It’s a show that’s safe, easy to digest, and predictable, which, sadly, is what audiences are coming to expect from network dramatic programming.

I want a show like this to be ridiculous and Intelligence is at its most enjoyable when it embraces the B-movie silliness of its concept. When it takes itself as seriously as it too often does, it ends up failing dramatically.

As it so often does, the first few episodes of “Justified” send a few plates spinning. Few shows have more deftly managed various plot threads over the course of a season, while also throwing in the occasional stand-alone story, as Justified.

A brilliant twist on the undead genre that places the emphasis on mood, dread, and emotion instead of the unexpected.

It’s a fun, holiday diversion that gives Pixar fans characters they miss, probably even more so given the films that followed their final adventure.

There are a LOT of characters and one hopes that Murphy & Falchuk don’t allow the program to get weighed down in subplots. Even if the show does get scattered, great performances by Lange, Bates, Bassett, Roberts, and Farmiga should keep viewers from wanting to leave this Coven.

Sean Saves the World is a weird show in that it’s not aggressively bad. You won’t be rolling your eyes. It’s more just remarkably forgettable.

This is the kind of exaggerated, cliched humor more common to CBS, laugh-track sitcoms despite the best efforts of a talented cast. They’re just wasted here like so many drivers of the star vehicles this season.

Don’t be a version of a sitcom character that we’ve seen before. And be a character. Don’t just be Rebel Wilson in a star vehicle.

It’s just manipulative drama that hopes to make you stand up and cheer by reminding you over and over again how tough its title character remains.

The whole thing is so poorly conceived and executed.... It’s a misfire for an undeniable TV talent.

Mike’s family is perfectly balanced. Everyone works, down to even guest performers. The structure of The Michael J. Fox Show is definitely simple and safe, which many will see as cliched.

Caan is perfectly cast here.... As it so often does, it comes down to the writing. I just don’t care. And I just don’t find it funny.

There’s some notable talent here. But they’re wasted to such a drastic degree on such stale character writing that I doubt it can be turned around.

The comedy on The Goldbergs is loud, aggressive, and somewhat abrasive.

Lucky 7 is a soap opera, and it’s not a very well-crafted one.

There’s actually not a single weak link in the cast. The weakness of the premiere comes down to plotting. There’s a slightly melodramatic arc involving a commentary on the current economic state of the country.

It helps to have a great actor like Harry Lennix in the supporting cast, but the writers of The Blacklist need to prove that it’s about more than just Red.... But, for now, Spader is enough reason to watch.

The verbal volleying between Christy and Bonnie is easily the reason to watch Mom at least at the beginning. The supporting cast is uninteresting and cliched but when Janney & Faris get going? It reminds one of how good they can be with the right material.

It’s well-paced and tightly constructed. Yes, some of it feels overdone and silly.... [But] it ends on a nice turn of events that make me really want to see what happens next.

The writing on Dads is so straight-up horrendous that one wouldn’t be surprised to see it in the middle of a “Family Guy” episode as an attempt by MacFarlane to satirize bad sitcom writing.

It’s got that awkward but lovable and relatable sense of humor. A few too many easy jokes in the premiere can be forgiven for setting up the characters and premise.