Tremendously likable.

Mary doesn't win 'em all, but In Plain Sight is a W for USA.

It remains one of the best.

What matters is how well it's done, and Disney does a lot of things right. It's multicultural. Parents are portrayed as people. The intrapersonal dramas are small enough so viewers will understand them.

Crucial, sometimes hopeful and sometimes worrisome as the larger issues of modern medicine are, Hopkins excels on the human side.

Wright is a diligent reporter, and his material has been whipped into a smooth script under producers David Simon and Ed Burns.

Everything isn't perfect on Burn Notice. Some of the subplots have to be wrapped up a little neatly. But the interplay of the core group has enough ambivalence and shadows to keep the show intriguing.

This will be good news to people who enjoy watching train wrecks in which the engineer accelerates as the precipice nears, which is Grace's signature move.

It plays at its own pace, a little more deliberate than other TV dramas, and its strongest moments are often understated.

It knows exactly what it wants and needs its new hybrid product to be. The hockey fights video of teen romance drama.

Now it must find a way to become more than a routine action drama pitting plucky good guys against amoral, robotic bad guys. It's got the characters who can do that, though, and it's also streamlined its story enough so even a new viewer can figure out what's going on from tonight's back-to-back premiere episodes.

He has always been wrapped a little tight but now he's about to explode, and Chiklis plays it beautifully, making it sound as if he must measure every phrase so that just opening his mouth doesn't release all the frustration in a nuclear blast.

It has good characters and plenty of action. It keeps its science fiction accessible, not abstract. Maybe best of all, it has a great sense of humor.

Shirley MacLaine will get most of the attention for playing fashion legend Coco Chanel in this smart-looking and solidly crafted new Lifetime biopic premiering Saturday night.

The show pays more attention to relationships we care about, hints at a sensible number of new ones that show some promise, and thus doesn't rely on obscure medical mysteries to carry the whole dramatic burden.

A relationship with Julie, which has been percolating for some time, might be just a good cover for Dexter. But it feels more complicated than that, which at the very least reflects good writing and acting.

In general, we like his character, and Reese's. They have a new boss named Kevin Tidwell (Donal Logue), who doesn't start off all good or all bad. Neither does the show. But if it can maintain this level of quality, it's got a shot.

Despite soapy moments, it offers a more honest portrayal of contemporary high school life than a "90210."

Sewell radiates the kind of fascination you can't buy off the rack at the TV drama store, and that alone gives Eleventh Hour a strong start.

Some of the pirates tonight, perhaps inevitably, take on a little of Johnny Depp's Jack Sparrow. But the acting is generally solid and the action is both stirring and, happily, easy to follow.

The show's droll and mostly apolitical humor fits the exaggerated characters well, it's still got a good fast rhythm, and the five major players work well as an ensemble.

As you would expect from a show entering its 19th season, the acting and the pacing are strong and confident. L&O has always been smart enough to stick with what works.

The best moments in Wednesday night's chat between Elvis Costello and Elton John, which are good enough to recommend the show for fans of both men, serve up small but sparkling musical pleasures.

It's a fun ride and Wyle has gotten a little better each time. That's why it's a shame there apparently won't be another.

The show's long break seems to have rejuvenated its story lines, in which intense, rapid-fire action plays out against the backdrop of a complex, methodical geopolitical chess game.

Mainly, underneath the sitcom setups and witty banter, this show moves to the pulse of the ad game. The mystique and power of raw ideas push this story as surely as they push the characters of "Mad Men."

Bryan Cranston's Walter remains one of the best-played characters on television, and he's surrounded by a strong cast that, knowingly or unknowingly, plays off his desperation.

The No. 1 Ladies' Detective Agency takes some time setting itself up Sunday night, but those who stay with it will be rewarded with the funniest and most charming lady detective series since "Murder, She Wrote."