Through its first three episodes, Yellowstone is big and broad and a little too full of misfires. But it’s never as determinedly over the top as Dallas or Dynasty, both of which can be seen as ancestors.

This all probably sounds ridiculous, and pretty much is. Even so, Valor is more entertaining and accessible in its own way than network TV’s two other hard-charging combat hours. Ochoa and Barr blast off in their lead roles and also play well together.

The Inbetweeners seems to be experiencing the growing pains of its principal characters. A better start would have been preferable, but at least the show's weekly slings and arrows are pointing upward.

Over the top? Yeah. Closer to the truth of the matter? That, too.

It bounces off the walls of St. Matthew’s, with its rush-about protagonist flirting, sobbing, threatening, cajoling and commiserating, all the while trying to find the true meaning of something or other. Sedative, please. STAT.

The initial two hours move along at a fairly crisp pace, complete with skulking and several close calls but next to nothing spent on special effects.

Da Vinci’s Demons halfway succeeds on the strength of its vigorous, devil-may-care approach, even if it’s also almost thoroughly preposterous in terms of the central character’s deductive powers and abilities.

Fuller House isn’t going to win any awards for being exactly what its predecessor was--an utterly formulaic sitcom that ranked among prime-time’s 20 most popular series in four of its eight seasons. But seriously, it’s a surprise to see how well the grown-up Bure, Sweetin and Barber work together in the service of a show that employed them as kids, cast them off and now is welcoming them back instead of re-casting.

But oh the machinations. And diversions. And overly long, leisurely scenes that keep sinking Game of Thrones into a quicksand of its own making.

Superior Donuts may well get stale in a hurry. But it’s on a network that somehow has kept the idiotic and likewise eatery-themed 2 Broke Girls on the air for an astonishing six seasons. And this one is better than that.

A Gifted Man won't kill any brain cells if you want to give it a try. But it's not all there yet with an unwieldy mix that also includes two life-threatening cases, a few scenes with Michael's frazzled sister, Christina (Julie Benz) and her problematic teen son and an attempted exorcism of sorts by a mystic named Anton (Pablo Schreiber).

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.

The Resident already seems to be straining credulity with the demonic Dr. Bell. How long can he rule with an iron fist as the hospital’s most-requested celebrity surgeon? That hand isn’t getting any steadier while his ego shows no sign of downsizing. This isn’t supposed to be a soap opera in the mode of Dallas, so Bell seemingly can’t get away with being a broadly drawn J.R. Ewing. Something’s got to give. And I’m interested just enough in The Resident to see if something soon does.

Epps has his moments, the kids are well-cast and there are a few good lines. But you won’t be missing much if your Tuesday nights are already reserved for NBC’s competing America’s Got Talent.

Thursday's series premiere ends up being watchable but not really something to phone your friends about.

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.

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.

The Blacklist is watchable but patently unbelievable and increasingly unpalatable.

[The show] results in a picturesque endeavor that otherwise suffers from a lot of padded redundancy.

There are likely to be more to come on a network that only occasionally fails to keep its crime hours in play for multiple seasons. Ransom is easier to take than some of them, and with a hero who doesn’t have to brandish a gun to get the job done.

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

They're [the initial episodes of Anger Management are] somewhat more amusing than expected.

Their [Eliza and Henry's] odd couple liaison occasionally begins clicking from a humor standpoint.

Alley, Perlman and Richards were far more gainfully employed on their previous classic comedy series. Now they’re in a sense doing dinner theater in Yuma but seemingly having a good time together nonetheless.

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

The Mindy Project is a minor disappointment in light of all the accomplished guest stars populating its opening half-hour.

The story dawdles at times, despite efforts to spice things up with some of that good ol’ Old Testament iniquity.

Welcome to the Family is a passable half-hour that fends for itself without a laugh track and manages to deliver a few un-goosed grins.