Comfortably formulaic.. ... “Away” may not boldly go where no show has gone before, but it reminds us that watching likable people doing their best provides its own simple pleasures.

In the first few episodes made available for preview, not every bit worked--it may always be too soon for jokes about Hitler, for example. But the tone never gets mean.

Even with its first-night caution issues, his inaugural Tonight Show makes me think that Fallon is the perfect choice to take over a TV institution, giving it both tender loving care and a much-needed shake-up.

Abby's is so familiar it makes “Modern Family” look experimental. ... The cast members all click, with an easy chemistry that makes it seem like they’ve been working together for years. ... There’s something to be said for a show that’s made with confidence, that knows what it wants to be, and is about characters who like each other.

As always, you can't judge a late-night host by a first show. But Meyers' debut indicates that his blend of intelligence and goofy humor will be a welcome addition to the crowded late-night neighborhood.

Based on the first two episodes available for screening, Crisis is more promising than other recent network attempts to create a series that tells an ongoing story.

The fact that the show remains watchable, if challenging, is a testament to Perrotta and Lindelof's convincing portrait of how our society might respond to such an event. And Theroux's performance is a much-needed anchor to humanity.

["These Old Bones" is] a bit pat, and it’s definitely too long, but Turner is warm and peppery, Goodwin is likable, and by end of it, I admit it -- I was reaching for the tissues. ... More interesting, however, is “Jolene,” which isn’t exactly a folksy, feel-good number.

Though there are some appallingly comical notes, the Hulu “Catch-22” is more affecting than the movie, because it doesn’t stoop to easy cynicism. At times, it recalls the TV version of “M*A*S*H,” though “Catch-22” ultimately feels more sad and mournful than humorous, despite moments of skillful caricature.

Whether the Preacher series creative team will keep all its elements in balance or giddily drive off a cliff, is anybody's guess. But, judging from the early episodes, Preacher is a wild ride that will be worth hanging on for.

Though Riverdale works a bit too hard to shake off the wholesomely corny elements of vintage Archie comics, the show is a savvy teen melodrama, with high school characters whose wised-up-beyond-their-years attitudes may remind us of the early days of "Buffy the Vampire Slayer," "Glee" and the movie, "Mean Girls."

Lewis and Philippe have enough chemistry that his underplaying and her overplaying are a match made in whodunnit heaven. Secrets and Lies likely won't be earning any Emmy nominations, but it promises to be a juicy foray into melodramatic escapism, and sometimes, that's just what the TV-viewing evening calls for.

Rather soapy in its one-darned-thing-after-another storytelling, “Sanditon” is engaging, if a bit lightweight.

House of Cards has its own distinct, if shallow, pleasures, including Spacey, who just gets better and better as Frank.... Wright is Spacey's equal, and in Season 4, Claire is more stony and stoic than ever.

Laurie’s witty touch helps keeps things afloat, even when “Roadkill” loses velocity because of clumsy plotting and some too-blatant declarations of character flaws.

While “Moonbase 8” is often more relaxed than laugh-out-loud funny, it’s a step up from Netflix’s “Space Force,” which tried way too hard and wound up being seriously underwhelming.

The result is both charming and frustrating, entertaining but a tad underbaked. ... Carping aside, Season 3 has its pleasures, which include, as always, Midge’s color-coordinated, accessories-to-die-for ensembles (there’s an apt joke about her ridiculously huge wardrobe); the totally capable cast; awareness of the casual sexism that was an accepted part of life in the late ‘50s and early ‘60s; some snappy writing (“By the way, irregardless is not a word”); vivid production design, from a Vegas casino to Miami; and Luke Kirby’s lively performance as Lenny Bruce.

The satire isn't especially sharp, but the cast members throw themselves into the grotesque goings-on with full-on commitment.

In a gimmicky touch, it's narrated by a boy in a coma. But despite the easy grabs at our heartstrings–-who in their right mind isn't rooting for young people to get well?–-the pilot benefits from the vivid, likable performances of the cast.

Fortunately, with its nutty playfulness, 7 Days in Hell is 45 minutes of fast-moving, goofy fun.

He was overeager, a tad hyper, and trying to do too many things at once. But after a bumpy start, Colbert seemed to gain in confidence as the show wore on.

So far, at least, “Call Me Kat” isn’t likely to appeal to people who like to point out that they’ve never seen an episode of “The Big Bang Theory.” But, based on the first four episodes available for preview, “Call Me Kat” is unpretentious, eager to be liked, and easy to take.

Rene Balcer's writing and Lesli Linka Glatter's direction keep things moving, and if these two episodes don't promise anything terribly deep, they're packed with enough good performances and details (an alibi conversation revolving around a supposed meeting at the Beverly Hills Cheesecake Factory, for instance) to make us curious about what comes next.

Homeland shows signs of coming back to creative life.

Those are a lot of threads to knit together, and some feel looser than others.... But there are enough chilling scenes to make The Man in the High Castle genuinely disturbing.

With a tone that swings between action and slapstick comedy, The Librarians isn't likely to show up on any end of 2014 Top 10 lists. But its high energy and good cheer are a comfortable fit for the holiday season.

The Apple TV Plus series is consistently good-natured, and its creators are so obviously infatuated with musicals that even when the tone wobbles, or things get a little preachy, it’s still a breezy good time.

It would be more exciting if it took more chances. It's an earnest effort, and reminds us that all that compelling stories don't need to be told with an English accent.