Why is she The Protector? Why didn't Lifetime call this series "The Protectors" and give Campbell-Martin and her character equal footing? As this show proves, some mysteries aren't worth solving.

Hawaii's pacing, dashes of humor and casting make this one worthy of an "aloha" - but that's a tentative hello.

With “Family Guy’s” Seth MacFarlane serving as an executive producer, you know what you are in for--rude and crude jokes.... What’s unexpected is how much Bordertown resembles “All in the Family.”

The show’s humor is more often graceless and crass.

Once the show tones down the voice-overs, Balfe is quite good in the part of a time-tossed lassie.... Heughan swaggers in his kilt about as well as “The Simpsons’” Groundskeeper Willie (that is not a dis), but he and Balfe generate about as much heat as two piles of wet peat.

Like King’s last TV series, “Under the Dome,” The Mist would seem to have a short shelf life. One hour with these people and you’ll be rooting for the critters.

Their journey should be thrilling, fascinating. It’s a chore. The young leads do the best with what the scripts give them, even as they are forced to run over the same story beats.

Although the heart of this drama - the tenuous nature of mental health, as embodied in the character of Dr. Banger - is a universal issue, it might not be something most want to examine on a weekly basis. [30 March 2000]

Allen’s been doing this kind of humor for 50 years. It shows.

The makers of the "River" deserve credit for spilling so much of their "X-Files" myth-ology from the start, but there's not enough reason to book passage on this voyage of the bland.

By the end of the third episode, I was tired of all the sodomy jokes. Wood is an appealing comedic lead, but he's working off scraps. Be charitable and chalk up Gann's appeal to cultural differences.

Nothing feels authentic about this show.

Peter Pan Live! wasn’t interesting enough to hate watch.

One thing that might improve this office comedy is a few pink slips--upstairs, downstairs and off-camera.

Against the Wall has little ambition.

When The L Word is judged on its dramatic merits, the real problem is not the stereotypical plot lines or limited scope, but the fact there's nothing here to make the viewer want to tune in every week. Sure, the series throws around catchphrases such as "nipple confidence" and frank talk of "butt waxing," but strip away the attention-grabbing antics and the show is rather boring. Perhaps The L Word stands for lackluster.

Technically, the show is superb, melding animation with actors similar to “Who Framed Roger Rabbit?” Hines and Meadows in particular do a great job essentially acting opposite nothing. But Son of Zorn seems like Adult Swim filler. There are better shows out there for fall.

Ellis has one great, understated moment, when Sarah (Odette Annable), the love of his life, confronts him about his failings, and you can see Rush realizes the gulf between the man he is and the man he’d like to be is a chasm he’ll never be able to breach. The show needs more of this. But no, it backs away from the edge.

CSI producer Jerry Bruckheimer and Amazing Race producer Bertram Van Munster combine the worst elements of their shows for this six-episode time-killer.

Grammer throws himself into the material, but Lawrence seems deflated. Perhaps he recognizes these scripts seem like somebody’s first drafts. Partners doesn’t make much of a case.

It's disappointing this animated series is so tame.

Judging from the first two episodes of the 10-hour season, the show is riddled with characterizations that are meant to be humorous but are just dumb or offensive.

There's more truth in 10 minutes of Animal Planet's "Finding Bigfoot."

CBS has wisely cast familiar faces in key roles, which gives the show a leg up given that the characters can barely pass for one-­dimensional.... There’s something comforting about the fantasy of a government task force leaping to your aid hours after a vacation takes a detour to hell.

Tom Welling's picked up all the wrong lessons from behind the screen, from premise to character development. Hellcats is poorly paced and its attempts at comedy and drama stumble.

After the initial disasters, the rest of the show flatlines. Just as in the “CSI” universe, the lead characters are there to serve up exposition.

We’ve spent so much time on mundane love affairs, the nature of the resistance remains an enigma. The Dovekeepers spins history until everyone seems a bit dizzy.

In the absence of a believable or captivating story, Wicked tries to shock, but this is broadcast commercial TV. Ryan Murphy can and does more in two minutes on basic cable than Wicked­ can achieve in an hour.