This unsettling documentary series on the cable WE network, which follows a dozen Kansas City girls through four years in their suburban high school, suggests we've come a long, hard way from "Grease."

Ellis has used Adams' works to create a wondrously full and nuanced portrait of the man, which is brought fully to life by Paul Giamatti.

A raucous, raunchy and utterly loving account of life at the bottom of the military food chain.

Sons of Anarchy is bloody, disturbing and maniacally addictive.

True Blood is an unlikely but irresistible mixture of pungent political satire, observant pop sociology and lurid drive-in thrills.

Mixing paranoia, bleak humor and post-9/11 exhaustion in a potent story-telling brew, it's one of the new television season's most promising dramas.

Original in concept, intelligent in execution, it's a scruffily Steinbeckian chronicle of life at the social and economic margins.

It's a testament to the remarkable performance of Collette that it will never occur to viewers that Tara's behavior is anything but a mortal compulsion. Her remarkable moment-to-moment morphs from teeny-bopper slut to Stepford Wife to biker brute and then back again beggar the imagination.

That single season will be hellacious fun. Stuffed with visual puns and sly homages to horror movies from Jaws to Poltergeist, Harper's Island relentlessly mocks film grammar with set pieces that take off in unexpected directions.

Welcome to The Goode Family, a scathingly funny report from the front lines of America's culture wars.

But for all the laughs, Being Human never loses sight of the menace of its characters.

Roth makes for a tartly witty hero, the mysteries are intricately plotted, and the show makes the most of the weird dynamics of an office where the boss can ferret out everybody's secrets.

Grimly funny, streaked with sentimentality and malice, Nurse Jackie is the medical miracle of television's summer season, a blue-collar hospital show without a McDreamy in sight.

Cynical, sweet and inestimably funny, Glee--which debuted with a single sneak-preview episode last spring, but joins Fox's regular weekly lineup for the first time Wednesday--is by far the best show of the fall TV season that began rolling out this week.

Archer is a millennial (and very much R-rated) "Get Smart" that acerbically and hilariously plays on our post-9/ll fears that "U.S. government intelligence" might be a grim oxymoron.

It may not be entirely fair to call a show as complexly layered as The Good Wife a crime drama, though at some basic level it is, with a bleakly luminous Juliana Margulies playing a novice criminal defense attorney who's painfully learning the sport of judicial hardball.

For the first time since Married...With Children stood the genre on its head two decades ago, somebody has come up with a new take on the family sitcom, and the results are riotously funny.

Everybody in Brothers is funny, but the unquestioned star of the show is Pounder, a rapturous mix of menace and guile in the struggle to keep her men in line.

Welcome to ABC's V, the final, the most fascinating and bound to be the most controversial new show of the fall television season.

Those patient viewers who do stay will be richly rewarded with a humanist story that gains traction as it goes--a vivid and intimate character piece meant to be savored like a spicy gumbo.

With enough chemistry between its stars to power a DuPont lab and a wise use of off-the-beaten-path South Florida shooting locations -- it goes for a fetid swamp over South Beach every time -- The Glades is thoroughly enjoyable.

Pillars does a surprisingly good job of maintaining story coherence. It also avoids what might be called the Fairytale-Princess Fallacy of costume dramas; the muck and brutality of the Middle Ages are on full display.

Cathy's modest conception of throwing caution to the winds mirrors the strengths of The Big C, which is affecting precisely because of its refusal to assume epic proportions.

Terriers, FX's comedy-drama about a pair of bargain-basement private eyes, is a piquantly funny sojourn among lovable losers.

Putting aside for a moment questions about whether it signifies the imminent collapse of Western civilization and even the human reproductive impulse, this version of Nikita can still provide a rollicking, if slightly psychotic, good time.

Neatly staged, with one surprise after another in a geometric progression of suspense, The Event's pilot episode leaves a lot of tantalizingly unanswered questions.

With dazzling action scenes and a pair of stars who ooze charm and sensuality, Undercovers easily overcomes its predictability.

Americans in their 20s have few good-time memories in their young-adult lives. If they can be coaxed away from their computers to the television screen, they may find themselves bonding with the characters of the well-acted and intelligently written My Generation.