Spielberg has always had a facility for casting children and a fondness for the supernatural. In The Whispers he also gets the adult mix right in a bracingly good and shivery serial drama with much to show and tell in the first three hours.

Graves assuredly will turn off some viewers with its title character’s U-turns from previous conservative positions on military spending and illegal immigration. The series clearly has an “agenda,” but isn’t all that artful in putting it forth. Nolte’s performance is energetic without being particularly memorable.

For now, it's a disappointing polemic that mainly offends by being lazily or awkwardly executed more often than not.

Those who book full passage for Season One’s 10 episodes may or may not get full closure. The Alienist, which closes out Episode 2 with Moore at the mercy of gangland forces and their young boy prostitutes, so far is trying terribly hard to be darkly spellbinding. Toward that end, it has yet to make its case.

Episode 2 is considerably weaker than the watchable premiere.

At its best is dumb fun. Johnny, Hank and rookie EMT Brian of course keep making a fine mess of things. They also mesh together pretty well in a series that bracingly is without a detracting laugh track.

One of the better things about this series is its ongoing updates via clever Gilligan’s Island-esque sing-along lyrics preceding each new chapter. Better yet is Winstead’s assured, appealing performance as a D.C. tenderfoot thrust into a new world of mystery and political polarization that escalates once those bugs begin infesting and in some cases, exploding the heads of their prey.

The music has its moments and the comedy occasionally rattles home. Not nearly often enough to make it "Very Funny." But worth a few grins and maybe even a shimmy shake.

Turn never quite turns the corner in its first three episodes, but perhaps will perk up a bit if the recurring George Washington (Ian Kahn) finally makes his presence felt.

Aniston fully takes command and registers the best “serious” performance of her career while Witherspoon and Carell also are fully and convincingly invested. It all makes for a series that is anything but sunny side up.

Dreyfuss play [Madoff] to the hilt. It’s a juicy part for an aging actor who’s likewise fortunate to have the always good Danner along for the ride. Together they make Madoff a watchable yet curious undertaking.

Suits is made of somewhat sterner stuff than other USA originals. But it always gets down to how well the lead characters hold up. Once again, it looks as though we have a winner on a network that knows what it's all about while big brother NBC keeps stumbling on TV's main stage of actors and their roles.

The Passage, which shows considerable promise in these early episodes. Thanks to Gosselaar and Sidney, the all-important human element goes hand-in-hand with all the sci-fi ins and outs.

Screenwriter Sarah Phelps has deftly adapted Rowling’s novel into a cautionary, metaphorical tale that pulls its weight and measuredly draws one in.

The first five episodes made available for review are underwhelming and under-achieving.

Serviceable yet unremarkable. ... 9-1-1 is a match for the overall quality of NBC’s Chicago trifecta. None of race-to-the-rescue, life-and-death dramas are anywhere near Emmy caliber. But if there’s room for one more -- and quite likely there is -- then Fox certainly could do worse than a comparatively blood-less but decently executed series from a producer who still hits more than he misses.

One doesn’t expect a whole lot of nuance from Last Ship maestro Michael Bay, who’s also produced all four Transformers movies, with another one in the works. You just sit back, swallow this thing whole and wait for sturdy, studly, stolid Captain Chandler to fire off another round of uniformed rhetoric.

It promises to be quite a juggling act, with Leary as balls-out as ever in the early going of his latest daring enterprise.

The semi-dreaded but not altogether unwelcome "not terrible" tag is visited upon CBS' latest Monday night comedy entry.

Riveting at the start and somewhat less so as time marches on. Crowe’s portrayal of Ailes of course is the major drawing card, and he is nothing if not fully immersed. The characters around him can’t help but pale in comparison, but it would help if some of the supporting roles were more vividly acted.

Unlike Cheers, the newcomer has inclusiveness going for it. But the writing is no match at all.

The World According to Dick Cheney instead is nuts-and-bolts bland and overly deferential.

In the end, Phil Spector succeeds on the strength of its two marquee thespians. Mirren is wonderful throughout, Pacino scores in double figures and they have enough scenes together to make it all well worth your while.

For now, the three lead performances are uniformly winning while the pacing is bracingly brisk. The male characters in large part are furniture to be moved around in service to the women’s varying predicaments and aspirations.

Unfortunately, Bomb Girls is affixed with an oft-overwrought and at times just plain clunky script.

There’d be no hope for the future were every millennial this way. But as voices of a hopefully very small subset of their generation, Povitsky and Aflalo are funny enough in spots to make a go of it as two oddly self-aware non-starters.

It’s a character study first and foremost, with a sure-handed sense of time and place.

All in all it's a pretty deft mix of violence, pathos and ethos via a vampire, a werewolf and a ghost as roomies.

Its graphic and constant violence, including some very bad treatment of those two Swedish girls, is gratuitous, upsetting and prurient.... AHS: Hotel has the subtlety and texture of Gaga’s ill-considered meat dress.

Low on initial appeal and likewise short on originality, it’s a bleak ’n’ grim undertaking that just doesn’t seem built for the long haul.

Some interesting conversation does seep through, though, as part of what the host terms "the universal language of women."

Chris Carter seems to be creatively bankrupt at this point, with Episode 3 screaming out a vote of no confidence. For a while at least--early in Episode 1--it was kind of nice to see Scully tell Mulder, “I’m always happy to see you.” And for him to reply in turn, “And I’m always happy to have a reason.” But then the story went on, straining, lurching and tripping before falling flat on its face.

The first two episodes flex a fair amount of pulling power, even though nothing really jumps off the page. The series could use a more galvanizing, take-charge sleuth than Epps portrays.

Its characters and situations are alternately aggravating, humorous and, to a lesser extent, poignant. Parker and Church are fully in charge throughout as a perfectly imperfect duo. Yes, they’re both that good--in a series that demands just that.

American Housewife so far is too busy taking offense to be much fun to watch.

It’s an ambitious, sprawling undertaking.

Beals’ sturdy performance is an overall plus, but Proof has a harder time selling its basic week-to-week premise.

Rise doesn’t elevate to the heights of Friday Night Lights with either its storytelling or performances. But it’s heartfelt from start to finish while also offering an overall feel-good respite from television’s ongoing obsessions with “true crime” and all things Trump.

[Sarah Shahi] plays this lead role with assurance and aplomb, elevating the entire enterprise in the process.

Once Upon A Time In Wonderland is very nice to look at, particularly in homes that have upgraded from rabbit ears. Its speaking parts, though, are sometimes better heard at low volume.

It’s a very energetic two-hour premiere replete with cartoonish screams and schemes. But a cesspool runs through it in the person of the noxious Chanel.

Those who get through the first several hours of this meandering mystery/morality play may well be invested to see it all the way through. It’s not terrible in the end. Nor is it spellbinding or particularly memorable.

The Catch takes a while to kick in, afflicting viewers with way too much of Pitbull’s “Fireball” during an extended early game of now-you-see-me-now-you-don’t.

The Crossing has just enough going for it to invite a second look. Then again, it doesn’t yet seem dynamic enough to be worth a long-term investment--or a short-term disappointment if ABC cancels it without resolving much of anything.

Caan’s perfectly clipped delivery and his daughter’s well-timed comebacks make Back in the Game at least a standup double if not a sliding triple.

Stroma and Rodriguez have some sweet getting-to-know-you moments together while Bowman has presence as a menace run amuck. Still, by the end of Episode 2, a dull-edged redundancy is already starting to set in.

It’s terrific fun as well as involving drama.

Howerton makes the most of his central ribald rogue role while Oswalt seemingly was built to be a bumbler. Neither character is believably employed--if that really matters. Beyond that, A.P. Bio suffices as a teacher-student comedy.

Legends is too pockmarked with standard issue dialogue and situations to merit any awards for the series as a whole. But Bean, who this time is assured of staying vertical, might have enough pop in his performance to break on through.

Watsons Go to Birmingham is well-meaning to a fault and would play well as a teaching tool in elementary school classrooms.

Queen of the South, based on the first three episodes, knows how to dawdle a little without ever slowing to a crawl. The action scenes are gripping, the language can be rough within the expanding confines of ad-supported basic cable and the glimpses of the flesh are fairly bold at times.

The two protagonists carry the day, though. C.B. and Robin are well worth rooting for as they sift their way through both the crimes at hand and their own personal dilemmas. So keep writing these characters, J.K. Rowling. They’re every bit as down to earth as Harry Potter was fantastical.

Batwoman sometimes drops the ball. It’s a brand name with several new twists. But it also can seem like another one off the assembly line.

It’s basically another short-burst, talking heads/clip show with too much to cover and not nearly enough time to do so.

Ritter brings solid appeal to the title role while Herbert Gregory has a strong grip on her “warrior for God.” Even so, Saves the World can be overly goofy at times and remains murky in terms of just what Kevin represents or is supposed to do as “the last of the righteous.” Whatever the potholes in the plot, Saves the World commendably aspires to be bracing and uplifting in times when a second coming of Touched By An Angel might just do a world of good.

Tuesday's premiere certainly has enough intrigue for starters. What it needs is more overall electricity.

Bitten is mildly diverting while also being pretty goofy in spots--even for a werewolf drama.

This so far is an overall sturdy production that re-details the lives and deaths of high-powered hoods.

Despite its letdown ending, oft-jumpy storytelling and extreme liberties with Manson in particular, Aquarius also leaves a mark as a chancy and difficult undertaking by a mainstream broadcast network. Duchovny is up to this task with a sturdy and watchable center-ring performance.

Hello Ladies already seems well-worn by the end of Episode 2. Some of Merchant’s asides are amusing enough, but not to the point of caring one way or the other about what befalls his character.

The Crazy Ones may not be fall’s worst new comedy series, but its premiere episode easily is the biggest underachiever.

The Family’s chances of anything close to long-term survival seem iffy at best. Unlike Secrets and Lies, its cast of characters and premise are set in concrete. Or perhaps quicksand if recent history proves prophetic.

Weird Loners instead re-shuffles the aimless singles deck before falling well short of coming up aces.

The new Gong Show set is a suitably gaudy mix of reds and oranges, Which proves to be perfect for Married with Bananas (don’t ask) and Uncle Clutch, a fright mask-wearing slayer whose thorough commitment to character is quite hilarious.

As with CW’s ongoing and likewise newly Latina-centered Charmed do-over, the story already seems played out in times when re-exploiting name brands unfortunately has become an end in itself.

Crossing Lines isn’t breezy enough for a summer diversion. Instead it’s ponderous, pretentious and too predictable.

Graceland is nothing to get all shook up about.

So far it’s strictly so-so on the storytelling front, but with some scenes that raise the bar beyond that. Those mostly involve Light, though. And she’s not the one who’s supposed to carry the load.

It all gets pretty involving in time. Based on the first three hours, this is a sturdy production from a producer/scriptwriter (Chris Chibnall) whose well-appointed credits include Torchwood, Doctor Who and the United Kingdom version of Law & Order.

Unlike The Flash, Arrow and Supergirl, there arguably are too many characters to service here. Add a lot of attendant gobbledygook and mostly shopworn banter.

Carnival Row, whether airborne or down-to-earth gritty, keeps flexing the power of its oft-breathtaking visuals. The worlds it creates are the greater sums of its whole while the messages it sends can be a little two telegraphed.

AnnaSophia Robb is appealing enough in the title role, but Monday's first episode starts to sag from all the CW-ian title character narration and overall pop tune heaviness.

The Assets just can’t get untracked, lumbering through its first two hours without any sense of purpose, style or urgency.

The newcomer is unlikely to provoke much dinner table conversation, but goes down easily enough while trying not to leave any really bitter aftertastes.

Deadly Class also misfires at times with this tale of disaffected, dysfunctional young outlaws being trained to lethally rage against the machine. But the first four episodes also vividly embed themselves with their blend of fierce action, relatable characters, striking visuals and a pounding, dynamic soundtrack that offsets some of the ham-fisted spoken words.

Just OK, even with the first two episodes directed by the still esteemed Barry Levinson (Rain Man, Diner). This is a series that tends too often tends to drag rather than pull viewers along.

Lost in Space didn’t have to be very good at all to improve on either the original or the movie. Still, it’s much better than might have been expected, as is Netflix’s ongoing One Day At a Time reboot. The Robinsons and their antagonists look good to go again.

Red Band Society has enough lightness of being and appealing characters to counterbalance its overall sobering premise.

Viewers are advised to stay with Grace and Frankie and watch it both blossom and bear fruit. It’s not a great, game-changing series by any means. At least not yet.

The Bold Type in fact seems to have one type in mind--and it isn’t anyone with even a remotely plain face or a few extra pounds. Whatever points it labors to make are blunted by all its beautiful people.

All in all, this is a light-hearted series that also looks as though it's going to be light-headed in terms of basic story construction.

Virtually every joke lands with a resounding thud.

Happy Endings quickly gets its game in gear and emerges as ABC's best new sitcom since Better Off Ted unfortunately failed to find an audience.

The ripping good special effects of Syfy’s Defiance harken to Fox’s recently failed and likewise futuristic Terra Nova, which also popped the eyes. In each case, the bigger your DVD screen, the better. Another shared trait: the scripts and story lines tend to be cliche-heavy and sense-dulling predictable.

The first episode is a cut or two better than so-so, with Cooper’s brief but pivotal appearance something that many opening night viewers might be willing to wait on. Don’t get too used to him, though.

Bob Hearts Abishola feels good -- and good to go -- the second Olowofoyeku enters the picture and begins riffing with Gardell. They seem to be made for one another -- at first as actors and eventually as characters whose future dating ups and downs should keep this show on a steady, agreeable course.

Damned if it doesn't pretty much work. The O'Neals are still quite a duo, whether they end up staunching a lot of those old wounds or opening new ones.

Falco is fine in this role and Jaeger brings some nice touches to the role of detective Zoeller. Josh Charles (The Good Wife) adds a little extra marquee value as the brothers’ compromised psychiatrist, Dr. Jerome Oziel. ... Just don’t expect any style points or departures from the straight ahead Wolf playbook.

Power has some pull, but maybe not enough to win a tug of war. Its overall pacing could use a perk-up and its portrayals of minorities (who twice drop the n-word) might take more heat if 50 Cent wasn’t both calling the shots and rapping a theme song that includes the lyric, “I’m an undercover liar. I lie under the covers.”

Chicago Justice, which some also see as something of a lightly camouflaged Law & Order reboot, gives NBC another steady hand that’s also no great shakes. But it’ll do, and Wolf very likely has more where it came from.

It's not a great series, but it looks to be a solidly commercial one.

Game of Silence does a pretty solid job of stitching together flashbacks and the ongoing efforts to get justice either by the book or by any means necessary. The strongest performance is by Raymond-James as the deeply tormented, trigger-tempered Gil.

In short, nothing really jumps off the screen here.

Comic Book Men is a pleasant surprise and an overall splash of fragrant cologne on the smell test-flunking reality genre.

Its lead characters for the most part are appealing and accessible, even if their machinations aren’t always well-oiled.

Me, Myself & Irene appears to have boxed itself in. The opening episode is pleasant enough to watch, although not really very amusing. But the prospects for a sustainable series seem highly limited by all that unfolds here.

If you liked Sons of Anarchy, which ended up as one of FX’s most-watched drama series, then you’re very likely to roll with this one, too.

The Comedians is a decently prepared entree with just enough bursts of flavor.