Even when "My Boys" isn't wildly funny (which would be most of the time, frankly), it has a lot of charm.

The thing is, if you can let go of the "Groundhog Taye" problem, it's a decent little thriller with a sci-fi twist.

Who wants to watch a less funny, vaguely cuddlier House impersonator?

It at times seems like a pornographic parody of "The X-Files."

"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.

If it weren't for [Lithgow's] shameless bellowing, "20 Good Years" would be excruciating, instead of the (very) occasionally amusing hackfest it's turned out to be.

The acting, writing and directing are superb.

The drama is one of the season's best because it makes you care even when you know something big is coming -- and because it finds pleasant little surprises along the way.

Sick, twisted and darkly funny, "Dexter" is easily the best drama in Showtime history.

I have no interest in fashion, little inherent fondness for soap operas, and I'm absolutely not the gender this show is targeting. And based on the two episodes I've seen, I'm going to be watching "Ugly Betty" every week. It's that much fun.

"Runaway" is like a Frankenstein's monster stitched together from pieces of dead shows from both networks.

A big, colorful, messy, involving, funny explosion of a show. If it's not the best new series of the season, it's definitely the most memorable.

A work in progress.

A gimmick in search of a show.

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?

What you do after surviving the end of the world as you know it is an intriguing premise, and when "Jericho" sticks close to that, it's one of this season's more promising new dramas.

"Kidnapped" plays out like a point-by-point criticism of everything "Vanished" gets wrong.

A schizophrenic pilot that's more interesting in parts than as a whole.

A sometimes-promising, sometimes-frustrating, always-overpopulated new sitcom that kicks off this season's odd new trend of shows about relative strangers who become best pals in a hurry.

Last fall, "Studio 60" would have easily been the best new drama; this fall, it's lucky to squeeze into the top five, and a lot of that is based on potential more than what's on screen.

"Extras" finally achieves the greatness expected of the Gervais/Merchant team with Season Two.

Basically, [the lead character is] a collection of every stereotypical romantic comedy and chick-lit trait, made especially annoying by Heche.

It's not a great sitcom, not even really a good one, and the strain of trying to sell such mediocre material will no doubt get to Garrett in a few weeks, but it's still vastly better than its companion show.

Larry, Henry and virtually every person to walk through "Happy Hour" are broad, obnoxious, lame caricatures, even by the standards of Fox's laughtracked sitcoms.

There's potentially a good show here; the pilot's just a miss.

"Desire" will make you ashamed -- of society at large, if not yourself --whether you like it (chances: minimal) or not (chances: off the charts).

[Of the two new soaps,] only "Fashion House" seems to understand that it's supposed to be a guilty pleasure.

Like all the Bruckheimer procedurals... you know what you're getting from the jump: solid but unspectacular acting and storytelling that will leave you satisfied without rocking your world.