Earl shares the look and heavily narrated sound of Arrested Development, but it has its own scruffy comic tone.

Witty, earnest, intelligent, overdone, overly ambitious, wildly entertaining and superbly cast.

There's something terribly real and awfully funny about this engaging little sitcom, which takes the sweetness of Parenthood and adds its own slightly bitter touch.

This bright, funny, appealing old-school comedy is an ideal vehicle for Louis-Dreyfus.

As Elizabeth movies go, this version has neither the sweep of Glenda Jackson's Elizabeth R nor the easily digested entertainment value of Bette Davis' Private Lives of Elizabeth and Essex. But it has Mirren, and that's reason enough to make it and watch it.

For all the artificiality of the language, there has seldom been a show that felt more authentic.

Entourage... returns for a third season with funnier episodes and higher stakes.

Juggling such a large ensemble won't be easy, and the producers have to guard against crowding too many stories together at the cost of depth and development.... If they can get the balance right, though, Class should be an ideal fit for CBS' successful Monday lineup.

There is no new show more likable, but that affection may waver if Betty can't give Ferrera the scripts and support she deserves.

Lights has a rare ability to portray life in small-town America without being condescending or sentimental.

Granted, this new Andy may not be as inventive or subversive as Universe, but it is just as funny and probably a bit more accessible.

Happily, this is a carefully adapted, clearly enunciated As You Like It that retains the beauty of the dialogue while making the meanings clear.

Damages is an enjoyably complex thriller.

The show is not designed to appeal to prudes, but the writing and the acting are too good to be wasted on the prurient.

In a sense, Monday's promising premiere is the first in a three-part introduction, with each episode building on and improving upon the one before.

Wise has been given a great chance to shine, and he makes the most of it, stealing scenes with such aplomb it may almost be a sin. Still, the show has to be carried by Harrison and Labine, and they seem up to the task.

Tonight, the surgeons set up shop in Beverly Hills, a move that has inspired the show to rediscover its sense of style and fun.

The British Mars produced only 16 episodes, and when the last of this season's final eight is over, you will have all the answers you need. What's more, they're satisfying and well worth the relatively short amount of time expended.

As much as the show recalls the movies, it also recalls some of the best work ever done in the genre for TV: the Buffy universe of Joss Whedon. Most every blast of portent and bombast is lightened by a throwaway joke; scenes of intense action and violence give way to equally well-realized scenes of domestic life that root the fantasy in emotional reality.

Bad brings new life and depth to an old one: Malcolm in the Middle's Bryan Cranston, riveting and remarkable as a chemistry teacher who finds a more commercial use for his skills.

The Tudors comes back enriched and improved.

Part mystery, part fantasy, part comedy, and all wildly imaginative exaggeration, Blood proves that there's still vibrant life--or death--left in the "star-crossed lovers" paradigm.

You can see where it's going, and assuming Abrams doesn't let it get lost in its conspiracy, it should be fun to ride along.

All we need ask of Grey's is that it tell its stories well in its own way, and tonight it does.

A fast-paced, funny show that has bounced back from last spring's post-strike slump.

So far, though, it keeps the techno-babble to a manageable level, and if it seems to owe more to other movies and shows than it does to real life, at least it's paying its debt in an entertaining fashion.

Times have changed, but they haven't weakened the basic strength of Dickens' story or diminished his insights into a society in which the poor are left to their own oppressed devices unless they cross paths with the rich.

Luckily, in Drew Barrymore and Jessica Lange, HBO has found precisely the right people to convey the peculiar blend of courage and craziness that were the two Edie Beales, daughter and mother.