The producers of Pitch of course say that it’s a character-driven drama with baseball action in the mix but not a focal point of each weekly episode. Episode One, however, is appealingly diamond-centric, with Ginny’s travails and resolve (plus some well-chosen mood music) providing more than enough tension to engage even hardcore non-sports fans.

Crawford and Wayans prove to be a pretty good fit, as actors if not always as partners.

After a ridiculous opening bit--in which Maya recklessly drives the entire family to a restaurant whose 50 percent off coupon will expire in three minutes--both Driver and the show settle into a solid and for the most part amusing groove.

Wednesday’s opening episode, the only one made available for review, solidly sets the hook while only partly weaning Sutherland from all those years as Jack Bauer on 24.

This looks like a drama with a heart, a pulse and also the ability to skip a beat.

Weatherly is the here, the now and the only overriding reason to watch Bull. On his own or in the NCIS ensemble, his star quality is obvious and likely enough to carry Bull through a multi-season run.

All of this unfolds with complete and utter predictability amid a “Take my wife, please” collection of broad, flat, dated jokes delivered with a sledge hammer’s touch by Kevin and his coarse, chub-a-lub pals.

It shines through and stands out as the fall season’s best new comedy among the major broadcast networks. ... Her character is a fraud who so far doesn’t belong, but Bell herself is the very best thing about The Good Place.

There’s always a very outside chance that Son of Zorn could have the legs of an ALF in the annals of hybrids turned into weekly sitcoms. But this already looks like pretty thin stuff that’s not worth writing home about--not even from the planet Zephyria.

Divorced Sam Fox (Pamela Adlon) fights most of her battles on the domestic front in FX’s wonderfully biting Better Things.

For the most part, though, You’re the Worst keeps clicking as a decidedly “adult” look at thirtysomething infantilism.

Atlanta is very distinctively [Glover's] baby through and through.

A drama that accentuates mob violence but lacks the “charm,” humor and overall empathy generated by The Sopranos.

On paper this seemed as though it could be a bit of fun. In execution, it’s labored and way over-cooked.

A grossly uneven but still oft-scintillating mess-terpiece.

Vice Principals can be coarsely amusing in fits and spurts. But when it’s bad, it’s horrid.

The rooting interests are many and varied in a drama that’s held together by the strength of its convictions and characters.

This is HBO’s best “limited series” since Angels in America, which in 2004 won all of the major Emmy awards in its category.

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.

It starts to get better in Episode 2, courtesy of a killer raw rehearsal by the real-life band Reignwolf, which has been hastily signed to be the opening act in Memphis. The power of their music has some of the roadies believably transfixed. And for this short burst at least, the occasional magic of their profession is self-evident without any clunky pronouncements from Wilson’s Hanson.

The two episodes made available for review are not without pulling power. But how much staying power will American Gothic have over a long haul of 13 episodes ordered for Season One?

Animal Kingdom is nowhere near in the same league as The Americans or Fargo or the recently ended Justified. And if it’s trying to be Sons of Anarchy ... well, I think most viewers finally had enough of that, too.

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.

This one lands somewhere between a pleasant surprise and better-than-expected.

One of the better things about this series is its ongoing updates via clever Gilligan’s Island-esque sing-along lyrics preceding each new chapter. Better yet is Winstead’s assured, appealing performance as a D.C. tenderfoot thrust into a new world of mystery and political polarization that escalates once those bugs begin infesting and in some cases, exploding the heads of their prey.

Outcast is beautifully composed cinematically, with a conveniently nearby woods providing an extra layer of creepiness. By the end of the initial four episodes, a spellbinding hook has been set, with the mythology enticingly unfolding amid week-to-week new vistas in exorcism.

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