Leonardo may not like what Starz has turned him into, but you probably won't mind this joy ride.

While the story is briskly and engagingly told, with some key players debriefed, there's not a lot new here. It's a very good beginner's history.

This is almost too clever, funny and ironic for MTV.

If all this sounds like "24" has been hijacked by public policy wonks or Shakespeare profs, don't worry. Your show very much remains your show.... It's just that your show got a little smarter.

You'll be happy to know that every second -- particularly every second with Sedgwick onscreen -- is pretty much a joy.

A rare and almost totally unexpected triumph.

It's hilarious, really, and refreshing, and original and - absolutely - an acquired taste.

This is a hit, and has been carefully crafted by Disney to become one. The formula may be as old as pop culture itself, but (again) who really cares?

Rest easy. Scrubs is just fine (with all cast members, except Jenkins, back), though the opening episode is superior to the follow-up.

This is good bunk, fun bunk, energetic bunk. Much better bunk than the last volume.

Gritty, jarring, profane and smartly produced.

The season's premiere represents pig-in-the-python storytelling--there's so much to work through, so many details, stories, characters and time dimensions to attend to, that after a while this all starts to feel like a very full meal.

This is pure kiddie fare; no big deal--Chuck's back; TV's a better place.

This doesn't pretend to be a deep show, but it's a pleasant diversion with a good cast, and really good (read: expensive) production values.

Good show with fine cast, but it all still feels a little too familiar and old-fashioned.

There's some very funny stuff here, but the serious question before NBC is this: How long can it stretch the joke before viewers go stark raving mad?

I wanted to love Fringe, with its extraordinary pedigree and exotic, soulful Australian beauty Torv in the lead role, and splendid Noble in key support. Plus, Blair Brown's here, too, as a top exec at an evil corporation. But I just can't shake this word "derivative."

The formula--must find murderer of beautiful woman before last commercial break--predates the dinosaurs, but also incorporates some satisfying twists.

Cannavale's Cupid is at least funny and charming. He's good here and so is Paulson. The weak link--the "B" story, like tonight's tepid one with the Postie, which was as appetizing as week-old cod.

What a hoot. What a ridiculous, soap-operatic cutup of a series. But if you can stop giggling long enough, as I managed to--quite a feat, let me tell you--Harper's Island is also hugely enjoyable.

Surprise! Crusoe's good, and by "good" I mean competently produced and acted.

Kings is a worthy enterprise that will deeply puzzle millions of viewers.

What's new here? Nothing, really. Jane is likable, Adams is, too, and so--believe it or not--is Hung. That's another problem. Hung needed to be scabrously funny. Instead, it's just middlebrow amusing.

Can Rescue Me wrap all this up in the short time left? I hope so, but this episode feels like so much temporizing.

Tere's real promise in Parenthood. In time, we may all genuinely care whether Crosby and Sarah find themselves, or at least grow up.

Good start with a pair of shockers. Beware.

Second-season expectations for Glee are almost too high. Potential reality series, movies, spinoffs, tours, record contracts...the surround sound that's jacked up around this hit is now officially deafening. Unrelenting distractions can push series off their game, and there's evidence tonight Glee is off its game.

Admirers of the novel probably will be pleased. Average viewers who never read the novel (or any historic fiction) will be either confused or bored--possibly both.