It’s still the usual story of women being victimized and mutilated. Wicked City otherwise is no great shakes in the script department, with Sisto’s Roth spitting out too many lines from a well-worn playbook.

As always, though, it’s all in the execution. And Supergirl’s plucky central character, very winningly played by Benoist, looks good to go for this season and beyond.

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.

Crazy Ex-Girlfriend romps and rolls without really missing a beat.

It all meshes together in enthralling fashion with a tale that’s understandable and a setting that’s tailor made for picturesque vistas. Last Kingdom livens up Saturday nights with Emmy caliber storytelling and oft-sumptuous production values.

The first four episodes sent for review give every indication that this all-new story with mostly new characters will reach if not surpass FX’s first time around with Billy Bob Thornton, Martin Freeman, Allison Tolman, Colin Hanks, Bob Odenkirk, Keith Carradine, etc.

The grins and angst menu serves Casual well at times, but perhaps not well enough to keep a majority of first-time samplers coming back for more.

Its graphic and constant violence, including some very bad treatment of those two Swedish girls, is gratuitous, upsetting and prurient.... AHS: Hotel has the subtlety and texture of Gaga’s ill-considered meat dress.

Less funny than a compound fracture, this is a show that looks irreparably broken.

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.

It all makes for a nice enough start to a comedy that already appears to have a pretty happy ending in the bank after just the first episode.

This one looks like a keeper but certainly not a sleeper. Lowe’s recent track record and pre-sold star power already make The Grinder a comedy of which much is expected--and so far delivered.

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.

Quantico moves along briskly without nailing down an overall believability.

Above all, there’s a world to be saved. But Heroes Reborn so far is anything but a world-beater when it comes to cohesive, comprehendible storytelling.

Winchester is a solid enough presence as Kane.... Although this isn’t a flat-out terrible series, don’t bet on NBC having a winner opposite fearsome time slot competition from CBS’ Thursday Night Football and ABC’s How to Get Away with Murder. No one likes those odds.

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

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 problem, at least for now, is whether the show can find a happy medium between sharpening itself without resorting to any crude or unduly cutting humor. These first two episodes are watchable enough.

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.

Blindspot has an initially intriguing premise and a compelling co-lead in Alexander. But there’s also some Silly Putty in play here, with Weller’s hard-charging man of action at times laughably intense amid all this oh-so deadly serious business.

Life in Pieces offers some very good reasons to walk on the wild side and let the laughs come without any in-show inducements. Whether that’s still asking too much is one of the new season’s more intriguing open questions.

Fox is pairing Minority Report with an amped-up second season of Gotham while sending former Monday night incumbent Sleepy Hollow to Thursdays. It looks like a solid one-two punch of crisp, stylized cop dramas that are visually resplendent without losing sight of character development.

Stephen Colbert’s better half generally has been the second halves of his still formative show.

There’s a lot of gibberish and meandering accompanying the visceral bloodshed. The palace intrigues aren’t all that interesting.

Hand of God’s strengths are its elongated scenes, enabling the characters ample time to play off one another.... The wheels keep turning but can take too long to get rolling while the plot hits some ruts in the road.

Moura as Escobar doesn’t bring the overall manic and sometimes comic intensity of Al Pacino’s Tony Montana in Scarface. He’s never dull, though, giving Narcos a thoroughly sinister presence who’s capable of anything and will stop at nothing.

The Carmichael Show won’t win any prizes for originality. It does, however, play very well with the above-average material it has. That’s in no small part due to the well-blended cast.