Bob Odenkirk and David Cross’ easy chemistry is still there, but the sketches often feel in style and occasionally in substance so outdated as to be historical curiosities.

The characters themselves are mostly one-dimensional, and the performances range from stiff to dull. The only exception is Marton Csokas, whose hammy turn as the evil, Southern-accented baron who employs Sonny is a highlight.

Like Louie, Master of None sometimes seems a bit scattered, and not everything Ansari tries works.

Campbell certainly has the wit and charisma to make Ash a welcome weekly TV presence, but without Raimi, he might have to carry the show on his own. For now, at least, he seems to be up to the task.

The show sometimes goes too far with Kara’s rom-com-style personal life, but it never undermines her superheroics, and she holds her own against a nasty villain in the first episode.... It’s a promising--if a bit overly familiar--start.

His version of the show doesn’t differ much from the one Stewart hosted at the end of his tenure. The correspondents are a mix of newcomers and holdovers, and the tone remains mostly bemused outrage at the state of the world.... In his first four shows, his personality didn’t shine through often enough. He was awkward in his interviews, failing to give Republican presidential candidate Chris Christie much of a challenge, and bumbling through more superficial celebrity chats.

All of that balancing might collapse over the course of an entire season, but in its first episode, Crazy Ex-Girlfriend is clever, winning and unique, making it the most promising new show of a fairly dismal fall TV season.

Dr. Ken lacks any of the warmth, subtlety or cleverness of network sibling Fresh Off the Boat, instead relying on listless sitcom clichés and broad, obvious jokes (accompanied by loud, unwarranted audience laughter). It’s completely tone-deaf when it comes to depicting modern youth culture, and it wastes talented supporting players.

The family sitcom material is less effective, although that could develop over time, especially as the joke of a TV lawyer practicing real law inevitably loses its novelty. For now, it’s clever enough to make The Grinder one of the better new comedies of the fall season.

The show’s version of Vegas is all sin and no city, with basic, glaring geography errors (a character runs through the distinctive sights of Fremont Street and in the next scene refers to it as the Strip). Its narrative and dramatic errors are even less forgivable.

Mostly it’s business as usual, which, for a show that apparently ran out of good ideas years ago, is not exactly promising.

Scream Queens is completely clueless about what’s actually scary, and its comedy is ugly and mean-spirited, full of hateful stereotypes and casual misogyny.

Beneath its loud insistence on its own urgency, Blindspot is a complete blank.

Minority Report is a straightforward cop show, with a familiar dynamic between the eccentric genius and the by-the-book detective. It’s gone from counterculture literature to generic network TV.

Moonbeam City certainly nails the aesthetics of cheapo ’80s cartoons and the cadence of bad cop dramas, but its jokes are weak and repetitive, coasting on their delivery by a voice cast full of celebrities.

The political machinations, led by True Blood’s Stephen Moyer as a devious chamberlain, are more interesting, especially when they delve into the complex dynamic between the English ruling class and the Welsh peasants. But Sutter seems more interested in severed limbs and mysterious pronouncements (he also gives himself the role of Annora’s disfigured, hooded companion, prone to delivering cryptic dialogue), at least so far.

Since it’s set up to promote Major League teams and Ferrell’s charity efforts, the show can’t take any serious satirical jabs, so instead Ferrell makes a few blandly humorous comments, and the rest of the running time is filled with some slick game-play footage and lots of high fives.

Hand of God’s bleakness doesn’t serve any greater purpose, and all the bluster says nothing about the nature of faith or revenge. Like its main character, the show ostentatiously wallows in sin and then tries to pass it off as genuine redemption.

Mostly the show is a breezy tour through history, sometimes informative but rarely affecting.

Unfortunately, the first episode is workmanlike to a fault: It sets up its characters, throwing in some forgettable, tedious character moments so we can care about them. Fear the Walking Dead doesn’t really kick into gear until Travis and Madison realize that the world has gone wrong.

Walter’s colleagues are just as depraved as he is, but their issues feel forced, more about crass, envelope-pushing jokes than character development. Stewart dives into his role with admirable gusto, but the show around him isn’t worthy of his talents.

Armisen and Hader star in each episode, alongside guest players like Jack Black and John Slattery, and their spot-on impressions are funny enough that it doesn’t really matter if the jokes are hit-and-miss.

When it focuses on the tragedy of Nick Wasicsko, Hero is fascinating, with Simon and co-writer William F. Zorzi tying together the personal and the political in an intelligent and often heartbreaking way. But the series is less successful when it comes to the various supporting characters.

With a cast expanded to include tons of popular comedic performers, First Day of Camp is frequently funny, even when its jokes don’t amount to much. Fans of the movie will probably watch it over and over again, making Netflix executives very happy. Everyone else will remain baffled.

As a music-industry story, Sex & Drugs is confused and outdated, with irritating, one-dimensional characters and self-consciously edgy humor. Like its protagonist, it’s mostly a sad relic straining to appear hip.

A mildly amusing pastiche.

Gaffigan’s show was originally developed for CBS, and it has the safe, middle-of-the-road quality of most CBS sitcoms, which makes it just right for TV Land’s mild reinvention.

The plot may or may not come together in the end, but the execution, with unimpressive acting and bland dialogue, is unlikely to improve. Brand name aside, Scream is a generic thriller with more pretty faces than creative ideas.