The three-hour production got off to a shaky start with camera work in the 1959-set Rydell High seemingly ready to trigger mass vertigo. But by the time the cast got to “Greased Lightnin’,” a frenetic dance number that kept building and growing so much, it threatened to spill out onto your floor, the show was rocking.

Tethered by Morse’s violent portrayal, Outsiders spins its story on a pace unlike most other prime-time shows.

Most of the characters, however, are written and behave as if they are 14, and not 20-something graduate students. That said, the first episode ends on a terrific cliffhanger, when a creature from another realm--a man with a swarm of moths flitting around his head--attacks. A good three minutes does not excuse the hour that came before it. And the resolution is presented so poorly in the next episode that it sabotages any good will the first episode earned.

Ellis is a good choice as the season’s biggest anti-hero, deftly playing sarcasm as well as the occasional pathos. As it gets rolling, Lucifer poses some theology-class-worthy questions about the nature of redemption, damnation and duty.

In the opener, “My Struggle,” Carter plays to fan expectations on all fronts as he suggests only the most sinister conspiracy ever, one that manages to shake the typically unflappable Mulder and could up-end the premise of the entire series. It’s just that juicy.... [The second episode is] a perfectly serviceable monster-of-the-week tale. It also features some dopey reveries about Scully and Mulder’s lost son William.

With her understated, monotone delivery no matter the situation, Kelly just might be the comedic find of the season. Galifianakis delivers a finely tuned grump as Chip and an over-the-top shrew as Dale. Under co-creator, executive producer and director Jonathan Krisel’s sensitive care, Baskets is a funny show about sad people.

The series’ greatest pleasure is seeing Lewis and Giamatti spar with each other, but there just aren’t enough of those moments to make Billions a bargain.

The show moves briskly but not well. Kazinsky is good and tries to continue the cranky character Hall so memorably creates, but the writing wants to turn him into Captain America.

Allison is one precious snowflake and is about as interesting as last week’s church bulletin. Lynch, meanwhile, plays her interloper with Sue Sylvester snark peppered with the kind of innuendo you’d hear on “2 Broke Girls.”

The worse things get--and they get very bad--Lopez gets much better, withdrawing into herself, growing ever more still, as her character must spin lie after lie to stay ahead, to stay alive. Academy Award-winner Barry Levinson directed the first two episodes, and they are unusually taut. De Matteo makes a welcome return to series TV, but her character’s escalating marital woes seem a distraction.

There’s much intrigue and backbiting going on in the small domestic household of the Dowager Countess, but that, too, ultimately goes nowhere. Fellowes hints at drama and pulls his punches.

With “Family Guy’s” Seth MacFarlane serving as an executive producer, you know what you are in for--rude and crude jokes.... What’s unexpected is how much Bordertown resembles “All in the Family.”

Nothing about this sitcom is clever or amusing.

Like recent true-crime exposes NPR’s “Serial” and HBO’s “The Jinx,” Murderer is an absorbing look at a bizarre case that seems to shift with almost every new talking head. It’s an addictive, scary indictment of small-town policing and a warning to those poor or marginalized by their neighbors.

This is one overstuffed show.

The premiere prologue gives away too much, and the mini’s pacing­ drags at times.... It’s a tale that never gets old.

Expanse’s look is typical Syfy. The lighting is used to bathe the sets in shadows to hide the lack of money in the budget. The cast and the sheer complexity and depth of story, however, are worthy of premium cable.

Transparent returns for a second season with the Pfefferman family digging deeper into their pasts and struggling to make sense of their futures.... The dialogue can slash like a knife.

Born spends a lot of time following the group as they socialize but is at its most compelling when it tracks the compli­cated bonds tethering these young people to their parents.

Telenovela can be fun, if only the show knew the difference between silly and dumb.

Superstore is a product of “The Office” co-executive producer Justin Spitzer, and like that already classic show, it digs into the mundane indignities of the work experience for its laughs, right down to the company magazine that blasts “Minimum Wage is Maximum Fun.”

Saints & Strangers is rich in character and detail and captures how arduous this adventure was for the pilgrims.

What’s odd here is that even with the influx of injured, Chicago Med never builds any dramatic heat.

It’s a little “Mad Max,” a little “Mortal Kombat,” a little “Gone with the Wind,” a lot head-scratchingly dumb.

[Sharon Stone's] character could be erased and the show wouldn’t miss a beat--heck, it might actually be better.... Hephner comes off as a cross between Kevin Costner and a “Just for Men” model and is adequate handling the light banter the scripts spoon out. This is a Sunday night show for people who find “The Walking Dead” too grim and “The Good Wife” too real.

In the absence of a believable or captivating story, Wicked tries to shock, but this is broadcast commercial TV. Ryan Murphy can and does more in two minutes on basic cable than Wicked­ can achieve in an hour.

Benoist is just so winning in this role.... As he did with CW’s “Arrow” and “Flash,” executive producer Greg Berlanti has managed to take a familiar superhero story and spin it into a TV show readers and new­comers can love.

These couples are just the sort you’d dodge at the office or at a party, so why you’d want to unwind with them on your TV is NBC’s headache. Truth Be Told: Not much fun here.