The show is a lot of fun. Like playing dress-up when you were a kid--and about as realistic.

Great fun, good personalities and some fine food. All in all, the start to another good season(ing).

If you were worried about your favorite show's favorite character's replacement, rest assured that Fishburne's Langston is different enough to walk easily in Grissom's paper lab shoes.

All in all, a great good time with not one single character to like. Now, that's entertainment!

All told, the graphics and the easy-to-follow, fun storylines are sure to entertain the show's easily distracted target audience.

So, two quantum physi cists walk into a bar and one says to the other, "It's 10 p.m. Do you know what time it is?" If you love that joke, or if you even understand that joke, have I got a fifth season for you.

Good, dirty fun.

Fallon seemed a bit nervous in his monologue (who wouldn't be?), but quickly found his rhythm, firing off some snappy one-liners.

The show sparkles with imagination. But Kings may be too campy for some, not campy enough for others.

The charming, fun series of books has become a charming, fun TV series (seven episodes in all) on HBO, starring Grammy-winner Jill Scott as the books' No. 1 protagonist/heroine, Precious Ramotswe

You will find yourself cheering Ray onward and upward! And yes, I am ashamed of myself.

While it sounds pedantic, downright corny, and done to death, Drop Dead Diva is actually fun, funny and sometimes and in some ways even touching.

Somehow the formula still works.

Weirdly enough, every one of tonight's wannabe photos looks better than any photo of any of those pretty-but-average giantesses who "cycled" through Tyra Land before.... The most interesting women are the most trouble, of course.

Suspend all disbelief, pretend the really, really offensive laugh track doesn't exist, disregard the giant slabs of ham offered up by Jensen and Parham, and enjoy the chemistry between Elfman and Foster.

This is a series with potential.

And if there's one thing I love in a movie, it's a sadistic sheriff. I also love wild dogs, feral cats and hungry vultures, and this movie has them all.

Watching Latifah's performance is the single greatest pleasure of watching this 90-minute movie.

The Life & Times of Tim, their new, offbeat, animated series, is one that works like crazy--and no, it doesn't hurt to be crazy to love this show.

Southland has a "Cops"-like feel with jittery, hand-held cameras pointing every which way. Dramamine, anyone?--but it works with the show's you-are-there format. A promising start.

I can't help but get an enormous kick from Bravo's new series, The Fashion Show, which is, ironically enough, a line-for-line knockoff of "Project Runway," the hit show that was sold from under them to Lifetime.

Perfect, mindless, summer fun.

Gravity has an intriguing premise and its pacing--the action cuts back-and-forth between the present and five years in the past--heightens the drama and foreboding.

Terrific fun, and much classier than the old show, but still with plenty of cheese.

Good premise, good start.

Whether ABC's new series, FlashForward, will catch on is anyone's guess. I can tell you, though, that it has a compelling concept and a solid cast.

Even though Heaton is also reverting to type with the harried, jaded housewife bit, she somehow manages to get some freshness into the old girl.

Suspend all disbelief and relax. It ain't "Inspector Lewis," but it is stylish, good fun with dialogue as slick as those old Rat Pack suits Caffrey loves so well.

Think Jack Bauer with excellent grooming. Or in Jack's case, with any grooming [in] Fox's entertaining new all-action-all-the-time series.

The show is by turns sweet and funny.

The authentic New York locales and voices really make this new half-hour dramedy fly.

While everyone is terrific, Tierney brought it to another level. Graham's Sarah is more frenetic than the low-key Tierney's version, but kudos to Graham for stepping in and making Sarah her own. Solid stuff all around.

Tinsley turns out to be the least interesting of her horrible crew. She pales in horribleness next to her friends, J.P. Calderon, an accused purse lifter who throws a glass at a woman and his sworn enemy, rich girl Jules Kirby.

Less brutal than "Sons of Anarchy" or "The Shield," it's nonetheless a true male fantasy show complete with broads, bad guys, blow-ups, bullets and buckets of blood.

The ridiculously expensive wardrobes, the fabulous hair and makeup, plus a high school with not a single fatty is well, yes, the stuff of teen fantasy. And that is exactly what Pretty Little Liars is: a glamorous, spooky, adolescent fantasy.

And better, this season the vamps and the shape-shifting alcoholics find themselves with too many werewolves on their hands. And the werewolves are pretty terrifying and very vicious. Very. How can you not love that?

There's a laugh-track that's loud enough for the dead to hear. And a lot of the jokes are straight out of the sitcom how-to handbook. But that doesn't mean that you won't laugh every twice in a while.

I would have preferred the whole crime family thing, but there could be some good laughs as the family attempts to work at legit jobs. It probably won't be as funny as breaking-and-entering, but I'll give it two more weeks to decide whether good will be good--or bad.

Unlike the other phony "Housewives," when these L-women party, it's for real. The dialogue is gritty, funny and real.

While it sounds old hat, the who, what, when, where, why and how of this police procedural doesn't go the usual-suspects route. This show really keeps you guessing. And the soundtrack, by blues singer Keb'Mo, will keep you entranced.

Since there will be back-to-back shows tonight, the premiere episode, "Rebirth," starts where the last DVD left off. It's not as good as the second episode, so be sure to stay tuned.

Yes, boys and boys, Entourage gets better and more polished each season.

What I particularly like about this show (aside from the good chemistry between the leads) is that the women solve crimes the old-fashioned way.

For those of you for whom too much Ramsay is never enough, MasterChef is a dream come true. But for those for whom too much Ramsay is too much, the dream might seem like a recurring one.

What I like about this show as opposed to the other earlier versions is that it's not simply one male or female picking from a lineup of the desperate like a slave auction. Here, the 19 insanely good-looking, mentally unstable, scantily clad, all-white (by the way) losers compete against one another.

Oh, no--can it really be an other sitcom about a grown son moving back home after failing big time in the big city? Yes. But not, "oh, no."

Lots of fun--and I for one am thrilled to see a show in which most of the characters don't look like they took time off from modeling to act.

The CW under the direction of McG (does anybody have a full name anymore?) has made a fresh, terrific and terrifically silly Nikita.

Yes, there is a lot to love here, but too often the bad guys are standard-issue gangsters--while the women are one dimensional, naked, needy and greedy.

Is this a Guantanamo allegory or is it just more freaking aliens who look human but really have insect heads under their masks? I'd like to sum it all up for you here, but, like "Lost," this is a series that is going to take some time to figure out.

The guy who brought you "Alias," "Fringe," and the not-so-successful but interesting "Dollhouse," so, of course, the expectations are high. No, Undercovers isn't as good as those shows, but it is still a lot of fun.

Now that that ship has left the dock, they're back with a tremendously interesting new concept. This time it's The Apprentice for a bad economy.

I know the whole thing sounds been-there-done-that dopey, but Wahlberg and Selleck are so charismatic that somehow, in their hand(cuffs), it all seems almost new. Yes, it's worth the watch.

I tend to judge a show's worth on whether I'll come back for more; I've already watched next week's episode of "Eastbound and Down," and I'll definitely be watching to see where Kenny's Mexican journey takes him.

Chiklis and Benz fit together like bioluminescent water and oil, but somehow the show is still surprisingly entertaining--in a "Heroes" meets "The Incredibles" sort of way.

On the surface, Burns and Novick strive for impartiality, but there's an undercurrent of cynicism throughout. And that's a good thing.

The show doesn't catch fire until next week's "Echo Park" which is an echo of things past--a la Charles Manson's girls and the murder of one who has gotten out of prison. Be sure to catch it. Guest actresses Nancy Youngblut, Bonnie Root and Dale Dickey are so good, they'll renew your faith in the old franchise.

Verdict: guilty--of being a guilty pleasure.

The zombies are truly scary and disgusting. The survivors are terrific characters, and the gore is enough for any lunatic to love. But no amount of love is going to make a flesh-rotting zombie as sexy as a blood-thirsty vampire.

Yes, it feels like the illegitimate child of "Who Wants To Be A Millionaire," and "Deal Or No Deal," but I'll bet you a million bucks, viewers will go for it anyway.

Not only did I enjoy the upcoming The Ricky Gervais Show, which is an insane animated version of his equally insane podcasts, but I laughed so loud that I practically had to be restrained in the office.

It was a good start, but the big question remains--does America really want an hourlong, one-on-one every night?

The locales are great, the plots are interesting and the acting for the most part is good--although they should have cast actors who don't look like lingerie models.

I don't know what's mad about this love, but CBS's new rom-com, Mad Love at least has some laughs.

After watching the movie, I may not have actually changed my mind about her innocence--but for the first time, I sure have doubts.

If you're a purist James M. Cain fan, this is the miniseries for you. The intricacies of the story are laid out like a delicious Mildred chicken buffet. But, if you adore the original zippy, wise-cracking crime story with ankle-straps, order up Netflix instead.

Unfortunately, lightweight Bower (more Dude Arthur than King Arthur) and an even lighter-weight Egerton can't carry a series, let alone a kingdom. Nonetheless, it's still lots of lush, plush, silly good fun.

If you loved the successful couponing special they aired in December, you'll be thrilled with the premiere of the bizarrely watchable Extreme Couponing, a series in which people hoard not just coupons but the stuff they needlessly and endlessly buy with them.

Happy Endings, which sounds like the special at a cheap massage parlor, is so funny I heard a noise I haven't heard in a very long time while watching a sitcom: the sound of me yelping so loudly it could frighten dogs.

Cinema Verite works in the same off-kilter way that HBO's "Grey Gardens" worked.

The premise--and it's a good one--is a singing contest "American Idol"-style, for young singers to compete for the grand prize of a recurring role in a seven-episode arc of "Glee." And it's not some fake promo for the show with people who really have nothing to do with the show.

There are allegories galore--from celibacy to puberty (all that body "processing"), alienation and, yes, teen angst of the "what the heck is that thing on my back?" variety. Think "Teen Wolf" for girls.

Wood's puppy-dog eyes and Gann's crazy dog persona--or is that dogsona?--are a few things that make Wilfred watchable, in an existential-Johnny Depp-meets-"Monty Python" kind of way, that is.

USA's newest series, Necessary Roughness is a charming and clever dramedy.

Lots of action, lots of shoot-'em-ups and lots of big explosions that don't kill anybody. It's also lots of fun.

Once you get past the reality-TV grabbers, you realize that while there is some of that, more importantly there's a lot of Miller. It is great to watch her work.

In three years, Rowling went from welfare mother to one of the richest women in Great Britain, with 400 million books in print. If you've ever been a single mom and couldn't see the light at the end of the tunnel, this is the perfect movie for you.

Aside from the gratuitous sexual stuff, Awkward is a really good, funny, fun show.

Piven and Dillon, of course, steal every scene. That you already know. But Caan and Coates manage to give two classic Hollywood stereotypes such real flesh and bones, that you'll wish that Season 8 was the precursor to Season 9.

Dopey? Yes. But the action scenes are terrifically exciting and very well done, and Hawke does his damndest to survive the overacting of Hurt and the underacting of Cox, who is so wooden he should be the one hobbling around on that wooden stump.

Good action, good characters and, besides, it's the only show in the history of TV where the term, "f-cking pr-ck" is code. I mean, you gotta love that, no?

Like a hybrid human, Dark Matters combines science with good, old-fashioned thrills to produce a whole new species. Great fun.

Ringer, it turns out, is so good that it's CBS' bad.

Lots of good, crime-solving fun.

It's the dialogue that takes this series over the top.

Good family fun--providing your family doesn't include little kids who are scared to sleep. Ever.

With a snarky running dialogue from Tessa (Jane Levy), the laughs are as easy and as sophisticated as she is. Or as she thinks she is--and that's the key.

When Rosie's on, she actually is hilarious. Welcome back.

Lots of the characterizations work wonderfully, and the acting is fantastic.

Beavis and Butt-Head's snarky remarks are still so stupid--even in a world crowded with them--that they're funny.

[A] new and intriguing Western.

The pros take them through the paces of makeovers, haircuts and a trial shoot. And you will be surprised who makes it and who doesn't.

TNT is right to bring back the format--well done whodunits.

House of Lies somehow manages to be funny despite it all. That's mostly do to great casting. Cheadle, particularly, is brilliant.

The Firm is a modern, old-fashioned lawyer show--and that's a good thing.

The animated version of Napoleon Dynamite is almost as funny as a cartoon version as it was in the flesh.

The pilot moves along well, is a lot of fun--but Madsen is just too blond and bland to create the kind of excitement that Jennifer Garner or other of Abrams' female kick-ass characters were able to do with both hands tied behind their backs.

The movie, for true-crime fans, is a terrific retelling of the case.

Yes, the show is intriguing, and it's great to have Sutherland back on TV. But frankly, it's awfully complicated.

The cover songs are great and McPhee does a fine job with them, but the original tunes are very much of the overdone show-tune variety.

Lots of good stuff, although much is forced.

Either you'll laugh out loud, knowing that Davis helped create this, or call for Gervais' head--probably in a garbage pail.

Absent from this show are the ridiculous clothes that look like they belong on clowns and strippers. In their place are serious, wearable clothes that are, for the most part, so beautiful, so well-tailored and so, yes, sellable, that you'll want to buy them right up.

Think "The French Connection" meets "Alias" with a big helping of Taylor Lautner's "Abduction."

The premiere is actually very good. Of course, it would be a whole lot better if there were a new investigation into a new crime.

The acting for the most part, is first rate....Too bad the writing isn't better.

Poverty and pigeons, bread and circuses--and so much decadent good fun, it's positively sinful.

The series which starts out badly (idiotic masturbation jokes), builds quickly. And the co-stars are flat out terrific together.

If you are female and under the age of 28, you may really relate to these women and their struggles. If you're over that age, you should hang in until episode three when the series takes off in a great way.

The series, written by Price and produced by Robert DeNiro, has NYC cred, and it, like its characters, grows with each episode.

The dialogue is actually pretty darned good and kind of inside funny.

Get past the first hour and you've got a helluva good tale.

Dogs in the City is perfect summer fluff for city dog owners.

The injuries are extreme, the dancing gorgeous, the dancers young and beautiful, and the slogan the best on TV: "Blood, Sweat and Tutus."

Push Girls is more "Sex and the City" than "Real Housewives"--and more real than they've been--at least up until now.

The new Dallas is more ridiculous, campier, more preposterous and so totally over the top that it's skirting insanity. And those are only a few of the reasons to love this show.

The laughs can carry the show, so they seriously don't need the canned laughter and traditional TV sitcom sets. It keeps it all too safe. But so far? Not so bad.

Newsroom is both entertaining and irritating. The info is important and good, but the quipping banter with which it's delivered, isn't. News junkies will be hooked.

Fewer models with more time to talk about themselves and much less about the "fabulous people in the industry" that treated them like goddesses would have made this documentary as good as it is glamorous.

The season's first episode is pretty damned riveting.

Riveting and revealing.

The New Normal finds its game when it's funny without trying so hard and sweet when it should be.

If you loved Spielberg's "Terra Nova," you'll love Revolution.

Kaling has lined up enough very funny actors to get this Project the kind of respect that Dr. Mindy never seems to get.

Elementary actually works on many levels, not the least of which is his reason for being in NYC.

Once you get past the stupid stuff, such as the sex-goddess submarine tech designer and the equally gorgeous sub's Chief Navigator, Grace (Daisy Betts) there's something pretty damned good here.

Wolf is not about to break any new ground here. He's just creating the kind of TV that people watch.

If you love "Strike Back," you'll devour Hunted.

Sienna Miller [is] halfway believable but missing what Hitchcock called "the volcano inside." Jones, however, is spectacular.

Somehow, like the alchemists of old, Jungle Gold ends up making gold from lead.

There are so many things in this movie that are just so damned juicy that it is sure is more fun to watch than the exploits of today's orchestrated star pairings.

I have a sneaking suspicion that, over its next four installments, The Hour will ratchet-up the drama and intrigue and retain the excellence it's achieved thus far.

Girls may not be something you ever want to see if you're not a 20-something-year-old woman living on the edge of disaster at all times. But if it is--and you are, too--you'll be happy to know that it still raw.

It's all much better than it sounds, and more importantly, like "Strike Back," is written better than you'd expect.

It's crude, shocking and politically incorrect on a cosmic level. And that's just part of what makes Legit so damned funny.

There's enough intrigue, suspense and interesting characters here to make Ripper Street a worthwhile viewing endeavor.

New season, more promise. Good start. But seriously? Fewer plot-lines would be even better.

Campbell, Kurkova and Rocha--all insanely competitive with each other--stage the shoot with the models’ input, and it’s flat-out fun to watch legendary photographer Patrick Demarchelier in action.

Think the (hint! hint!) demon love child of “Raiders of the Lost Ark,” and “Rosemary’s Baby,” meets “National Treasure.” The series seems inspired by all of them, mostly successfully.

This series-in-a-series is an innovative and creative way to make TV, which I love. What would I have loved even more? A scripted series about a scary, charismatic cult leader.

An intriguing new series.

The ultimate style show is still so fascinating that I couldn’t stop watching, all the while thinking, “Why is this so good?”

While it’s all too pat, offering instant fixes, there’s still enough here to keep you watching.

Manhunt: The Inside Story of the Hunt for bin Laden on HBO is still very worth watching because it’s told from the perspective of the actual people who brought him down.

The Newlyweds premiere show is pretty engaging--especially without the fake fights and forced drama.

It helps to be a fan of Christopher Guest--the genius mockumentarian responsible for movies like “Best in Show” and “Waiting for Guffman”--if you’re going to love his new HBO series, Family Tree.

While Carell is sometimes guilty of overselling his character's eccentricities, his exuberance is offset by a laidback cast - including John Krasinski, Jenna Fischer and Rainn Wilson (of "Six Feet Under") - whose deadpan reactions to their boss make for some of this show's best moments. [24 Mar 2005, p.130]

In tonight's premiere of "Bones," for example, super-sleuth Temperance concludes from the young victim's bones that she was probably a tennis player -- a nifty conclusion, but one that has no bearing on the case. It's a factoid that leads nowhere, which is kind of where "Bones" goes in its premiere episode.

A show with a promising premise that could be a winner.

"E-Ring" is sometimes kind of silly, sometimes tightly drawn, and sometimes it's fun.

And that's the problem. Is it horror or just horrible? Is it scary or just bloody?

The acting is quite good, despite the fact that everyone is the same age, not particularly interesting, or even odd, and are all startlingly good-looking. The writing is good, if you can get past some cheesy dialogue.

Unlike "Baywatch," it's not as bad as it sounds -- or as good -- depending on your opinion of beach dramas built largely around boobs and biceps.

Since I myself am a sucker for a true-crime cheesefest, I was loving this movie until I was rudely reminded by my friend Denise that, "This is neither good sleaze nor serious true crime! It's half a satire, and half a true crime movie!"

Some of the 28-year-olds on "Conviction" appeal to me. Others do not.

"Windfall" is not the greatest show to hit the summer circuit, but not the worst either.

There are things to love about it - two of them to be precise: Kevin Dillon and Jeremy Piven.

There's never a light moment to let you reflect on the violence that you've just witnessed, which brings "Brotherhood" back to the level of every not-great gangster flick that's ever been.

As in other TV serials of this type, the plot thickens long before it ever starts to thin.

It's not a bad scenario for a serialized drama, but be forewarned: The apocalyptic story unfolding on "Jericho" is, by nature, exceedingly gloomy, reviving memories of the Cold War and also serving as a reminder of the tense times in which we live now.

The show is not as good as Woods makes it, but not as bad as some of the new shows.

Normally, this should be as much fun as pulling out your own fingernails, but the cast for the most part makes it tolerable and fun.

As soapy, sappy, Christmas adaptations go, this one's pretty good - until it totally falls apart at the end with the most preposterous finale imaginable.

Izzard and Driver are so good that you may be able to overlook a lot - like a plot to believe in.

What I like about this series is that it is anti-slick and anti-pretty.

All in all, brainless fun.

The action is fast and sometimes even compelling, if not entirely believable - or even a little believable.

A mushy, messy, medical melodrama that's pretty much identical to a dozen other doctor dramas you've seen many times before.

Interesting premise, good acting, some very crisp dialogue - but there's still a way to grow.

Despite the show's flaws--each of the first two episodes ends in an "ironic reveal" that is really just a ridiculous coincidence--its central character could be fascinating if played by, say, 1971 Brando. Duchovny gives off the heat of 2007 Brando.

It's a good kid show, but frankly, as an adult I'll lose interest faster than it took these kids to make gourmet biscuits and grits.

The biggest question you'll be left with after tonight's premiere is a big, fat "why?"

For reasons too obvious to bother with, NBC managed to take a really terrific and fun premiere and somehow let it morph over the following episodes into just another take-it-or-leave-it show.

Pushing Daisies is fanciful and fun, but sometimes pushes the daisies too hard.

As appealing as Applegate is, the show itself struggles to produce laughs.

All three actresses deserve better dialogue than they are given. But the clothes? They speak volumes.

Some of it is quite funny and so are the situations in which these four characters find themselves.

Think "The Apprentice" meets "Extreme Home Makeover" and you've got the heartwarming Oprah's Big Give. All shows together equal more Sunday-night tears than a feelgood Lifetime movie marathon.

I don't know why Tracey Ullman's State of the Union isn't funny. Maybe it's just that the whole thing comes across as too jaded, or maybe impersonating and skewering people also requires that the comic walk the fine line between funny and cruel. And honestly, cruel stops well short of knee-slapper.

With its loosey-goosey improvisations, Factory plays like a work-in-progress instead of one that was actually finished and really ready for prime time.

This show could evolve into something more interesting than a guilty pleasure.

Aside from learning that paddle-whacking still exists, the rest of the show is as dull and dimwitted as the students.

Nothing surprised me enough, while watching 90210, to blurt out, "Oh my God!" but hey, I'm not as easily surprised as a 15-year-old from Kansas.

Given that, let me also say that virtual sets don't make up for virtual plots. Not that Sanctuary doesn't have its moments, and those moments might prove to be fast and furious after tonight's two-hour premiere when the show goes to a more manageable one-hour format.

Taken from a British series (although there is enough cribbing off American shows to make it seem all too familiar), this less-than-compelling knock-off follows Hood, who like House makes house calls--or in this case, crime calls.

The chemistry between Winchester and Chirisa is great and very believeable, which goes to the acting ability of both men. It's not easy to make relationships seem real in this out-there fantasy.

Great, great, great drummer, but a dull, dull, dull show.

The Beast is weighted down by a concept that was already tired when Moses was a teenager -wizened, jaded rogue cop teaches rookie the ways of the streets and blah, blah, blah. But Swayze brings to the role, as Rourke did in "The Wrestler," the kind of seriousness that only real-life suffering can impart.

Yes, it is all kind of dopey and has that "been there/ done that" feel. But Fillion is so right for the part and carries the show so well that he makes the show more fun than it deserves for an otherwise by-the-book procedural.

If you've never had an in terested suitor impose the Big Gesture on you, then ABC's revival of the 1990s dramedy Cupid is so not up your alley that you may as well live on Mt. Olympus. And that just happens to be where Cupid (Bobby Cannavale) comes from in this sweet, not-horrible show.

The series--a replacement of sorts for "Life On Mars" as the strange, spiritually-infused cop show--definitely has its moments, and they aren't as few and far between as I'd imagined.

It's written like a dopey daytime soap, it basically makes no sense, but it sure is silly good fun.

You don't have to be nuts to love Mental, which is a kind of schizophrenic "House"--but you do have to be willing to suspend disbelief to the point of, well, insanity.

I'm happy to report that this season, there's More Blood! More Torture! More Killing! and More Intrigue! than last season.

Don't get me wrong, there are some good laughs here, but there's also the threat that 30 Rock could easily turn into that thing the writers relentlessly make fun of--TV shows and stars that are too smug, too smart and too out-of-touch for their own good.

When the show returns Sunday night, it's all business and not much pleasure for the Henrickson clan--and, in some ways, for us viewers, as well.

10 Things is silly, mindless fun and the actors are all terrific in that silly, mindless fun way that Disney teens tend to be.

Mark Burnett's newest plunge into the reality waters--somewhat predictable, with all the requisite reality bells and whistles (lots of dark blue mood lighting, dramatic music, quick-cut editing)--is mildly entertaining in that summer TV kind of way.

Shepherd is the star, and she does a good job of, er, Shepherding the show and making her character very likeable and accessable. I only wish the women characters were deliberately funny, instead of being accidentally funny from being stupid.

Terrific special effects (except for the giant supermodel in the sky), good action, good acting, and, if they let them, the Visitors could probably put on a helluva good runway show, too!

It is trashy fun as Spartacus, who is not really that interested in overthrowing oppressive Roman rule right now as he is in getting his sexed-up wife back, fights his way up gladiator rankings and out.

Not so happily, "Happy Town," is even more clichéd -- like "Scream."... [But] after you sit through a few episodes, it does get better, and the first-rate cast is a pleasure to watch.

Fox's newest buddy series relies too much on the '70's-style moustache of detective Dan Stark (Bradley Whitford) and too little on the chemistry he has (or doesn't) with his partner, Jack Bailey (Colin Hanks). Not that this is a bad thing, since the moustache is a better character than either of the above.

Sure, Haven is fun. But I get the feeling that I'm suffering from the same attack of "been there/done that" as the lithe and lovely agent.

The Glades isn't bad, it just feels older than a swamp gator--and as hungry as one for some fresh meat.

Yes, there's enough here to keep you tuning in. Just don't reach for the stars. They're out to lunch.

The remake of the classic cop series is pretty good--although there are so many explosions, you'd think the volcanoes were all acting up.

Conan O'Brien's new show, Conan, finally debuted on TBS last night after months of hype--looking pretty much like his two former shows, "Late Night" and "The Tonight Show."