Stuffed with absurd situations and piles of bad taste, Wilfred is the strangest new show on TV. And the funniest.

This is history lite, to be sure, but it's probably a lot livelier than your sixth-grade history class was.

Copper doesn't open as confidently as I had hoped (or as its pedigree might lead one to expect), but given the classic themes, rich time period and great acting, I trust it will keep my interest.

While well acted and artfully shot, it suffers from message movie traps.

They say Revenge is a dish best served cold, and here it's downright delicious.

Horowitz and Kitsis are clever and playful in how they insert the fairytale characters into the present day, which kept my interest even when, as I said earlier, I was chuckling.

Thanks to the rock solid performances of Bello, O'Byrne and co-stars that include Kirk Acevedo, Kenny Johnson and Chicago homeboys Tim Griffin and Aidan Quinn, Prime Suspect rises above the formula network procedurals that focus more on forensics than good, old-fashioned grunt detective work.

Like "Psycho," it offers a deliciously scary stew of unexpected twists, murder and mind games.

An exciting and scary trip.

Despite its historic gravitas and scrupulous attention to period detail, Spies of Warsaw never really ignites.

It's truly troubling to watch as helpless, restrained patients are treated against their wills. Yet despite mumbling over and over during the first episode, "I'm done with this already," I had to see the second.

There isn't anything too deeply intellectual here because the action moves the plot. And "Strike Back" has action to spare.

Spivey gives her stars so much better material stemming from the parents' self-doubt about everything from doing right by their daughter to still rocking a tight skirt (Reagan) to buying the right cheese at the overwhelmingly huge supermarket (Chris).

If they keep the cute at bay for more dinosaurs and dirty dealings, this should be a great ride.

While Prosecuting Casey Anthony does a decent job of re-creating the trial and media frenzy surrounding it, it fails to offer theories as to why the jury didn't convict her of murder.

A tantalizingly juicy soap opera.

It's all very new-agey and a bit pretentious.

Necessary Roughness hasn't scored a touchdown yet, but it's early in the game.

Most of these characters are by-the-numbers denizens of any Western. Thankfully most of the actors make them more interesting than the sometimes atrocious dialogue should allow.

Some of the dialogue is groan-worthy, some plot turns totally predictable and some of the soapy silliness is just, well, silly. But J.R.'s Dallas is still a hoot.

The addition of Chicago native Hudson is a masterstroke, but with all that other melodrama, Smash remains a hit-or-miss proposition for me.

It's fun to look at, but there's not a lot of substance underneath.

The mystical mumbo jumbo nearly derails the proceedings, but Goyer reins in the hookum in favor of frolicking adventure that's more fun than fact.

[Purefoy's and Bacon's] performances--and scenes that focus on Carroll's killer minions that I won't talk about lest I spoil things for readers--are the strongest parts of the series and overshadow the weaknesses. Those include numerous plot holes and some sketchy logic, plus Williamson's annoying habit of beating us over the head with the Poe references.

Ugly Americans can be gross and bizarre, but everything makes sense in the world that it has created.

The show still feels like it's coasting off the success of those super-charged early seasons.

The Inbetweeners delivers moments of humor equal to all those other shows--mostly from the physical comedy--but overall it's too wimpy to make its own mark.

Mamet and his actors have created a fascinating character study that puts our notions of prejudice, celebrity, media and justice in the spotlight.