Like several new shows this season, the ABC comedy is neither cover-your-eyes bad nor set-the-DVR-season-pass good. It just sort of is what it is, which is occasionally cute and amusing--thanks mostly to a cast of comedy veterans--but largely forgettable.

While the show is clearly still finding its footing, there looks to be enough raw material there to make Perfect Couples, if not an instantly vital cog in NBC's Thursday comedy lineup, at least a reason to stay put between "Community" and "The Office."

Whether you like it or not depends on your ability to leap with the show. We won't lie, though. While the pilot is well-executed, once we get into hour two of NBC's planned two hour premiere, we got the feeling that this may be too much of a good thing in one sitting.

Mad Love is not a bad show, but, judging from its first outing, it's not immediately deserving of the caliber of actors it managed to secure for its primary quartet.

The show is no better or worse than "Perfect Couples," "Mad Love" or "Traffic Light." Which is to say it's populated with likable actors and rarely out-and-out bad, but it's also never much more than mildly amusing.

The pilot was extremely plot-heavy, so we've got our fingers crossed that future episodes will tone down the action and dig deeper into the characters.

While there's definite potential in the show, there were a few things about it that just didn't work.

There are parts of Hart of Dixie that need addressing. The pace lags at certain points. And some of the characters, sometimes even Bilson, are more like caricatures.

No other new show this fall is attempting to tell a bigger story, and we're hoping the rough patches smooth out and it fulfills the potential that's there in its very strong cast and premise.

At the end of the day, Hell on Wheels is beautifully-filmed project that offers exceptional attention to detail on everything but the main character.

There's enough in the premise and the performances (particularly those of Garcia and Neill) to keep us watching, but to really hook us in Alcatraz needs to decide what kind of show it wants to be.

A cool premise can only take a show so far, and there's some work to do on the character front to make the show worthy of using all available technology not to miss.

The pilot shows promise, especially seeing the chemistry between (at least three of) the leads, but Episode 2 treads no new sitcom ground.

Where the show stumbles a little is in the case itself.

It's too cringe-worthy for overempathizing animal lovers, but general audiences might tune in for lighthearted, escapist fun.

The multicamera, laughtrack sitcom is completely unoriginal, the jokes are recycled and many of the characters--especially Reba's obnoxious teenage son and daughter--are underdeveloped stereotype. Still, the charismatic country star and Tomlin's droll Lillie Mae, who successfully balances her sharp tongue with surprising softness, are entertaining.

The writers of Community have done a good job with what they were given. The problem is, they needed Dan Harmon.

Visnjic's smooth and mysterious turn in just a handful of scenes instantly emerges as the best thing Red Widow has going for it. That's either the sign of a series with fundamental flaws, or the roots of a show that will only get better as it goes.

But when a show reaches the level that Nurse Jackie did in Season 4, reverting to cruise control isn't enough--and Jackie is just coasting through its new run.

Action will only take the show so far, but eventually viewers need to care about the characters or they don't have a reason to keep watching and Chase turns into a show that gets watched as an afterthought, not as appointment viewing.

OTM doesn't immediately grab us the way "Grey's" or "Private Practice" did--though the latter did suffer an admittedly rocky start. This probably has a lot to do with the fact that there seems to be a bit of an identity crisis happening here.

Once you get past the idea that the bad guys are working for the good guys, it's a pretty by-the-numbers crime show.

NBC is clearly aiming for a network companion to their successful "Top Chef" franchise here, but while the aesthetics and the challenges are decidedly Bravo-esque, the personalities don't ever come close.

It's a not always comfortable mix of action, drama and comedy, and if it's far from the worst new series to hit the airwaves this season, it's also not at the top of the list. It's a little too middle of the road for its own good.

It's a show I would really like to like, and there are elements present in the pilot that make me want to see how it's doing by, say, episode four or five, but it's not there yet.

It's a fairly standard crime procedural whose hook doesn't really add much--and actually seems like it could be an obstacle further down the road.

The characters aren't terribly deep and the dialog doesn't take advantage of Emerson's and Caviezel's acting chops.

The biggest downfall of Enlightened is doesn't know what it wants to be. It's in no-man's land between a comedy, a drama and a satire.