American Housewife isn’t this fall’s best new comedy but it’s certainly one of the better offerings.

Issa’s troubles--and Insecure itself--feel authentic even if the series is only intermittently funny.

It’s hard to see what Frances saw in Robert that made her love him at some point, which, along with some crazy incidents, gives Divorce the sheen of absurd, heightened reality as opposed to a show that feels real.

No Tomorrow is original, quirky and fun, not another remixed superhero story or movie remake.

It’s slightly above average as this type of series is concerned but not something that will satisfy "Castle" fans still smarting from its cancellation.

Timeless is not serious, thoughtful TV. But it is well-produced, escapist fun that gives each of the lead characters some story engine baggage, especially the show’s lead, Lucy.

It is the definition of a slow-burn series, a program that should be exciting rendered as kind of dull.

Everything about MacGyver feels rote--from the constant bombardment of brotastic banter between Angus MacGyver (a bland Lucas Till, “X-Men: Apocalypse”) and ex-military sidekick Jack Dalton (George Eads, “CSI”) to the entirely predictable plot of the pilot that lays track for a seasonlong arc--and imbued with a CBS house style.

The pilot is slow but it builds to a twist that sets up the show’s first season and offers a solid enough foundation that encourages horror fans to come back for more.

Created and written by Dan Fogelman, This is Us manages the tricky task of telling emotional stories without getting too saccharine. And in each story, the characters are quite relatable.

Actually, the casting is pretty great and works well. Everything else about the show is pretty much what you'd expect. There are some fun action scenes and attempts at pathos, especially around Riggs and the death of his pregnant wife that's turned him into such a loose cannon. But Lethal Weapon also feels extremely familiar.

It's an OK CBS procedural where Weatherly's character, Dr. Jason Bull, always seems like the smartest guy in the room when he's running mock trials using a mock jury.

Speechless has its funny moments, but they are interspersed with So. Much. Yelling.

Designated Survivor pilot has its share of gaps in logic but it’s engrossing, if not entirely believable, and features the best opening scene of fall’s broadcast drama pilots.

The Good Place offers a clever high-concept premise that’s complemented with intelligent, sometimes absurdist humor.

It's a particular kind of wry, quiet, slightly depressing in its self-deprecation style of humor that won't be to every viewer's liking.

A languidly-paced hour that ultimately comes together in a satisfying manner. But have patience because it takes a while to get there.

Atlanta provides an interesting slice of life and a slice that's not often seen on TV.

[The Get Down] has its excellent musical moments and winning performances from a young cast of newcomers but too often it’s an indulgent, rambling bore, particularly in its overlong, almost 90-minute pilot.

Now it’s just a tired minor media property and product placement tool for Comcast, which gets name-checked multiple times. At this point, Sharknado deserves to sleep with the fishes.

It’s not homage as much as it is a recreation of a classic 1980s’ film stretched into eight episodes, a deeply satisfying series that’s all the more entertaining for anyone who grew up in the 1980s.

The two-episode premiere not only re-establishes the world of Mr. Robot but it also introduces new characters, expanding the show's world while still rooting it firmly in the present.

The A Word is at its most affecting when the focus is on Joe and his parents.

Deliberately paced but never dull, The Night Of offers a serialized criminal story that’s more interested in the characters and the criminal justice system’s process than in the crime itself.

Tyrant continues to fascinate even as it’s flawed. Adding Chris Noth as an American military leader with a connection to former first lady Leila (Moran Atias) doesn’t bring much to the series, which also suffers from a lack of sandy, panoramic exterior shots that marked the show’s first season.

With Roadies, Showtime debuts a series focused on a fresh subculture (the behind-the-scenes crew responsible for staging a rock band’s tour) with a lighter, if overly earnest, tone. Only one member of the band is shown in the pilot in a brief scene. This tactic might be an overly calculated conceit if the roadies were a less interesting bunch.

Will seeing a female drug dealer's rise (and potential fall if that bullet proves to be fatal, although I'm guessing it won't be) be enough to differentiate this series, told from a female point of view, and justify in investing in Queen of the South? It does seem like a more complicated, different character story. But plot-wise it's less interesting than, say, "Traffic," or certainly "Breaking Bad."

There are some intentionally light-hearted, even funny moments squeezed in here and there. The show's concept offers nothing really new for TV but it executes the wealthy, murderous family drama well enough for low-stakes summer programming.