Of all the new shows I've watched, it's also the one I'm most eager to see again.

As charming as all that is amid the macabre, Pushing Daisies is a show that only a grown-up can fully enjoy.

It's a bit old-fashioned, which in today's TV universe makes it seem light and fresh--like the entrancing Ms. Applegate herself.

If Welcome to the Captain can sustain its tone of tender quirkiness, it may find an appreciate audience stretching from those who loved "Arrested Development" to fans of "My Name Is Earl."

The underlying theme here, once the fantastic elements are stripped away, is loneliness. That (plus the interesting face of its star) gives New Amsterdam a true and very tender heart.

It is not an exaggeration to say that the effect is of opening a treasure chest and being showered with its riches.

The fantastic Ms. Ullman is as funny as ever, depicting a new slew of characters in sketches that mock the way we are.

It's best to get quickly past the confused and shapeless first episode and on to the rest, where the characters become individualized.

The story of rising (and falling) movie star Vince (Adrian Grenier) and his entourage of high-living pals is as amusing as ever; and as the show matures so, ever so slightly, do the characters.

It's all more like a steady burn--of talent, of smart writing, of chemical reactions--and it may take a few episodes to feel the heat.

There is enough lively (if sometimes explicit) dialogue and reliable sexual appeal in all this to keep intuitive male viewers interested.

Four episodes of Life on Mars have by now aired, each livelier and more confident than the last and--despite its mush of a lead character--justifiably so. That's no small triumph.

It is funny in the manner of "Best in Show" or "A Mighty Wind," but much more biting. Although that means there are some truly painful moments, the talent of Mr. Lilley, a brilliant mimic, is a divine salve.

Ms. Jones's president is compelling--a force to contend with. Much the same can be said of the new 24 itself--a force now returned in strength and, once again, highly addictive.

Everything happens quickly -- scenes, cameos, comments and quips fly by. But nothing is throwaway or stupid, and in the midst of laughter, the emotion, when it comes, feels real. That's good acting. It also happens only when writers respect their audience.

The casting is effective. William Miller gives Oliver the requisite vulnerability and steeliness.

Magnificent cinematography, abundant animal life and lovely music that may contain harmonies unique to Botswana--all these make The No. 1 Ladies' Detective Agency a distinctly foreign affair. In the end, though, what comes through most strongly is not what's different, but how easily we recognize it all.

Divorce, father issues, an aging Peter Pan—we've seen these things before. Not like this, though, with no false notes, and reactions, from pain to optimism, that feel honest and not manufactured.

There's promise, plainly, of rich developments ahead.

It's an old story rolled out with all the power of the new--meticulously plotted, irresistibly suspenseful.

Thankfully, Caprica can be enjoyed without any reference to the literal past or the figurative future.

It's far more beautiful than its predecessors.

Prattle is, in any case, a minor note compared with the crackling pace of the first script, its evocative mood of menace at every turn, each police car racing to destinations that will reveal who knows what tragedy or unspeakable sight.

The new Melrose Place may not be the old, but it is, all told, instantly engaging and--from the evidence--likely to remain so.

HBO's Bored to Death sneaks up speedily, an eight-part comic enterprise that's soon transformed into flat-out inspired comedy.

There's plenty of life and overall quality to sustain this series for a long time to come.

For their part, Messrs. Levitan and Lloyd set their ambitious sights on a rare kind of comedy, and they have, it appears, found the gold.

What makes this a standout family show is not the absence of dirty words. Who needs those when there's an abundance of eccentric humor and bright writing?