You should feel nervous before any great date, and Don never disappoints. He'll make you feel like you are in on the joke with the innest in crowd on television. Anything these ad men are selling, I'll buy.

The characters are unforgettable, and the history, of course, is more entertaining than fiction. The filming of Boardwalk Empire just may be more decadent than the decadence it's celebrating. It's not TV, and it's not really HBO. It's an event, not to be missed.

Raising Hope already has a little place in my heart. There's something about the downwardly mobile family unit (see: "Malcolm in the Middle," "The Middle," "Raising Arizona") that's just funnier and sweeter than anything else on TV.

Watching it was just bliss, and those of you who experienced the first five seasons in real time will probably enjoy it even more.

The drama can be over the top, and sometimes it feels like one big ego trip for Leary.... But the show is like the comic: imperfect but lovable.

Ah, the joy of Glee. I thought the show had lost its way last season, trying to jam songs into theme episodes ("Hello"). But tonight's season opener proves that "Glee" is back in its groundbreaking groove, bringing music to the masses and making fun of itself in the process.

It was filmed over four months and distilled into eight episodes, with brilliant results.

Ken Follett's 1989 historical novel had a resurgence in popularity as a 2007 Book Club selection, and should finally achieve world domination with this adaptation. Who knew the Middle Ages were so soap-operatically . . . dark?

There are some great characterizations and attention to detail. If you stick with the series, you'll be treated to a lecture on the perfect briefcase by the droll Michael Cristopher that's worth the price of admission. And if you think your office banter is entertaining, try swapping in-jokes with the intelligence community.

It's unclear how many more seasons Cathy will survive, and how much humor can be mined from her pain. The visuals just might stay with you, though, as long as you live.

The action is fast, and I was pleased to find that scenes play out unpredictably. I do look forward to less explaining, though, and more insights.

The charm of the show--and of the Gallagher family--is in its anarchy.

There's some smart slapstick, and I believe that Perry could be the one sane man in an arena that holds 17,505 people.

The kingdoms are gorgeous to look at, down to the last loving detail - you could be entertained just by watching for the inventive suits of armor. The violence is spectacular; the sex is twisted. The producers even had a language invented for the Dothraki, which should please the Dungeons and Dragons crowd.

With their moody new mystery series The Killing, AMC clearly knows what's good for us.

Showtime has tantalized me for ages with glimpses of Jeremy Irons growling and groping his way through a role as history's most debauched pope. It finally arrives Sunday, and you won't be disappointed.

It's "The A-Team" meets ... really good writing.

At the end, Cinema Verite shows how the Louds dealt with the notoriety after the series aired, and where they are now. Cinema Verite blurs the lines even more - but there's a perverse logic to that.

It's a fresh, compelling story about a couple of KGB operatives pretending to live the American dream as a married couple with kids in suburban Washington, D.C.

The new version isn't as painfully, profoundly funny as the original. But that's as it should be. American audiences don't necessarily want to cringe when they sit down for a sitcom. This is why "Curb Your Enthusiasm" is a cult hit, and not a hit hit. [23 Mar 2005, p.59]

There's just nothing else on TV with this level of jubilant satire.

Criminal Minds: Suspect Behavior is a solid addition to your evening lineup.

Hot in Cleveland is formulaic, but has tremendous good will on its side.

The premise is intriguing, although it's difficult to watch without backseat driving.

If you're looking for a new cop drama to serve and protect your entertainment interests, leave the rookies alone to ripen, and go for a ride-along with Jason Lee's Dwight. Blue suede shoes not required.

If "Seinfeld" had an absurdist, bitter brother, it would be Louie. Denis Leary and Louis C.K. may not deserve our sympathy, but they've earned the laughs.

It's hard to say how the series will play out because by the end of the first episode Mom has declared that the family is going straight. In this, I hope they fail.

The ingredients for eye-rolling failure are all here: Sample dialogue: "Your superiors say that you're the best they've ever seen"; foreign terrorists for bad guys; one female team member who makes Maggie Q from "Nikita" look like a prissy hack, and, oh, yes--it's an election year. But Hawaii Five-O works, and for one reason: Scott Caan, who is the second coming of cool.

The show promises to raise a number of real issues, from race relations to gay marriage. You probably wouldn't vote these women into political office, but they do seem to be above hair weave-pulling. Good for you? I wouldn't go that far. But despite its best efforts, "Real Housewives of D.C." is educational TV.

So far, Law & Order: Los Angeles is balmy balm for fans feeling burned by the original. Long may it air.

These reality vets are pros. No awkward small talk necessary--they know what's expected of them, and they jump right in. Things are complicated by boyfriends back home, but not all that much.

If anyone has the potential to be the next "Hart to Hart," it's Boris Kodjoe and Gugu Mbatha-Raw....It's co-created by J.J. Abrams ("Alias"), so expect plenty of fast action, fun and costume changes

It doesn't sound great on paper: A documentary film crew interviewed a "Breakfast Club"-type group of high school seniors, and now is revisiting them to see how their lives have changed in the 10 years since. It would be interesting if it were real; it's not. Nonetheless, I got drawn into the 3 star drama--because, believe me, these kids have changed.

There's no skimping on the sordid and blunt evidence, but the cases are absorbing. And unlike "Law & Order," which had a way of leaving us hanging, we do learn the "whole truth" by the end of each episode. You can't put a price on closure.

The cheerleader drama Hellcats isn't nearly in such danger of taking itself seriously. A brunet Ashley Tisdale makes a speech about how cheerleaders are athletes who deserve respect, and then we get to move on to the triple handsprings in crop tops.

Belushi and O'Connell are fun to watch, and--spoiler!--it turns out they're real sweethearts, too.

The cast and the writing are solid, and I think we can assume there's wisdom ahead. It's definitely a family that could grow on you. But I wouldn't go so far as to marry into it.

Running Wilde never reaches the same level of genius [as "Arrested Development"], but maybe that's because we have Puddle narrating the action, not Ron Howard. You can't re-create the magic--but I like that they're trying.

The acting is brilliant, the problems are relatable, and the truths Dr. Weston is chasing are profound. On the other hand, In Treatment is the epitome of American self-indulgence, both for the actors and the characters they're playing.

Either you'll jump right in or you'll give up immediately. I think it's about time a drama embraces a super power that's long been forgotten: showmanship.

Perfect Couples is almost there; "Better With You" is almost there. Maybe if the shows conjoined, the chemistry would be right.

Overall, I don't have too many complaints. But if you're a fan of the fantasy "Real World" houses, I should warn that you'll be disappointed. The aesthetic highlight here is blue Astroturf.

Kelley's trademark whimsy feels awfully forced at this point, and Bates comes across as stiff and depressed (although that could have to do with her injuries).

As with any fast food, the bulk of Bob's Burgers is pleasant filler. You'll probably be too tired to switch the channel after "The Simpsons," so you might as well lay there and enjoy it.

Both "Skins" and Being Human are about outcasts who form their own families together, muddling through the present even though the future doesn't look too bright. The characters may all be extreme, but you'll identify with them all.

The episode feels contrived, as the characters are introduced and try too hard to prove their anarchic cool. The next three episodes, though, are surprisingly thoughtful and even a little punk poetic.

If you've hit your David E. Kelley lawyer limit, Fairly Legal might be the dramatic departure you need. Give peace a chance.

The pace is so fast that, like a good party, you might forget everything that's happened even before it's over. That's the sign of top-notch disposable entertainment.

The first episode's a little stiff as the guys mark their territory, but by the fourth the show feels sweatpants-comfortable.

Panettiere takes a tricky role and does it, at least, some justice.

You can always count on Gary Busey to bring the crazy, whether he's playing himself on "Entourage" or stumbling through "Celebrity Rehab With Dr. Drew." The man is a treasure. Casting Busey is so easy it's practically cheating.

Film buffs will have a field day analyzing the themes: social climbing, postwar materialism, feminism, lousy parenting, etc. But this is not event TV like "Boardwalk Empire."

Fantasy epics aren't really my thing, but this stylish, intense series should satisfy sci-fi fans for some time.

Original, it's not. But these friends do have chemistry, and some great moments as a hipster Greek chorus.

The Voice is not that bad.

The show is a refreshing alternative to the typical diva docu-series, where overly cosmeticked prima donnas stir up drama in their perfectly appointed mansions.

The frequent pop-culture references might not age well in syndication--Michelle Obama maybe, but Heidi Montag? Overall, though, there's enough originality and likability in "Are We There Yet?" to make it a pleasant destination.

The series is fun, slick and fast, but cheesier than it needs to be.

It was all a bit too corny and predictable for my taste, though. Add a mutant strain of irony, and they just might gain another super-fan.

The first case they investigate is plenty sensational, but there's nothing special about the show, no connection to any of the characters.

Maybe the cast of this sitcom will come together with some "Community"-level chemistry. Right now, it's just awkward and borderline offensive.

Maybe School Pride doesn't have the drama of a single sob story, but by the end of the pilot you'll feel both ashamed and inspired. This is what it looks like to volunteer, and there's no reason why you can't do something. Go team!

It's hard to muster up a sense of urgency about V. Mainly, I admire all the pretty people as I wait for the stunning bursts of violence.

There's potential for Conan, once his ego gets off the couch. [9 Nov 2010, p.8]

"Grey's Anatomy" creator Shonda Rhimes brings us another soapy doctor drama, set in a lush jungle instead of a hospital.

If nothing else, Breakout Kings is a nice travelogue of the country's prisons. Here's hoping there's a juicy episode coming up for Stateville. But the gratuitous violence and creepiness will turn off a lot of viewers.

There's nothing terribly original about the Shedding, although it's a hoot to hear about the couples' theme weddings.

If the movie had gone all-out camp, it could have been a classic. If it had gone all-out cheesy, we could mock it more mercilessly. As is, William & Kate is as benign as the actual couple.

The problem is that financial idiots (hello!) will still be bewildered by the complicated wranglings and enormous cast, and people familiar with the crisis will be annoyed by the simplistic tone and fictionalized scenes.

Rookie Blue makes every rookie mistake there is. And the main message going out to the public about new police recruits? "They're so cute!"

Haven succeeds at laying on the whimsy, and the dialogue is cute. But it's impossible to follow the investigation, and each discovery raises more questions--not about the supernatural, but about the holes in the script.

Pretty Little Liars doesn't have the sense of humor -- or the wardrobe -- of "Gossip Girl." In fact, a surprising number of scenes call for bikinis. But the ongoing mystery (not to mention a secret referred only to "the Jenna thing") may prove irresistible to young people.

The Gates feels like it's been pieced together from so many other shows that it resembles the one monster that's not been included: Frankenstein.

"Doll House" covered this territory with more creativity, but we could always use another female superhero on TV. Especially one who has mastered the technology of the "lipstick bomb."

The godson of "The Sopranos" heads the cast of this police procedural, which is having trouble finding its tone.

Prepare yourself for preachiness in the third degree. Mr. Smits went to Washington, and now is sharing his moral righteousness with the rest of us.

I would say Glory Daze is an homage to "National Lampoon's Animal House," except that it's more an inept imitation that borders on insulting.

Delany is as likable as possible in an extremely unlikable role. But the writing is a bit too tidy, and Delany's smarty-pants approach gets old in the first 10 minutes.

If you don't have a support group of pals to compare notes with, you could do worse than The Talk. Let's hope it stays lively.

It's essentially "John & Kate Plus Eight." Minus the divorce. Plus cavorting grizzly bears.

On most reality shows, contestants who win a challenge receive a prize - an immunity idol, say, or a rose. On "Bridalplasty," these are the words you long to hear: "Come grab your syringe and go down to the injectables party."

Love may mean never having to say you're sorry, but Mad Love should apologize profusely. In short: There are better ways to spend Valentine's Day.

The Kennedys is eight hours long, trying to strike an uncomfortable balance between high-minded and trashy. It does not succeed.

I imagine it is a challenging acting exercise and a fascinating debate. But like Jones' character, I just can't bring myself to care.

The only funny moments came from Omid Djalili, who plays a sub-dollar-store merchant and cat-tracking hobbyist.

I could go on and on about reasons not to watch this show: the title easily confused with "The Gates"; the Kia product placement; the convolutedly stupid plot. [11 Jul 2010]