If the "Shark" writers feel the need to, in the very first episode, soften their hero in a way the "House" writers haven't had to do in two-plus seasons, how warm and fuzzy will the character be by November sweeps, let alone the end of the season?

So long as Lewis is around, Life will be several steps above those cookie-cutter police procedurals.

Basically, it's a dumber version of "The Shield." Swayze's performance and the always-memorable Chicago locales are frequently undercut by dialogue that's clumsy and/or spells out things we can see for ourselves, and by model-turned-actor Fimmel, last seen on the WB's deservedly short-lived "Tarzan" remake.

Doherty and Milano, together with some silly dialogue and plots, promise some good campy fun. The problems come whenever their third sibling, played by Holly Marie Combs ("Picket Fences"), is on screen. You see, Combs can actually act, and whenever she starts to emote, she gives the trashy proceedings a bit more reality than they can handle. [7 Oct 1998, p.39]

The marquee interviews, taken as a whole, were Colbert's weak point--the Bush interview went longer in reality and felt rushed when edited. And Colbert's talk with George Clooney just fell flat.... What did work was the overall vibe--enthusiastic, encompassing, high-energy and with healthy dose of quirk.

Fringe is just good enough to watch with or without the ads. But with Abrams, you expect more than "just good enough."

The guys are so polite and harmless that it's hard to dislike them even when they repeat themselves in such a short span.

Katic has the more thankless role, as the actress in this scenario inevitably does, but the necessary sparks fly when she and Fillion are on screen together swapping barbs, and hopefully as time goes on, she'll get more to do than play kindergarten teacher to Castle. How much you like the series will depend almost entirely on how you enjoy watching these two spar; for me, that was enough.

Despite a wonderful cast put to good use, a very well-designed parallel world and some marvelous turns of phrase, I can't help admiring Kings more than I actually liked it.

Terminator: The Sarah Connor Chronicles happens to contain that show's most interesting character. It just ain't Sarah Connor.

Bored to Death (created by real-life novelist--but not private dick--Jonathan Ames) as a whole is so dry in its comedy that there's very little margin for error. (Like the "Star Trek" movies, I found myself enjoying the even-numbered episodes and struggling through the odd-numbered ones.)

"Write what you know" is a cardinal rule of writing, and Fey certainly knows this world better than Sorkin -- even if "The Girlie Show" is lame, I believe it exists in a way I don't with "Studio 60" -- but the history of failed behind-the-scenes sitcoms and dramas is so long and ugly that she would have been better served using a different setting altogether.

The performances by the three lead actresses (and by Amanda Seyfried as Paxton and Tripplehorn's eldest daughter) are so strong, and the nuances of life in such a complicated relationship so endlessly fascinating, that I'll suffer through the rest for a few episodes at a time before Bill's unsettling stare or Roman's calm, criminal sense of entitlement chases me off again.

In the early episodes, the cases are knotty and compelling... and Kelley comes up with some intriguing legal strategies ... But as the weeks go by, those wacky subplots start cropping up again. [4 Mar 1997]

One of the better -- if stranger -- comedy debuts the networks have put out this year.

It's still as detailed, opaque and confusing as ever. [8 Jan 2005]

Margulies is a potent enough screen presence that this part of the show could be interesting, but Canterbury's self-destructive streak gets overshadowed by all the Leg Show material and the overheated courtroom theatrics.

It lacked, for the most part, the emotional punch and sheer vocal prowess of NBC's recent staging, but the production itself redefined what a live musical could be.

Conan was simultaneously reassuring his fans that he wasn't going to change too much in the new gig, and telling the traditional Tonight audience what they might expect from the new landlord. This was the smart, and really only, play Conan could make on night one of such a high-profile job. I just wish the execution had been a little better.

"The value of what's in the briefcase might not be in the money." That's what creator Dave Broome, the man behind "The Biggest Loser," clearly wants us to ponder, but The Briefcase also preys upon our judgmental side as we watch the couples attempt to justify keeping all the money.

CSI: Cyber is perfectly serviceable television, with nothing distracting--David Caruso dramatically interrupting his own cheesy ripostes to don his sunglasses, say--to take you out of the story, but not a whole lot to keep you breathless for another.

Sanders' husband (Tate Donovan) and teenaged kids are each shielding their own secrets, uncovered by Carlisle and his crew--and covered up by them as well. Unfortunately, they're fairly pedestrian.

This show will run on poisonous rivalries, hidden agendas, and unbridled ambitions. And something about a Mormon temple. Blood & Oil doesn't dig deep enough.

When the drama comes, shall we say, to a head, you'll be hard-pressed not to burst into laughter.

The leads are fine, but the amount of disbelief that must be suspended for an anonymous woman with hinky body art to become an adjunct FBI agent beggars belief.

There's a minimum of gore--these walkers are slow and more intact at this stage--though there are a few zombie fake-outs. But instead of building tension these sequences merely underscore the tedium.

It's relatively engaging and slickly produced, with effective visuals showcasing Brian's new talents, but the side effect of this show may be fatal blandness.

A workmanlike space opera.