Breaking Greenville is stupid fun for all, even if some of the featured players almost assuredly will bitch about being edited into cartoons of themselves.

The performances, particularly by Zendaya, Schaefer and Ferreira -- are not the problem. But getting “real” doesn’t have to mean diving head first into a cesspool of drugs, profanity, promiscuity and a borderline indifference to it all. That’s where Euphoria so far fails not only itself, but the many impressionable youth that likely will be the series’ core audience.

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.”

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

How to Live is decently performed in light of the oft over-reaching material at hand.

It’s kind of all over the map for starters, with the funny business sometimes peeking through the clouds while also hiding behind them.

The Code, which is both nicely produced and also thoroughly predictable, looks destined to likewise get a Season Two.

Too much of Black Monday is sounds and furious self-absorption/deception.

Although affecting at times, Parade's End tends to congeal rather than gel.

Red Widow isn't as compelling as Last Resort was in its early episodes. But it's appreciably better than those other two. Still, consumer confidence in Red Widow's staying power should be rightfully suspect at best. And in Sunday's second half, the premise already shows some signs of unraveling on the road to potential ridiculosity.

Fox made the first two episodes available for review. They’re watchable but also sadly a little comical, with Jack again all clenched up while speaking in a gasping-for-air rasp or silently clenching his jaw.

The scripts are serviceable, although some lines land with a Richter Scale thud.

Its spirit is willing, but the construction has foundation problems.

The overall effect isn’t quite intoxicating, and it might be better if you’re intoxicated in one form or another. Still, Sharknado 2: The Second One is part of a continuing pop culture chain of events that doubles as a rags-to-riches success story for a likable rag-tag director.

It’s fairly sturdy and convincingly gruesome in terms of showing a variety of battle wounds. It’s also predictable and oftentimes stilted, with the dialogue regularly preachy.

Cooper and Pulver are fine in the lead roles, although there’s little to like about either character’s comportment. The music swells on cue but the story just doesn’t jell.

Dominion perhaps has the makings of a passable post-apocalyptic tale. But it can also be over-wrought and half-baked, with a premise that never really delivers any of the implied biblical goods.

There’s nothing wrong in aspiring to be purely entertaining. Good Cop is quite good at that in Episode 1, but pretty much falls on its face in the second hour. Each story ends with a newspaper headline teasing the next one.

Client List ends up being easy on the eyes, harder on the ears and likely destined to become a bell-ringer in the ratings for a network that needs another hit scripted series other than Army Wives.

For his first Monday night face-off against those two dramas, Holloway strips down to a glistening muscular torso while taking out his frustrations on a heavy boxing bag. But any visual stimulus is countered by Helgenberger’s continued struggles with the clunky lines given her.

Helix isn’t always laughable, though, and at times can be pretty gripping. The makeup and props departments also have done their jobs well. But can this story sustain itself for 13 hours within a claustrophobic frozen outpost? Crises and mini-revelations are dispensed with the frequency of commercial breaks.

Quantico moves along briskly without nailing down an overall believability.

Rodeo Girls so far has stopped short of giving its stars and their story lines enough rope to hang themselves. Instead It manages to jingle jangle jingle its way toward an overall entertaining first hour of animal desires occasionally played out on horseback.

The Art of More is high on production values but low on basic believability with its discombobulated tale of two very amoral New York art auction houses.

The Bible has the misfortune of looking cheap in comparison to the visual feast provided by the preceding Vikings. And the acting isn't nearly strong enough to overcome this.

McCormack, in designer stubble, is no better than ordinary in the lead role. Nor are the cases at hand all that compelling.

The opening hour ends with an unexpected, big boom of a cliffhanger designed to bring viewers back for more. In that it’s unique. Otherwise The Brave is broad-stroked and pro forma in highly volatile times both at home and abroad.

Beyond selling the glamour of it all, Pan Am may be very hard-pressed to come up with weekly storylines that impel viewers to climb aboard.

There’s always a very outside chance that Son of Zorn could have the legs of an ALF in the annals of hybrids turned into weekly sitcoms. But this already looks like pretty thin stuff that’s not worth writing home about--not even from the planet Zephyria.

Being neck-deep in a muddy, murky eerie canal gets tiresome in due time. And the performances aren’t all that hot either in this adaptation of Michael Marshall Smith’s 2007 novel.

A cute little closing segment isn't enough to offset all the forced comedy preceding it.

For better or worse, Sean Saves the World is exactly what he wants it to be--an old school, joke-loaded, histrionic showcase for himself.

Night Shift won’t make anyone forget the glories of NBC’s ER at the height of its powers. It shows some signs of being a passable summertime drama series, though.

There are moments in Here and Now that threaten to turn the corner and reward a viewer’s patience. But just as quickly, things bog down again. The acting isn’t at fault, but the preachments and overall ponderousness are.

The premise may not sound shopworn. But CBS’ Instinct otherwise is extraordinarily ordinary at best as a midseason replacement for the failed Wisdom of the Crowd.

There are signs of improvement, though, even if Mullally tends to over-do it in the "brash and bold" department while holdover Christian Slater remains in place as the downgraded former head dude known only as Oz.

Buoyed by two blow-away performances by U2, Fallon got past a rather obsequious start in which he walked viewers through the basic mechanics of a monologue and said he’d be doing 10 minutes worth every night in case the Jay Leno faithful might have thought otherwise.

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

The whole enterprise seems way too wobbly to walk upright under its own power.

On CSI: Cyber, Ryan and her team act very swiftly, oftentimes preposterously so. Computer graphics whiz and buzz. And then, just like that, another suspect is chased down and vetted by Ryan, who seemingly needs nothing more than a burp or a twitch to determine who the bad guys are and who they are not.

Rosewood can be fun in spots, but more often is way over-cooked.

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

Although laboring like the rest of them in servitude to a mostly nondescript script and a standard issue Marvel plot, Rheon makes the most of his latest dastardly character. Villainy still suits him, even if the drop in quality from Game of Thrones to Marvel’s Inhumans is both obvious and precipitous.

A show that again shows us what we already know. Politicians are a collective group of crooks who very seldom get what they deserve.

Subtract its clunky dialogue, ludicrous plot devices and empowerment nonsense, and you're left with its heightened sense of pulchritude.

I liked this first episode better the first time around. Upon further review, its excesses and kitchen sink humor aren't wearing as well.

This possibly could work, and isn't entirely unwatchable.

This is one hell of a hellish slog toward a redemption that isn’t really earned, given what Ebenezer once did to Bob Cratchit’s desperate wife, a woman of color played by Vinette Robinson.

It's Celebrity Rehab in open spaces with drinking allowed. And during an extremely weak moment, your friendly content provider is going to admit that this steaming pile turns out to be guilty pleasure-approved, even if it's almost assuredly all an act on the part of everyone.

There’s little zing for starters, though, with the one-liners inching up a steep hill before sliding back down.

Heavy-handed in both its law enforcement and dialogue.

Harden is a fine actress, but the show’s writers too often give her heavy-handed lines that are the equivalent of cauterizing a head wound with a blow torch.

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.

Tudyk camps it up as Van Wayne, sometimes amusingly so. A villain known as Jack O’Lantern also gets off a bit of a zinger while flying overhead. ... The opening comic book credits are pretty cool, too. Powerless otherwise is notably short on pop or long-term promise, with things staying pretty flat throughout Thursday’s scene-setter.

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.

Adapted from the Dutch series Overspel (adultery), Betrayal is consistently overwrought.

Rosenbaum has an amusing moment or two, but nothing to make anyone grin with the stereotypical wideness of the church’s gay staffer. The marginally funnier stuff occurs away from the parish.

Black Box at least has moments of unintentional high comedy in Catherine Black’s loopy magic carpet rides. But the series nonetheless takes itself way too seriously to be taken seriously.

So hard-hitting it's not.

None of the performances so far are enough to override or ameliorate all the concoctions and detours of the TV version.

This season instantly ratchets up the sadism with the aforementioned treatment of a comely corpse as a living doll. Unlike the first time around, that’s pretty much doused my interest in playing along any further.

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.

Campbell-Martin very ably acquits herself while Walker runs a little low on overall oomph. Together they're less than dynamite, but capable of a few sparks.

Hotel Hell is every bit as watchable--in a morbidly fascinating way--as his other Fox crock pots.

Some fun possibly can be had here amid all the back-stabbing, sneering, secrecy and infidelity.

CBS has taken major steps to make its new fall series considerably more diverse than last time. The Neighborhood hits that mark, but also marches to the same-old/same-old sitcom beats.

There’s some enjoyment to be had from the lead performances of real-life best friends Emily Mortimer (The Newsroom) and Dolly Wells (Bridget Jones’s Diary). A brisk walk would be better for you, though.

This is basic paint-by-the-numbers storytelling despite the otherworldly premise. Both Ghost Whisperer and Medium had stronger grips and more interesting women as their center stage psychics.

The principal cast members are appealing enough, providing perhaps some hope that the material will mature and measure up to them in future episodes. For now, though, it’s mostly hammer-over-the-head time.

It's much more a bare-bones recitation, with some interesting sidelights in the telling.

There's nothing particularly striking or compelling here. But at least the escapee of the week will meet his fate at the end of each episode.

Atwell’s performance is solid enough, particularly when Armstrong is around for badgering purposes. But the weekly skirmishes with “The System” end in ways that at best strain credulity.

Maybe the content also will rise to the level of the art deco-ish visuals. But the opening episode has an overall creepy feel to it, paced of course by a seven-year-old's carnal longings for his gruff sexagenerian principal.

Despite being a quickly canceled hand-me-down, Fool Us remains fairly watchable throughout Wednesday’s premiere episode.

The premiere hour includes heavy lay-of-the-land narration by Magnum, perhaps in part because the character dialogue can be pretty clunky at times. ... The Hawaiian scenery remains gorgeous and crossover episodes with the Hawaii Five-0 guys are inevitable. This time around, the new Magnum also will have romantic possibilities with Higgins, who’s already sending some signals.

The older you are, the more you might respond to the oft-clunky, middle-aged craziness of The Paul Reiser Show.

The food looks pretty good. But that’s not enough to keep this drama from rising above basic cafeteria fare.

Another two hours (minus commercials) of thoroughly mindless entertainment in which lots of celebrities are harmed at the end of their cameo appearances.

Just don’t expect much more than Boreanaz’s command presence in Seal Team. You’ll see where it’s going long before it gets there, no matter how far off the missions might be.

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.

Reverie is brightly colored and nicely designed when it’s tripping. But it’s also all over the place, and probably not worth the overall trouble of trying to grasp whatever the rules of this game are, were or will be.

Shameless instead is about as uplifting as rectal cancer, even though it's hard not to at least respect the gumption and resilience of Fiona. Rossum's performance in this role is all together pretty terrific.

There’s possibly some potential here. But the only episode of Schooled made available for review neither rings the bell--or answers it.

A conveyor belt of death-defying and death-dispensing action scenes.

The problem isn’t with the overall look of Syfy’s The Expanse. Production values are first-rate through and through. But having little or no earthly idea of what’s going on can be a problem, even with the lengthy printed preamble greeting viewers of the Monday, Dec. 14th premiere episode

Being gross, graphic and disagreeable has not kept Shameless from having a long run on Showtime. SMILF is in that vein, and perhaps also will find enough of an audience to sustain it. It’s hard to know what going to work anymore. But this one just doesn’t work for me.

Missing's clue unraveling is barely believable when it's not simply preposterous.

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

In the end, though, justice is served. Although with Bruckheimer, the serving spoon again tends to be a sledgehammer.

The game itself gets bogged down with a succession of gratingly easy questions that turn Round 1 into a rather boring marathon.

666 Park Avenue doesn't entirely lack a pulse, but doesn't get the blood rushing either.

Breslin and Prattes are more or less adequate in the pivotal lead roles, but certainly no match for the smoldering chemistry that Swayze and Grey displayed both on and off the dance floor.

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.

Alphas looks fairly good on paper, but never catches fire. And its use of Strathairn is even more of a fizzle.

Shedding otherwise is groaningly familiar in every way with its mix of taskmaster trainers, supportive yet firm host and heavyweights who are in it to win it.

Smits is solid enough as the patriarch of Bluff City Law while McGee also makes her presence felt in some scenes. Overall, though, this is yet another same old, same old broadcast network drama series.

The give-and-take living room scenes between Murphy and Avery so far are the best and most natural parts of this reboot. ... Murphy Brown, through these first three episodes, is aggressively polemic to the point of diminished returns.

In short, nothing really jumps off the screen here.