Silly, gross, soapy, mysterious, intriguing, exotic, erotic True Blood is fun. Even more fun this season.

Silly, gross, soapy, mysterious, intriguing, exotic, erotic True Blood is fun. Even more fun this season.

The Goode Family is a highly imaginative and often amusing variation on that one note.

This is a gentle, good-hearted series and Scott was pretty much born to play Precious. But LDA can also be willfully, stubbornly languid.

Trade press has labeled this "'Easy Rider' Meets 'The Sopranos,'" which seems apt. Show comes from Kurt Sutter, longtime co-executive producer of "The Shield" (and married to Sagal) so that should give you a sense of tone and texture - violent, taut, well written.

A fun show, but where, oh where is all this heading?

Leverage's pilot is particularly entertaining. The cast is fine, direction is expert, writing above average, and Hutton's Ford is almost convincing. But the payoff feels laden with cheese of another sort.

White Collar is not original. But White Collar is enjoyable.

Bored sometimes lags and drags, as if it took a few tokes, too. But when it's funny--and Bored certainly can be--it's a winner.

McKinley and its denizens feel just a little too cliched, the emerging romantic entanglements a little too forced, the female characters--notably Terri and Sue Sylvester--just a little too mean-spirited. Still, it's a great cast.

Not consistently funny, perhaps, but when Best and/or Falco are on screen, the angels sing. Both are remarkable.

There are many enjoyable performances by many wonderful actors, including Baranski, Panjabi and, the nicest surprise of all, David Paymer, who plays a judge. But you've seen much of this before.

The show's an enjoyable diversion.

Ok so Better Off Ted can be oxygen-deprived. This is still one of the funniest shows on TV, and the cast sparkles with vets like Harington, Barrett and de Rossi...Anders and Slavin, too.

The judging process seems arbitrary - a couple of artists are penalized for being too abstract; someone who is even more abstract (let's just say this one likes cats) goes to the next round. Otherwise, a winner.

Huge looks and feels like a show that knows what it's talking about.

This is an excellent remake featuring two actors--Caan and O'Loughlin--who almost seem made for each other.

Modern Family is good. Better than good. Really good. O'Neil--dry and wonderful as ever--and Vergara (considerably less dry) are a winning combination.

The new detectives seem so young, eager and fresh-faced that you almost think the Hardy Boys are on the case. Molina's Morales has a bit of that nice New York edge; Howard 's Dekker (in next week's episode) is a little stuffier, duller; he'd probably be better suited to "Law & Order: D.C."

Pretty much all a fan (or critic) could ask of a cult series remake is this: Does the newbie measure up? Based on all available evidence--the 42-minute premiere--the answer is yes.

The show is an old-fashioned courtroom procedural, but the pilot has enough sharp writing and well-greased plot twists to suggest future promise.

Almost public TV-like by current reality-show standards, this new edition is actually a lot like the original, absent the Velveeta. True-blue fans will rediscover its pleasures.

Maybe this episode really is about repression, erotica and split personalities. Or maybe it's just a good excuse for the show to shake the dust out, ditch the inferno of summertime New York and wander amid the glories of Paris while exploring the discreet bourgeois charms of Blair and Serena. Either way, it's a lot of fun.

[Rhimes] may still be up to her old tricks, but here they seem fresh and energetic. Best of all, she has a solid young cast that pulls them off well.

The cast is phenomenal, the writing inventive and genuinely funny, and you could pick just about any character--Andy or Ann, or Ron or Tom (Aziz Ansari) and almost mistake them for the show lead instead of Poehler. But still not quite in the same league as the show that precedes or the one that follows.

One little gripe---Pioneers needed to give a tip of the space helmet to some '50s pioneers, such as "Captain Video" and "Flash Gordon." Otherwise, it's all pleasure.

Labine and Greer completely hijack the show, and almost threaten to turn Biggs (you'll remember him from "American Pie") and Chalke ("Scrubs." "Roseanne") into props. A well-made and skillfully executed sitcom. Oh--almost forgot--fun, too.