I'm interested but not engrossed, though it offers the potential for a change-up in the Dexter storyline.

The early episodes of season three, though, find SoA retaining what there was to love about it--the well-drawn characters, including the strong women in SAMCRO and its orbit--while expanding the show as well.

The people around Jackie made me stick with this show even when its main storyline was going nowhere, but now that it's committed to really engaging with its title character, it's become appointment TV for me again.

Daisies has a timeless, picture-book look. It could be set today, in the '30s, in the '70s or in any other decade fond of saturated color. Like Chuck herself, it's a perfect candidate for a second chance: as glowing and lovable as the day we first met it.

Shot intimately with handheld camera, it's a moving but unsentimental celebration of community, of pulling together not just because it's right but also because it's necessary.

Colbert is the series' rock, and a straightman contrast to the constantly yammering Person, his driver. As the stoic enigma and the hopped-up smart-ass speed through the desert landscape, you could almost take Kill for a surreal road comedy.

I've seen two weeks of the season, and so far I'm rapt. In Treatment may be in uncharted ground with its new, original stories, but it remains a show that rewards patience, and patients.

The Dust Bowl is a powerful documentary about what human efforts can achieve and what short-term thinking can wreak.

If The Walking Dead can build on its promise and run with these ideas, along with unflinching gross-out thrills, it can tell a doomsday story with all the things zombies crave: brains, guts and heart.

Rapper Sean Combs holds his own as ambitious son Walter Lee Jr., but Phylicia Rashad is devastating as a matriarch trying to hold her family together when a dream deferred turns dangerous.

The tense pilot suggests the series has a few twists up its sleeve and a cast up to the challenge.

Curb, meanwhile, stopped being appointment viewing for me a couple seasons ago, but it threatens to become so again.

The result is a new-style western that's both entertaining and as mesmerizing as Givens' cold-blooded speech to the crook with the scattergun.

A low-key but moving documentary about these two low-key people and their moving struggle.

As a documentary, Vito is fairly straightforward, but by finding a thread connecting Russo's life, his passions and his times, it manages to be something more.

There are signs that the premise may not sustain for long (the title, after all, gives it only a week), but it still shows that a good pratfall is the universal language.

There's plenty of action, suspense and sci-fi stuff in Torchwood: COE, but what makes it an unmissable event is how well it sets up its dilemma--a classic conflict over whether the needs of the many outweigh the needs of the few--and how maturely it deals with both the morality and the politics of the premise.

This is all a long way of saying I'm glad to see that, in SoA's fourth-season debut, the show hasn't just returned to its setting of Charming, California. It also returns, slowly, to Jax's realization that he doesn't want his life to be Abel's, and that he wants a way out.

The BBC's The Hour, the best new show this summer.

By the standards of most TV crime stories, the meditative Rectify may instead seem like too little. But it’s entrancing at showing how, in some circumstances, just getting through a day is drama enough.

While it's a rough, sometimes grim, process, it feels that much more well-earned when, at the end of the first episode, one student, Bobby–who struggled to speak for himself in mock interviews–visits a future class to report that he's held a carpentry job for a month.

The Walking Dead is starting season 2 much more strongly than it ended season 1.

In the early Season 2 episodes, the strain shows in the songs, which service the plot but aren't as memorable as the old ones. But the scripts are as funny and tightly written as ever.

Watching Game of Thrones is like falling into a gorgeous, stained tapestry. This epic, unflinching fantasy noir takes our preconceptions of chivalry, nobility and magic and gets medieval on them.

From the mood lighting and stirring music to the hot-button story lines to the characters' arias on the august legacy of their show, Sorkin makes running a comedy program seem like negotiating an arms treaty.

It's not essential anymore, but it's still welcome.

The Witness films are interesting not just for the external drama but the internal stories of the photographers, who try to explain what led them to seek out this thrilling but potentially deadly work.

High School Musical 2's audience already knows how this movie ends. But they'll watch and re-watch because it has such an unembarrassed good time getting there.