Sunday night's opening episode, Public Relations, delivers some jaw-dropping moments.

Homeland has a chance to be a much tighter--and smarter--endeavor with more nuance than "24" ever had. But if a cougar suddenly appears, and/or if someone comes back from the dead, all bets are off.

Stick with it, and this Sherlock proves to be a fun and exhilarating TV experience.

Those who make the investment are richly rewarded. There's enough tension, betrayal, treachery, greed and sex, after all, to fill eight seasons of "Scandal."

By the end of the opener, a web of intriguing plot lines (and their treacherous overtones) are firmly in place. As ensuing episodes unfold, the story finds its beating heart as the characters substantially deepen.

That Thrones remains so utterly unpredictable makes it even more mesmerizing.

The top-notch acting is still intact, as is the attention to aesthetic detail.

Season 6 jumps ahead in time and launches with a beautifully written, contemplative two-hour opener called "The Doorway."

Treme, probably more than any piece of cinematic fiction set in New Orleans, feels like an authentic experience. As you watch it--and slowly savor it--you can practically taste the red beans and rice.

As its lofty production price tag suggests, The Pacific is bursting with epic sprawl and extravagance. But like any effective film of its kind, it also contains a brand of intimacy that will have you bonding with its characters and caring deeply about their fates.

The lively script by Geoffrey Ward covers a lot of ground and offers keen insights via interviews, not only with experts but regular folk who lived through the era.

It's captivating, and also poignant.

An irresistible blend of soapy shenanigans, domestic tension, political intrigue and catchy tunes.

Some of the characters are so simplistically drawn that it's laughable. On the other hand, we love these characters so much and we're having such a jolly good time that we just can't resist Downton Abbey.

Initially, these and other fresh characters make Season 3 feel overcrowded--and we pity any new fan trying to make sense of it all. But by the middle of the second episode, the show begins to gain traction and sucks you in with its new set of tantalizing mysteries.

Season 3 gets off to a fine and frothy start.

Whereas most entries in the musty genre are simply inclined to go for cheap shrieks and lofty body counts, this saga defies expectations with a more humanistic approach.

The show is at its best when the confrontational tension among the humans is palpable.

To be sure, the show is like any other crime drama in that it contains darkness and violence--some of it erupting in unexpected ways. But there are enough new wrinkles here to make anyone who takes a chance on it feel thoroughly justified.

Based on the first two installments of a 13-episode season, it will continue to have viewers perched on the edge of their sofas.

The boys are at their best when mocking the absurdities of what they find on television.

But the feeling here is that Simon may have dipped into his Baltimore crime well one too many times. Tonight's pilot episode, while intriguing in spots, is hampered by a convoluted tangle of multiple plot threads and numerous characters, most of whom seem to have no interesting wrinkles. Worse yet, the story moves at an annoyingly sluggish pace. [1 June 2002, p.4]

Crossfire Hurricane deftly blends vintage concert footage, TV broadcasts, pieces of key songs and clips from other documentaries in with voiced-over highlights from 80 hours of fresh interviews with current and past band members--all conducted off-screen.

The rather trite concept is freshened up by some colorful writing that actually happens to be funny, and by engaging "Odd Couple"-like performances from Sheen and Cryer, who play well off each other. The series is also a prime-time rarity - a sweet domestic comedy that isn't overly sappy. [22 Sept 2003, p.D01]

Burns puts forth a dazzling spread of vintage clips and still photographs, and his love for baseball is palpable throughout. Fellow fans will appreciate how the film celebrates the resilience and enduring appeal of the game.

Fortunately, the new Steel Magnolias turns out to be a full 90 minutes of wonderful.

Although the show features strong performances and is piercing in its emotional honesty, it also get bogged down in its own existential angst.

It's a scattershot approach that ultimately undermines what is admirable about Luck, including some gorgeous photography.

Despite all the implausibilities and irritations, Switched manages to make a positive impression, thanks to some sturdy writing and solid performances that adequately sell the premise.

For some, it has become a mostly predictable, tired pattern that causes eyes to roll. But for those who can still check their critical capacities at the door--even after seven seasons--24 continues to make for pulse-pounding, nail-biting comfort food.

Last Resort [is] another epic, ambitious and distinctive new show that is cause for excitement.

If you've ever wondered how television screws up so many promising projects, check out Episodes, a new Showtime series with Matt LeBlanc that provides the answers in deliciously hilarious detail.

Arrow does what a solid pilot should: Suck us in, make us anxious to see what's next and set up several intriguing possibilities.

As it turns out, Veep might be even more hilarious if it didn't hit so uncomfortably close to the truth.

Friday's moody pilot unfolds at a listless pace and, occasionally, gets bogged down in its own density. But in it's favor, there are enough compelling characters and tantalizing questions to keep us engaged for the time being.

It all makes for a scattered, hit-or-miss proposition. Some gags land. Others fall flat.

The solid acting performances and the family dynamics contained in Blue Bloods make for an absorbing hour of television.

Whatever the case, it's a blast to watch Valley's character squirm his way out of a major mess, while keeping his droll sense of humor intact. Human Target never will be a big-time Emmy magnet, but as a piece of good, escapist fun, it definitely hits the mark.

It manages to remain faithful to the tone and lively style of the original. Newcomers really don't have to be well-versed in Torchwood lore or "Doctor Who," the series that spawned it, to get a kick out of sci-fi craziness of it all.

Lux is one of those cute, quippy, ultra-mature teens you find only on TV. And several plot points unfortunately come across as false. But it doesn't matter. The lead characters in Life Unexpected are so likable, and the interactions between them feel so natural, that you find yourself willing to give the show lots of slack.

The good news is that Kaling and her writers have crafted a character who is competent at her job, not a goofball in scrubs. And they've offset the show's dreamy sweetness with plenty of snarky bite.

Community can be too consciously zany at times and occasionally misses more than it hits. But from the early looks of things, it seems to be holding up just fine.

Hannibal is a sturdy offering, one that keeps viewers guessing and tensions simmering. Most TV crime shows have a tendency to quickly fade from memory. This one just might haunt your dreams.

The good news is that Sunday's two-hour opener answers several key questions in relatively rapid fashion and in ways that don't seem totally unreasonable. The bad news is that it also puts Sarah back at square one, and therein lies the problem.

Viewers turned off by the bitterly boisterous, superficial and often one-sided confrontations on the cable news channels might find The Sunset Limited to be refreshing in some ways.

Some viewers will delight in the edgy humor, while others undoubtedly will want to slap an extra-tight muzzle on Wilfred.

Has a solid premise and a lavish look. The show's signature visual gimmick features characters morphing into their younger selves. Then there's the appealing Rush, who makes a very strong first impression. [27 Sept 2003, p.D01]

Though Nikita is certainly dark, it's not as unbearably so as the USA cable version, which was too slick and soulless for its own good. The new version feels much more like a rollicking popcorn thrill ride.

Brody's portrayal of the wise but nerdy Seth energizes The O.C. He's comical without being cartoonish, and the humorous touches he brings to the story help to lighten up a show that at times feels overly heavy. Here's hoping the script writers don't leave his character in the dust in favor of chasing more glamorous story lines. [5 Aug 2003, p.D01]

Hamming it up big time, William H. Macy plays a booze-addled father of six kids in this uneven drama that seems more intent on taking its pay-cable liberties (nudity, profanity, etc.) to the extreme than weaving an engaging story.

A compelling thriller.

CBS has presented viewers with an exciting gift this fall. Their "Five-0" update not only doesn't stink, it's an action-packed, easy-on-the-eyes thrill ride that is slicker and sexier than the original series that aired from 1968 to '80.

Fortunately, as the saga unfolds, it delves into fresher territory, and Political Animals becomes an intriguing, even occasionally humorous, family soap opera.

So far, though, it has mostly kept its ambition in check, preferring to follow the playbook of a typical crime procedural, with a little more darkness and a little less energy.

While the show does contain a few obvious penis punch lines, it is so much more than its gimmicky name suggests, offering plenty of heart, along with worthwhile riffs on the national economy, American resourcefulness and, yes, gender dynamics.

What Up All Night has over other baby-rearing shows is a refreshing irreverence.

Sunday's explosive two-hour opener boldly delivers on the promise by TNT producers to rev up both the pace and the firepower in Season 2.

You get sort of an odd, been-there-done-that feeling when watching the pilot, which contains, to varying degrees, traces of "The Hunger Games," "The Walking Dead," "FlashForward," "Jericho," "Lost" (Elizabeth Mitchell is in the cast) and other dystopian fare.

The cast around Washington is also quite solid, and the show looks and is refreshingly different from a typical procedural. But it also feels a little too slick and superficial, and those gaps in logic may be a problem for some viewers.

Not everything worked, of course, and anyone expecting Conan to reinvent the wheel or drastically shake up the genre is probably disappointed. But if you were simply glad to see his brand of quirky comedy back in late night--and free of the network guardrails--it was cause for celebration.

The pilot episode isn't a total knockout, coming off as a tad bland and safe. Although Abrams does enough to hold our interest, it feels like he's let up on the gas pedal.

Dallas is teeming with the soapy plots, delectable eye candy and bad blood we crave in our TV guilty pleasures. It also maintains the general tone of the original without devolving into camp.

Most TV shows, after all, quickly fade from memory. This one will haunt your dreams.

What it lacks thus far are the laugh-out-loud oments that made the movie such a joy....That's not to say Parenthood isn't worth a look. Graham, the adorable "Gilmore Girls" alum, rocks the heck out of every scene she's in.

The good news is that it doesn't stink. The even better news is that it's clever and sophisticated and immediately outclasses most of the comedies currently on network television -- not that the bar is set to breathtaking heights. [24 Mar 2005, p.D01]

Fortunately, the series has enough edge and action and compelling conflict to keep it from getting mired in sap. Berlanti, in fact, has humorously referred to Everwood as "'Our Town' on crack" and he may have something there. [16 Sept 2002, p.D1]

Entourage is showing its age, but still offers a reliable dose of frat-boy humor and Hollywood-style hilarity. It also continues to be a show where men ride high (in more ways than one).

From Spector's verbal bluster, to all the chatter about ballistics and forensics, it's a very talkie 90 minutes, occasionally punctuated by a haunting soundtrack. But the high-caliber performers, as well as Mamet's sparkling dialogue, keep things compelling.

A contrived, yet effective, piece of feel-good television.

Ringer may not be able to match the Master of Suspense at the top of his game, but it does a great job of creating a constant state of queasy tension.

What's more bothersome about Skins from a critical standpoint is the thin plotting, the aimless narrative, and the generally flat and artificial feel of the production.

I'd rather spend time with an edgy show that aims high and sometimes falls short, than one that doesn't.... Welcome back, Mr. Sorkin. It's a pleasure to have you.

For now, though, Delany is enough to hold our attention. With a deft touch, she blends just enough warmth and vulnerability with the sass and smarts to make it all palatable.

Through the early episodes, nothing really happens that you couldn't see coming. Still, the setting is so seductive, the period details so vivid and the acting so stellar, that it's as intoxicating as a potent mojito.

Breakout Kings manages to compensate for its lack of creative ambition with some lively writing, good pacing and an off-kilter sense of humor. It is also blessed with a colorful cast of characters.

While these [butt-kicking] scenes contain a certain intensity and exhilaration, you can't help but think that, had the writers of Missing devoted as much time to plot and character as they did to the fighting, they might have wound up with a much more enjoyable show.

Unfortunately, things just never really gel in a pilot episode that falls flat and is only intermittently funny....In fact, only Janney, whose gleefully oblivious character spews un-PC zingers and keeps a huge self-portrait in her office, makes a truly fresh impression.

The opener is riddled with juvenile humor consisting of jokes pegged to corpses, crotches and child molestation. It's almost enough to trigger a case of mad cow disease.

Unfortunately, The Cape fails to fly. Lyons has all the charisma of a fence post, and the leaden scripts bring no fresh twists to the genre.

Some viewers will be riveted to the sex, violence, beautiful nude bods and sensory gluttony of Spartacus: Blood and Sand. Others will be turned off almost instantly.

If you're a sucker for tangled mysteries--and are in need of a few heebie-jeebies--the show has enough oomph to its early episodes to suck you in.

Surely it will have Palin lovers rushing to plant wet smooches on the screen and all the haters citing it as proof that TV is, indeed, full of dreck.

With her winning smile, Southern twang and a tough-but-tender demeanor, Giddish makes for an instantly appealing lead. Unfortunately, she's about the only thing going for Chase, which is hampered by an unimaginative script.

Rogue does a nice job of methodically building an unsettling mood.

The Playboy Club isn't in the same league, or even the same galaxy, as the critically adored "Mad Men." While the latter offers nuance and depth and keen insights into its era, the former settles for stock characters, cliches and superficiality, punctuated by a lot of come-hither looks.

Based on two preview episodes, Anger Management is at least more interesting than "Two and a Half Men" (take that, Ashton Kutcher). That's certainly not saying much, though.

Malibu Country is so old school, in fact, that it feels like a leftover from ABC's TGIF days, complete with a studio audience, an irritating laugh track and a sitcomy march-time pace.

The problem is there's nothing here that hasn't been done before, and often done better. Even more disheartening: The cast, which includes Matt Long and Billy Zane, is stocked with forgettable and/or boorish characters.

We're left with a shrill sitcom that's hard not to hate.

Very little of it feels fresh or funny. Nor does Allen's character strike me as someone viewers would want to spend a great deal of time with.

Unfortunately, no one pops off the screen the way Farrah once did.