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See how we grade all of this season's freshman series

Shaun Harrison
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So many new shows, so little time! With a handful of fall TV casualties already — RIP Animal Practice, Partners, Made in Jersey, Last Resort and 666 Park Avenue — it's time to assess what's worth keeping on your DVR, and what you can safely skip.
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Arrow (The CW)

The Good: Stephen Amell's unnerving performance as the ruthless, dead-eyed vigilante is a welcome change from TV's tradition of squeaky-clean superheroes. Props to the producers, who revealed the protagonist's secret identity (to Ollie's bodyguard Diggle) in the third episode. The Bad: Outside of the quiver-grabber himself, the rest of the characters (ahem, Laurel) are thinly written, leading to some bland, inconsistent performances. We could also do without Ollie's clunky, overwrought — and frankly unnecessary — voiceover. Show, don't tell. Grade: B+
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Beauty and the Beast (The CW)

The Good: Um, they're both easy on the eyes. Kristin Kreuk and Jay Ryan's chemistry has improved since the pilot. we were actually kind of bummed that they didn't kiss last week. The Bad: The dialogue is still painfully riddled with clichés, but it's still not as bad as the Beast's fight moves. His combat skills are mind-boggingly laughable sometimes, as the show hasn't seem to have figured out yet how he would attack. Does he go Hulk or zombie? Also, we still don't buy Kreuk as a cop. Sorry! Grade: D
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Ben and Kate (Fox)

The Good: Nat Faxon and Dakota Johnson bring a lived-in realism to their sibling alter egos. Johnson, in particular, has been a real revelation, making Kate's smart awkwardness believable in a way that that of New Girl Jess isn't. The Bad: Though everyone has had their moments of wackiness, the show can't let scene-stealers Tommy (Echo Kellum), BJ (Lucy Punch) and Maddie (Maggie Elizabeth Jones) run away with everything. Grade: B
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Chicago Fire (NBC)

The Good: The show's fire sequences are competent action set-pieces, and the ongoing beef between Casey and dirty cop Detective Voight has given the show a much-needed human antagonist. The Bad: Although the show hits what it's aiming for, it all adds up to a generic amalgam of other firefighter/emergency worker shows that came before it. And don't even get us started on Jesse Spencer's accent. Grade: C
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Elementary (CBS)

The Good: Jonny Lee Miller has tons of fun adding quirky new complexities to the classic Sherlock Holmes. And even though this show is the epitome of a CBS procedural, Miller's chemistry with Lucy Liu's Watson (and the slow reveal of Holmes' past with Irene Adler) continue to illuminate Holmes' damaged character. The Bad: Many of the cases thus far have been forgettable. When your show stars the world's greatest detective, the puzzles he's solving need to have a certain degree of difficulty. Grade: B+
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Emily Owens, M.D. (The CW)

The Good: Mamie Gummer is a delightful talent, and we're still holding out hope for a Meryl Streep guest spot. (Indulge our delusions!) The Bad: The show is pushing the "real world is just like high school" metaphor into unsubtle territory. Despite Gummer's best efforts, Emily is gratingly unlikable, low on self-confidence, and overly talkative — except when she's incapacitated by the presence of her crush. Even actual 14-year-old girls are smoother than that. Grade: C-
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Go On (NBC)

The Good: Grief is funny, guys! There were doubters, given the premise, but the comedy has managed to strike a balance between absurd yet sweet humor and raw emotion, thanks to Matthew Perry's subtle touches and the deep bench of actors (Laura Benanti, Julie White, Tyler James Williams, Suzy Nakamura, Brett Gelman and Bill Cobbs) who make up the eclectic transitions group. The Bad: There are times that Ryan's job blends in seamlessly with the rest of the show (e.g. Ryan giving Owen an internship), but more often than not, John Cho & Co. are just not nearly as compelling. Grade: B+
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Guys with Kids NBC)

The Good: Jesse Bradford, Anthony Anderson and Zach Cregger have a great rapport, but it's the lovable chemistry between Anderson and Tempestt Bledsoe that has us wishing the show was just about them. Plus: The babies are adorable! The Bad: Yes, the jokes are generic and often too easy, but it's Chris' heinous, demanding ex-wife Sheila (Erinn Hayes) that is truly unbearable — and unwatchable. What do you see in her, Kareem Abdul-Jabbar?! Grade: C
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Malibu Country (ABC)

The Good: Reba McEntire's charm helps sell an otherwise standard family sitcom. And we love Lily Tomlin. The Bad: But Tomlin's wasted here as the cartoonish pot-smoking grandmother. There's nothing here we haven't seen before on other sitcoms — including six seasons of Reba. Grade: C
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The Mindy Project (Fox)

The Good: Mindy Kaling's willingness to play a flawed, abrasive character is refreshing, as is her constant lampooning of pop culture and single ladies stereotypes. (Though that shouldn't be surprising if you've read her book.) The Bad: The writers need to find a way to make Mindy somewhat sympathetic before the good doc veers too deep into the "unappealing lead" category. Like its airing schedule so far, the plots have also been shaky, and the supporting players have been underdeveloped and sometimes underused. We get that it's Kaling's brainchild, but it can't always be about Mindy. Grade: B-
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The Mob Doctor (Fox)

The Good: The "mob" portion of the show is actually pretty compelling, especially Michael Rappaport's Moretti, who continues to be a thorn in Constantine's side. The Bad: Pretty much everything else is laughably unrealistic. Whether it's Grace constantly being called out of surgery at Constantine's command or her one-note relationship with in-the-dark Brett, we have a hard time believing (or caring) about Grace's mob-ligations. Grade: C-
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Nashville (ABC)

The Good: We're not exactly country music fans, but the songs from this show are on repeat on our iPods. And Hayden Panettiere's Juliette Barnes is such a perfect balance of oversexed diva and lonely superstar at the top that we're actually rooting for her. (We're surprised too!) The Bad: Many of the major story lines set up in the pilot are spinning their wheels in the same place instead of moving forward. (One exception: the mayoral campaign, which feels like it belongs on another show altogether.) And we love Connie Britton, y'all, but right now, her Rayna James is one of the show's least compelling characters. Well, except for Scarlett and Avery. Grade: B-
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The Neighbors (ABC)

The Good: The show's alien premise is silly, but if you give yourself over to it, Lenny Venito and Jami Gertz are able to wring (sometimes bigger than we expected) laughs out of the material. The Bad: We wish the show didn't think naming the aliens after sports stars is as hilarious as it does. It's a one-time joke that keeps playing over and over. Grade: C+
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The New Normal (NBC)

The Good: Bebe Wood — and her impeccable Grey Gardens impression — is fantastic, and Ryan Murphy, thankfully, hasn't plagued the heartwarming comedy with his usual over-the-top, heavy-handed craziness (see: Nip/Tuck, Glee, American Horror Story). Yet. The Bad: NeNe Leakes' wooden acting is distracting compared to the core five (Wood, Andrew Rannells, Justin Bartha, Georgia King, Ellen Barkin), and her one-note delivery is as predictable as it is boring. You hooked her up with a show, Ryan, so hook her up with some acting classes now! Grade: B-
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Revolution (NBC)

The Good: So far, the show his sidestepped some of the land mines of the post-Lost world. Mixing swashbuckling action with small-but-significant reveals about the characters' past and what caused the blackout, the show has found its footing, The Bad: Charlie, the show's would-be kickass heroine, is often derailed by her grating poutiness. Also, why is NBC benching its biggest hit for four months again? Grade: B+
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Vegas (CBS)

The Good: The all-star cast, led by Dennis Quaid and Michael Chiklis, turn in fine (if sometimes melodramatic) work. In particular, Chiklis' mob boss Vincent Savino is so charismatic it's hard to root against his dreams of ruling Las Vegas. The Bad: The show thus far hasn't really tapped into the hedonistic potential of its "Vegas-before-it-was-Vegas" setting. Plus: CBS seems unwilling to gamble on these characters, continually squeezing them into case-of-the-week stories that are often paint-by-numbers. Grade: B-