said antagonists (Damon Herriman, Matthew Del Negro) are some of the slimiest, most horrendous villains in the “Reacher” franchise.

“Neagley” doesn’t stumble much, but it does miss a step here and there. It’s just as absurd as “Reacher” — a series of ad reads for a pharmaceutical drug in particular were a diabolically clever and unhinged bit of storytelling — but it at times shatters the suspension of disbelief with how certain scenes play out. And the final episode, at only 49 minutes, feels cramped considering everything that needs to wrap up before the credits. But those are small-potato issues that don’t detract from the show’s sheer watchability, from the stellar action sequences (Hudson gets the best ones, instead of Neagley) to the whip-smart dialogue.

Spinoffs can be hit-or-miss, but “Neagley” definitely hits its mark. It remembers that Neagley isn’t Reacher, no matter their similarities. It leans into “Reacher’s” strengths, but it’s not afraid to try a few new things. Neagley may not like touching others, but it’s easy to see why she can make connections so easily. Consider me one of those connections, eager to see what comes next.

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‘NEAGLEY’

Rating: TV-MA

How to watch: On Prime Video Sept. 16

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