Whoever reads those stilted lines, it won't make a difference. These angels never take flight.

D'Elia sparks well off Cummings, but this show demonstrates her true talents lie offscreen.

The X Factor is "America's Got Talent" with lockjaw, "The Voice" with a smoker's hack and "American Idol" on steroids. It is a garish, crass spectacle, and just might produce America's next superstar.

There are guilty pleasures and then there are ones for which you just feel guilty about sacrificing your valuable time. Revenge is the latter.

Deschanel is utterly con-vincing as this off-kilter gal, and of the supporting cast, Wayans sparks the most as Coach.

The best new sitcom of fall, CBS' 2 Broke Girls is rich in laughs and snappy performances.

NBC, together with Academy Award-winning producer Brian Grazer ("A Beautiful Mind"), tries to duplicate the success of AMC's "Mad Men" but cribs the wrong details with a woefully untalented cast, mixed feminist messages and a melodrama that is at times laugh-out-loud funny.

At times, the dialogue stops and unloads for exposition dumps, and a few of the young cast mates could use some more training back in the land of the Muggles.

Right now, Up All Night is the TV equivalent of a glass of warm milk.

This remake of a tart British sitcom of the same name starts with the moment that has killed many a show: its two main characters in bed, post-booty call. It's anything but romantic.

Ringer at times straddles camp--Bridget stays briefly in the "Double Nickel Motel," a wink that the two women truly are flip sides of the same scarred coin --but never succumbs to it, thanks to Gellar's muted performances.

The ex-commander-in-chief sits down with National Geographic Channel to give a moment-by-moment account of the darkest days of his presidency--and the nation--in the utterly absorbing George W. Bush: The 9/11 Interview.

The drama is swamped by the saccharine cliches.

While the two play for the cameras, it feels forced. Tallman rolls his eyes so often, they just might tumble out and roll away like loose marbles. His off-the-cuff remarks about his customers won't help his business.

For those impatient for the return of "Mad Men," The Hour fills that void and then some.

Reality TV has gotten rich off ethnic stereotypes--"Jersey Shore," anyone?--and now comes the generically titled Family Restaurant, about the Quon family, who run a thriving Chinese restaurant.

Stepfather Todd reacts to news of the family's fifth car by reasoning that since they don't have enough parking spaces, the only solution is to buy a home. And we're off and running to the poor house. Again.

Watch and you'll want to play along, too.

This is dumb, not-so-much fun shoot'em-ups.

Russian Dolls reinforces every negative stereotype about Russian women.

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

Call me bored. Encore's adaptation of Herman Melville's Moby Dick, the cable network's first original miniseries, is about as thrilling as a three-hour tour of Boston Harbor while blindfolded on a sweltering summer day.

Against the Wall has little ambition.

Awkward is adept in some quick cutaways, as in a classroom scene that echoes "Ferris Bueller." Rickards works so hard to emulate "Easy A" star Emma Stone, she just might end up in a full body cast by the end of the season. But with the tide going out on such reality drivel as "Jersey Shore," Awkward is a cagey move for MTV.

The first two hours are marked by surprising twists and betrayals. TV's most cunning series is back in session.

On its last call, Rescue Me has saved a few treats in its fire truck.

The premiere drops enough intriguing hints about the players' pasts without distracting from the main plot. You can't have a team without conflict, and every character seems to carry a quirk that rubs the others the wrong way.

The uneven 10-episode series shifts from pedestrian cloak-and-dagger to camp.