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.

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

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

The plotting and counter-plotting in Tut are meshed with some fairly ambitious battle scenes and pulsating full-gallop chariot rides. Not everything is telegraphed, with Grand Vizier Ay in particular a fairly nuanced man of deception and feints.

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.

It somehow manages to be more inviting than ABC's new and thoroughly preposterous Zero Hour, although both series could be the stuff of sadistic semester-ending writing essays.

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.

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.

Super Fun Night isn’t entirely super-bad, but so far that’s about the good thing to be said about it.

It's far funnier than Fox's two still relatively new animated series, Bob's Burgers and Allen Gregory. Mickey Mouse it's not, though.

The whole thing comes off as uncomfortably clownish and insulting to viewers of any color, let alone African-Americans who have every right to cringe at such off-putting, clownish portrayals in times when FX’s immeasurably superior Atlanta has charted such bold new territory.

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.

Unsupervised might induce at least a small handful of smiles per episode. But only if its mood strikes you.

Hours two and three, also made available for review, are somewhat better executed [than the premiere episode].

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

Hemlock Grove overall falls well short of anything resembling sustained brilliance. Still, each episode may well push just enough buttons to pull you along to the next one.

Although its title is needlessly sub-juvenile, Oh Sit! does manage to be stupidly entertaining during its small handful of best moments.

For now it’s pretty much something you wouldn’t wish on your best friends.

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.

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.

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.

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.

The end result isn’t a very good biopic and certainly not a noble one.

Heavy-handed in both its law enforcement and dialogue.

Underwood tries hard throughout and is still a small-screen presence. But that doesn’t save Ironside from being thoroughly overcooked and stuffed with convoluted deductions on how the featured wrongdoing went down.

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.

The first episode is just too relentlessly clunky and stupid.

The Purge comes to television at exactly the wrong time. Not that there’s really a right time. The fact that it’s also clumsily made and rife with mediocre performances seems almost beside the point in the context of how pointless this thing is in the first place.