Arnett isn't stretching himself here, but he's still funny as a man who can't comprehend why he can't buy the love of his life. Russell brings a fervor to the role of a woman who has yet to come across a tree she wouldn't want to hug.

Detroit's on-location shooting aids its authenticity, but the show goes awry when it goes for a joke. For example, medical examiner Abbey Ward (Erin Cummings, "Mad Men") carries bruises from her after-hours avocation: roller derby. Detroit 1-8-7 is one of those shows that is going to need some time to finds its destination.

Chase reminds me of "Trauma," NBC's attempt at a Monday drama last year, although the shows couldn't be more dissimilar (the latter was about first responders). They both seem to be placeholders in the prime-time schedule until the network can scrounge up something better.

Underneath the crude humor, there's a sweetness and an honesty to the show. The duo's struggle with weight is believable.

The remake of "Hawaii Five-0" is the best kind of throwback--to the buddy cop films of the 1980s. Think "Lethal Weapon" with a tropical twist.

Lone Star, created and written by Kyle Killen, centers on a con man who lives a double life--with two beautiful women--and is so full of plot holes you could drive a motorcade through it with a parade of elephants behind.

Will The Event turn out to be another "FlashForward" or the next "Lost"? I'm betting cautiously on the latter.

Buscemi is the only big-name actor associated with this cast, and though he seems to be having a great time strutting onscreen, most of the others aren't up to sharing the screen with him.

You've seen this game before, but not played with this level of desperation. There are moments when the boardroom feeding frenzies might cause you to step away from the table. There's something to be said for escapist TV after all.

This show violates so many tenets of storytelling, it deserves to be tossed in the clink. Outlaw is about as entertaining as a legal brief on the case of Wall v. Paint Drying.

Nikita is a breakthrough for teen-happy CW, its riskiest show yet--one aimed at adults. It's one they might enjoy.

The triangle--quadrangle?--becomes more twisted by episode's end. It leads to shocking violence against outsiders that deepens the tragedy and the mythology at the core of the show. "Game on" just might be the two most chilling words uttered this season.

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.

The premise is nonsensical, the characters little more substantial than fog and the central season long mystery is less a whodunit and more a why-bother.

Although the show is reminiscent of the kid-friendly TGIF lineup, some of the jokes are for the PG-13 crowd.

Many of the jokes are non sequitur riffs that turn into endurance tests. The cast seems to be aware of it.

Linney, who also serves as executive producer, is luminous as always. But the first three episodes fall into a predictable pattern of Cathy confronting someone and dropping cryptic comments about her diagnosis.

The Salahis are the attraction here. Judging from the season teaser, the show will spend the entire season building up to the infamous dinner-crashing scene, to which the Bravo cameras appear to had access. Remember, a fame whore needs your attention to survive. Look away now.

It's a dull blend, a slow-moving mind-rot creeping on unsuspecting viewers.

Mad Men is off to one crazy-good start.

The Pillars of the Earth, a six-part, eight-hour miniseries debuting Friday with a two-hour punch, delivers enough surprises to enthrall any thriller buff.

If the show can strike a balance between chuckles and capers, Covert Affairs won't be a secret. It will be USA Network's biggest hit.

The good part involves just about any scene focusing on Angie Harmon ("Law & Order") as Boston homicide detective Jane Rizzoli. The flip side? Just about every scene that isn't centered on her, especially those involving Jane's best friend, medical examiner Maura Isles (Sasha Alexander).

Hope you like looking at a golf ball, well, doing nothing. You'll see a lot of it during the hour. It sets the mood of The Glades. Sweltering stupidity.

Tonight's mystery ultimately doesn't hang together, but it does establish the show's light mythos in an easy-to-digest way.

"In this job, there’s no such thing as no such thing," Pete says. Exactly. Warehouse 13 is truly the show where anything can happen.

Louie differs from his late, unlamented 2006 HBO show "Lucky Louie" in that he dials back the volume. Yet he manages to not only push but also assault the boundaries of what's acceptable for basic cable, even at this late hour.

After watching the first four episodes of the sixth season back-to-back--an endurance test I don’t recommend--it’s apparent Rescue Me is recycling plots.