Outrageous, eccentric, funny, campy--and too creepy for small kids.

With expectations low, this Exorcist surprises with appealing leads, and--a big bonus point--the return to TV of Geena Davis.

Fun, wild start to the fourth season--and that's just Kalinda's story.

The intrigue continues and The Borgias remains one of TV's more reliable potboilers.

A sober, intelligent, placidly paced drama as only the Canadians can make.

Basic yet beautiful, Cosmos appears to be a winner.

This John Logan creation promises an intriguing summer pastime, for an eight-week run anyway.

Edgier, more sharply drawn, while that Sorkian chatter remains at a very high boil.

Leonardo may not like what Starz has turned him into, but you probably won't mind this joy ride.

Caprica feels torn between soulfully mature ruminations and adolescent "accessibility" for gamers wondering where the space action went. Let's hope the pilot's spellbinding second hour points the way toward greatness.

The most interesting character, or certainly most compelling, is Barkin’s Smurf. She’s a Ma Barker with cleavage, a brownie-baking Gemma Teller (“Sons of Anarchy”). Ultimately, she may be the one to seal the pact here.

These stylish suits aren't empty, by any means. But we'll have to see if USA is truly willing to let its heroes' souls get emotionally naked.

Stone humanizes the boogeyman of the 2016 U.S. election in this fascinating, rambling, and sporadically invaluable exercise. Best not come looking for balance or journalism, though.

Raunchy and at times genuinely funny, Apartment 23 is jam-packed with promise--and inconsistencies.

Chicago Fire definitely has familiarity going for it and familiarity going against it as well.

Good, compelling, creepy start.

Ok so Better Off Ted can be oxygen-deprived. This is still one of the funniest shows on TV, and the cast sparkles with vets like Harington, Barrett and de Rossi...Anders and Slavin, too.

Even vintage home movies from unexpected sources-- Oakland’s black community, a Kentucky small-town newspaper--conjure a relatable sense of life being lived, in a continuity that clearly flows through us today.

There's texture galore in this city-shot cop hour, eyed by handheld lenses echoing "Homicide's" edge (and director Peter Berg's "Friday Night Lights" intimacy).

A gritty, almost plausible winner, and distant reflection of Stephen Spielberg's "Minority Report."

Cox remains a very engaging lead, and her supporting cast is rock solid.

Bunheads seems to know exactly what it's doing.

This entire series will rise (or tumble to oblivion) on the shoulders of their characters, and on whatever chemistry they create. First impressions are that it will indeed rise.

As with "HIMYM," guessing where that will be could be part of the fun--or frustration, if A to Z loses control of the story. Thursday's opener is so sharply executed, however, that doesn't look to be much of a concern.

The show spurts onto the air like ketchup spewed from an oversqueezed bottle, plopping frenzied mayhem all over everything.

Huge looks and feels like a show that knows what it's talking about.

Fair warning, dear reader: Wilfred is intensely vulgar, and only guys around the age of 28 whose ears, and sensibilities, are covered with scar tissue will find nothing offensive. Otherwise, it's very funny.

A not-bad start that promises to take Dex (and Dexter) in a slightly new and fresh direction.