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.