It's both a promising and foreboding series, with class warfare an ever-present force that wants no part of any idealized forms of truth, justice and the American way.

HBO subscribers thereby are the beneficiaries of a film with star power and staying power. It won’t surprise you with its outcome--or for the most part, how it gets there. But it may well have more of an impact than anticipated.

Sometimes you just want a single serving, with the table cleared by episode's end. This one keeps passing its spinning plates while re-stating the obvious.

Go On obviously won't be off the charts ratings-wise, as Friends was for most of its run. It might settle in, though, with Perry still a solidly capable comedic actor looking to nest a while.

I liked this first episode better the first time around. Upon further review, its excesses and kitchen sink humor aren't wearing as well.

Fans of the fantastical can do far worse than Once Upon A Time, which manages to both stir the pulse and please the senses with its beautifully imagined medieval times.

The best new crime drama of the fall season doesn't necessarily have to be an original idea. It just has to have the right people in place.

Cougar Town remains amusing in fits and spurts.

Shameless instead is about as uplifting as rectal cancer, even though it's hard not to at least respect the gumption and resilience of Fiona. Rossum's performance in this role is all together pretty terrific.

A&E's Bates Motel is both mesmerizing and sometimes absurd in its rewind to Norman Bates (Freddie Highmore) as a repressed 17-year-old.

Sunday's 90-minute premiere makes for an unintended hoot, both ridiculous and often ridiculously watchable.

It shows only scant signs of life while also failing to be all that revealing about the unique profession it depicts.

The River in comparison seems like stale tap water, unworthy of any prolonged big drink of time or effort.

Together they'll be the brains and brawn of this operation in times when the broadcast networks aren't particularly interested in take-charge men with acquired tastes for pounding the hell out of bad guys--or shooting them in their thighs. Thanks. We maybe needed that.

Cedric the Entertainer, Nash and Beasley go with this flow--and flow pretty well.

Whatever your religious beliefs--or lack thereof--The American Bible Challenge is good for the soul. It's also the best new game show in years.

Some of its imagery is arresting. But this is mostly a sorry, unfortunate and even contemptuous enterprise.

A cute little closing segment isn't enough to offset all the forced comedy preceding it.

Major Crimes has the makings of a very sturdy reboot outfitted with a built-in philosophical debate over how justice is served. Supporting characters are newly invigorated, particularly Bailey's Provenza.

Terra Nova certainly doesn't lack ambition and scope, which is a plus. But its first two hours fall short in the storytelling department.

Not everything is letter-perfect about The Big C. But Linney sure is--and that's more than enough.

Falling Skies holds few if any surprises, although its action scenes and impressively designed creatures still have pulling power.

Revolution, which has the overall look and feel of a big budget feature, delivers some consistently terrific action scenes.

Hotel Hell is every bit as watchable--in a morbidly fascinating way--as his other Fox crock pots.

Over the top? Yeah. Closer to the truth of the matter? That, too.

LOLA for its part shows signs of getting that old Law & Order moxie back.

House of Lies' excesses tend to be counter-balanced by its overall look and feel. The production values are first-rate and the storytelling is crisp.

Its spirit is willing, but the construction has foundation problems.