For now, Lucky 7 is a grabber with strong potential for further viewer investment.

Chaos can be amusing in spots, although it's hard to envision it as a long-distance runner. It might be housing a breakout star, though [in James Murray].

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.

The whole enterprise is alternately laughable and affecting without committing the eighth deadly sin of being boring.

The 24 franchise still takes itself very seriously and perhaps will somehow sort things out from a basic believability standpoint as time marches on. But in the first four hours, it’s too often 24: Cuckoo Clock.

This seems like a serviceable drama that merits a bit better ladder grade (heh-heh) for an improved second hour.

Expect nothing new under the sun from a drama set in San Antonio, filmed in New Mexico and falling flat wherever the cameras might roll.

This thing appears to be going nowhere fast. And it’s already taking way too long to get there.

Alex, Inc. is an enjoyably comfy fit among all of those fellow ABC family comedies. Braff and Imperioli are the name brands, but the wife and kids quickly make their own strong and appealing impressions.

There are ample interesting ingredients here. But two subsequent episodes--Fox for some reason hasn’t provided the second one--are comparably hit and miss.

Happyish has a few genuinely imaginative moments amid its many, many excesses. But in the end, it’s too much of a one-note Hell-On-Earth “Greatest Hits” album whose principal characters have the overall appeal of vinegar-drenched cotton candy.

Its hip replacement is a cast that's been around the block and knows how to act accordingly.

Salem is replete with scenes that make little sense. It’s mostly a jumble of decent enough special effects, less-than-decent acting, a script that also should be lashed with “10 hard ones” and lots of blood-curdling screaming.

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.

Life Sentence has an off-putting preciousness to it while grinding through one “crisis” after another. It doesn’t earn any sympathies because its principal characters don’t merit much more than one big “Oh, shaddup!” With the exception, perhaps, of poor Wes.

It all makes for a promising start on a network whose best comedies invariably wind up on Thursday nights. Whitney is already there, and looks as though it just might belong.

Well, the play’s the thing in this one, but Johnson is the hammer and tongs. At age 65, he still seems up to the challenge of stirring up this little petroleum potboiler. The kids are all right but he’s the man.

Tthe season’s slightest new sitcom on a network that has done much better by this genre in recent seasons with the likes of Young Sheldon, Mom and Life In Pieces. In this case, the premise simply has no foreseeable promise.

None of this qualifies as breezy spring/summertime entertainment. Still, if apocalyptic drama is your entertainment of choice, then Containment might well keep you contented.

This is, however, one of those shows that a viewer easily can love to hate. And in that context, Love in the Wild is very well equipped to both go the distance and even be invited back next summer.

Kirk just doesn't click in the lead role. Nor do most of the words he's given.

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.

It all comes out pretty well in the wash. Same Name gets fairly close to sealing the deal on the idea that celebs can learn something from just plain folks.

There’s considerable techno-talk in the premiere episode, with little of it making much sense.

Phillippe and Lewis as the two principal characters are not potent enough to get the juices flowing in an unfolding crime tale that’s neither terrible nor scintillating.

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.

There’s a bit of a free-form Arrested Development vibe in play, but not enough to elevate Working the Engels to anywhere near that level.

Although the acting can be a bit mechanical, Syfy’s Z Nation may have enough pop, intrigue and indispensable gore to serve as more than a mere placeholder for AMC’s The Walking Dead.