Red Widow isn't as compelling as Last Resort was in its early episodes. But it's appreciably better than those other two. Still, consumer confidence in Red Widow's staying power should be rightfully suspect at best. And in Sunday's second half, the premise already shows some signs of unraveling on the road to potential ridiculosity.

Kirk just doesn't click in the lead role. Nor do most of the words he's given.

This is, however, one of those shows that a viewer easily can love to hate. And in that context, Love in the Wild is very well equipped to both go the distance and even be invited back next summer.

How to Live is decently performed in light of the oft over-reaching material at hand.

An improbably entertaining outing that initially finds Kathy Bates' character reclining at her office desk while smoking pot and bemoaning her fate.

There are signs of improvement, though, even if Mullally tends to over-do it in the "brash and bold" department while holdover Christian Slater remains in place as the downgraded former head dude known only as Oz.

It's a genuinely chilling four-hour adaptation of the tireless horror-meister's 1998 bestseller.

Sullivan & Son is utterly artless in its efforts to be an equal opportunity offender.

The game itself gets bogged down with a succession of gratingly easy questions that turn Round 1 into a rather boring marathon.

It has its moments and is well-appointed with seasoned actors who know how to hit their marks. So if you like Hot In Cleveland, then by all means stick around.

Drescher still looks good a dozen years removed from the last season of The Nanny. But the lines coming from her mouth are too obvious for words.

Gummer's a gamer, investing her lead character with smarts, compassion and no small amount of discombobulation. She injects the ordinary with her own unique prescription brand pick-me-ups, making Emily Owens bearable when it's not fully embraceable.

You'll likely guess every development at least a minute or two beforehand. But Peterman's enthusiasm for her role is tangibly contagious, making it possible that a decent percentage of opening night viewers might RSVP in the affirmative to this show's overall "Ya'll come back, ya hear" motif.

3 rises above the genre's usually tawdry trappings, even if the opening episode is more than a bit static.

It somehow manages to be more inviting than ABC's new and thoroughly preposterous Zero Hour, although both series could be the stuff of sadistic semester-ending writing essays.

Shedding otherwise is groaningly familiar in every way with its mix of taskmaster trainers, supportive yet firm host and heavyweights who are in it to win it.

Hemlock Grove overall falls well short of anything resembling sustained brilliance. Still, each episode may well push just enough buttons to pull you along to the next one.

None of this really clicks.

It's far funnier than Fox's two still relatively new animated series, Bob's Burgers and Allen Gregory. Mickey Mouse it's not, though.

Unsupervised might induce at least a small handful of smiles per episode. But only if its mood strikes you.

Subtract its clunky dialogue, ludicrous plot devices and empowerment nonsense, and you're left with its heightened sense of pulchritude.

The Bible has the misfortune of looking cheap in comparison to the visual feast provided by the preceding Vikings. And the acting isn't nearly strong enough to overcome this.

They're [the initial episodes of Anger Management are] somewhat more amusing than expected.

Unfocused, unfunny and all together unbearable, Perfect Couples at least affords NBC a chance to hit rock bottom before the new owners begin their massive cleanup effort.

Client List ends up being easy on the eyes, harder on the ears and likely destined to become a bell-ringer in the ratings for a network that needs another hit scripted series other than Army Wives.

It goes down pretty easy if you'd like to set down for a spell with a disarmingly pleasant little down-home melodrama.

It's a thoroughly ordinary series on what's increasingly an inconsequential night in the not-so-grand broadcast network scheme of things.

Suspect Behavior is in every way a grind, with even the usually very capable Whitaker looking lost at sea with his halting, stumbling, keep-pausing-for-effect portrayal of crime team head Sam "Coop" Cooper.