The workaday mysteries of Jackie and the phenomenal performance of Falco are more than enough to hold down the series while the rest of the characters find their niche.

By having everyone around Jackie seem daft, quirky or incompetent--an attempt at humor, one would guess--the series never felt connected. Those elements improved by the ended of Season 1 and have, for the most part, been ironed out in the early episodes of Season 2 (though the tone will need to be monitored).

V doesn't have an original premise - the humans versus aliens thing is as old as moving pictures. But the special effects are better, and if ABC can get you to buy into the storytelling then it might have another genre hit on its hands.

Despite the title, Cougar Town seems more female centric, which is key to ABC's audience, and it's a little more formulaic than "Modern Family," but both are welcome new sitcoms.

Right now it's an action-packed drama that entertains with ease. That's plenty good enough.

It does the near impossible for any extended-family drama: It manages to be poignant and funny without becoming ridiculously soapy and larded with cliches.

As long as the jokes stay barbed, fast and witty--as they are in the pilot--there's more than enough reason to keep following the band of misfits.

Better Off Ted is more funny than not, rushing into absurdity with abandon and playing at stylized comedy in a completely fearless way. The pacing doesn't allow for regret.

Though future episodes don't quite measure up to the brilliant pilot, Archer nurtures a collection of recurring themes that pile up and become funnier the more they are referenced through the episodes.

As in "Sunny," they are almost-lovable losers, and that's a formula FX is now perfecting.

If you're a viewer into quick and easy answers and seek resolution at the 59-minute mark, this is probably not your show. But if you're interested in the notion that post-9/11 paranoia is justified in ways we haven't even realized (and perhaps it would be too chilling if we did), and you have a fundamental distrust of government doings, Rubicon could be your new mental puzzle.

To its credit, there are a few extra twists along the way that make the show more intriguing and which hint at a slightly darker feel (but not too bleak) and a chance to have a more complicated story than simply one family with super powers.

Logue and Raymond-James are, straight out of the gate, the two most believable and funny buddies you'll see on the screen.

Lone Star has enormous potential to be a complicated, tightrope-walking tale of two lives. Or it could just implode. Like "The Event," it's worth your investment, but you'll have to record one or the other.

There's always a need for a pulse-pounding mystery with a little paranormal thrown in. If The Event proves it can let out the story while reeling viewers back each week, it could be something special.

Raising Hope works on two levels, the absurdist gags about dysfunctional families and lower-class values that populated "Earl," and the never-too-saccharine sweetness that Jimmy brings to the world. If Garcia can keep up this mix, Fox may have itself a non-animated comedy hit.

An argument could be made that so much attention to the history-making World Series runs of both of their favorite teams - which happened after the original documentary aired - is excessive, particularly with the Yankees. But that's a minor quibble in an otherwise superb, informative account.

Media Rights Capital, an independent production company, took an offbeat idea and made it work surprisingly well.

Glory Daze is both unexpectedly funny, at times heartwarming and the sheen of nostalgia covers up a lot of stuff you might otherwise get picky about.

Despite some jitters, Conan looked comfortable in his new domain. He had nervous energy to spare, but then again he does most nights.

The first few episodes don't always click (strangely, the Tami story line doesn't feel real), but even when the storytelling hits a rough patch, there's enough raw emotion and drama--on and off the field--that hits the right note, saving the hour.

Despite feeling like the concept owes quite a bit to the British series Gavin & Stacey, and a nagging suspicion that the evolution of one couple completely smitten and the other ready to spit on each other will take a long time to come around to four friends and two happy couples, that's not a problem if the jokes are funny. So far, so good.

It does not--repeat, not--take a con to catch a con. That is by now a very tired television cliche and one that's embraced by Kings. But the series overcomes this crutch to become a mostly interesting diversion from going to work five days a week.

The fact is, these kinds of grand historical reimaginings can be a scrumptious combination of costume drama acting, soap opera theatrics and pay cable promiscuousness. That'll make the hours fly by. And it doesn't mean your pleasure needs to be all that guilty.

Fiennes gives Camelot some feistiness and playfulness, and the whole affair is boosted by the fiery Green, a bit part by James Purefoy, plus strong performances in the supporting cast (and yet more wonderful costumes by Joan Bergin, who worked her Emmy-winning magic on Tudors).

It's quip-heavy, doesn't complicate things with too much plot, keeps the pacing brisk and litters the TV screen with beautiful people.

The vote here is to not only give Torchwood: Miracle Day a chance, but to ride out the bumpy parts and put some faith in Davies' unique take on storytelling.

Mostly Against the Wall is a pleasant surprise, with Carpani being a much bigger surprise.