Like King of the Hill, Bob's Burgers makes comedy of daily frustrations, without resorting to cheap gags or surreal asides. With the Belchers, Fox may have found another great family to move in next door to the Simpsons, Hills, and Griffins.

This is not a show that wants to be analyzed. Rather, it demands that you enjoy it. And there is plenty of humor to mine in the premise.

Unlike their previous show [24], Homeland takes its time: it doesn't make clear right away who's trustworthy and who's a traitor. Based on the first episode's strong script and performances, it looks as though the reveal will be worth the wait.

So far, its mix of spirituality and science, familial and global struggles, is galvanizing.

The season opener, "Transilience Thought Modifier Unit-11," is so incomprehensible that it suggests a no-compromise posture for the remaining episodes. Which is exactly what the loyal fans want and deserve.

1600 Penn's tone may be apolitical, but it is also very funny.

The general integrity of the first episode offers some hope that it won't become a Procedure of the Week melodrama.

If Smash lacks the benefit of Aaron Sorkin's hyper-literate and unmistakable dialogue, it follows Studio 60's format, observing the producers, writers, and actors who collaborate on a show, particularly what happens backstage.

The River plainly evokes Lost.

While Grace must seek to do right, The Mob Doctor is most compelling when she has to sort out what that is, and also when she has to justify what she does wrong.

Ari's misfortunes and an event at the end of this season's third episode hint that Entourage may yet drift back to Season Seven's darker and potentially more cathartic territory, a conclusion for the series that tells us something new about the industry, perhaps. Another possibility is that the show's makers are preparing for a future movie.

The problem is that the story in between the songs is still inconsistent and muddled.

If the plot is thin, the show does offer other pleasures, including the actors’ improv skills, revealed in subtle and hilarious flashes of genius.

A joint effort between Showtime and the BBC, it features British humor and American humor. These don't always play nice together, and Episodes appears unsure of how to make them merge or which to privilege.

They've done very funny work in other shows and movies, from Scrubs to Saving Silverman to 13 Going on 30. If the show would deemphasize its already tired premise, it might be another decent comedy about four quirky friends in the city

The only thing connecting how Franklin and Bash act inside and outside the courtroom is a general willingness to wing it and hope for the best. But they're not as charming as the show thinks they are, and their triumphs don't seem so great.

It seems a missed opportunity: the premise of the spoiled rich kid and the sassy poor kid forced to team up is an old story that often works. But both Caroline and Max come across as prep school students who are slumming.

With the subtlety of a sledgehammer, the show right away telegraphs that there is more to Kaan than meets the eye, that he's not just a con. We're just not inclined to believe him.

Unfortunately, the pilot doesn't suggest that there is anything more interesting at work here than a weak attempt to wring laughs out of aliens who are buffoons.

Cole is good and Price is evil. And neither one of them is remotely interesting.

Better With You might try to be a straight-up joke/punchline/laughtrack sitcom. But that dooms it to comparisons with the other ABC shows such as Modern Family and The Middle that bookend it on Wednesday night. Those shows both have more distinct attitudes toward institutions like families and, particularly, marriage, than Better With You seems likely to find.