“American Dad!: Volume One”: The CIA, under attack, though covertly and with a nudge and a wink. This punchy, politically minded series from Fox follows CIA agent Stan Smith, whose bizarre life revolves around his dysfunctional family, which includes a cigarette-smoking alien who saved his life and the goldfish, Klaus, who speaks German and has his share of salacious asides. Hardly conventional, though right in line with the quirky animation Fox favors. “American Dad!” hasn’t come close to reaching its full potential – it’s too derivative, borrowing too liberally from Fox’s “Family Guy” (which makes sense since they share the same creator). Still, it is nicely off kilter, with a satisfying edge that hopefully will sharpen. Grade: B-

“Baby Boom/Mr. Mom – Double Feature”: A double feature in which children are the problem, then the reward. In “Baby Boom,” Diane Keaton gives one of her best, most appealing performances as J.C. Wiatt, a corporate powerhouse who decides to give up the city, give up her big life and move to Vermont to raise the child she inherited. In “Mr. Mom,” Michael Keaton’s Jack Butler is laid off from work, which leaves his wife, Caroline (a stellar Teri Garr), to wear the suit while he’s saddled with the kids. Each movie is a set up for crises, with “Mom” favoring shtick whereas “Boom” goes for the heart. Boom: A-. Mom: B+

“Kate & Allie: Season One”: Much of this series’ success came down to chemistry – Susan Saint James and Jane Curtin revealed in 1984 they had that indefinable “it.” As Kate McArdle (Saint James) and Allie Lowell (Curtin), two divorced, long-time friends who decide for better or worse to share living space with their families, what they found beneath the easy comedy was something deeper – struggle, survival, the necessity of friendship. Includes an interview with Saint James, a memorable cameo by Kelsey Grammer, and a preview episode from the second season. Grade: B

“The Lucy & Desi Collection”: Lucille Ball and Desi Arnaz together in a collection of three films, the lot of which could have been called “The Lucy & Desi Connection,” since it was during the 1940 production of “Too Many Girls” that the couple famously met and fell in love. Also featured is 1956’s jumpy “Forever Darling,” and Vincente Minnelli’s 1954 comedy, “The Long, Long Trailer,” in which Lucy’s red hair is a Technicolor volcano and the two stars set off for a disastrous honeymoon. Nice that they did – the movie is a delight. Grade: B+

“The Producers”: Susan Stroman’s funny version of Mel Brooks’ 1968 classic is an overproduced jewel, pure winged camp, with Nathan Lane and Matthew Broderick reprising the characters they played on Broadway and in London. Lane is Max Bialystock, the down-on-his-luck producer who realizes that a major Broadway flop might be a way to achieve great wealth. Broderick is Leo Bloom, the jittery accountant whose creative number crunching is exactly what Bialystock needs to bilk his little old ladies friends out of $2 million. Will Ferrell, Uma Thurman, Gary Beach and Roger Bart round out the screwy cast, which throws caution not into the wind, but into the toilet. Hilarious and appallingly undisciplined – just as it should be. Rated PG-13. Grade: B+

“Reba: The Complete Third Season”: Pure chicken-fried gravy, though straight from a can. This third season of “Reba” finds Reba McEntire’s Reba Hart proving once again that she’s a survivor. This time out, she must deal with her daughter, Kyra (Scarlett Pomers), moving in with her father, Brock, who dumped Reba in the first season for his dental hygienist. In the end, Reba’s life feels like a country song written by someone who grew up in the city – it’s big and it’s preachy, happy to favor stereotypes over authenticity and nuance. Grade: C+

“Red Dwarf VIII”: Only the Brits could pull off a sci-fi series as enjoyably twisted as “Red Dwarf,” which ends its eight-year run in this new boxed set from BBC Video. This is the least-inspired of an otherwise smart series, which got away from itself in season five, with episodes almost equally divided between the modestly entertaining and the mundane. This time out, Lister no longer is the last human in the universe as the original crew has been brought back thanks to Kryten’s nanobots. For fans of the show, this runs counter to its point and it sends the production askew, though not at the expense of a few big laughs. The extras are impressive and many, including a fine documentary that puts the show into perspective; commentary from cast and crew; deleted scenes – and, naturally, Smeg ups. Grade: B-

“Return to Me/At First Sight – Double Feature”: Love amid the failing body parts. In “Return to Me,” a nearly dead woman with a failing heart (Minnie Driver) receives the healthy heart of her future boyfriend’s (David Duchovny) newly dead wife. It’s a stretch, and a little creepy, but director Bonnie Hunt pulls it off with the grace and charm of her enormously likeable cast. The same can’t be said for “At First Sight,” in which a blind masseur (Val Kilmer) is allowed to see thanks to love-interest Amy (Mire Sorvino), who hooks him up with radical surgery that works. With his eyesight restored, love, confusion and melodrama bloom. Whereas “Return to Me” recalls the best romantic comedies of the 1950s – it could have starred Doris Day and Rock Hudson – “At First Sight” feels too much like “The First Draft.” Return: B+; Sight: C-.