This is an intelligent overview, with the consistent and important theme that medical "paradigms" shift and change.

Just like old times--make that exactly like old times. Will & Grace is back without missing a beat, or updating one, either.

Second-season expectations for Glee are almost too high. Potential reality series, movies, spinoffs, tours, record contracts...the surround sound that's jacked up around this hit is now officially deafening. Unrelenting distractions can push series off their game, and there's evidence tonight Glee is off its game.

As a live-action adaptation of a hugely popular series, it's often jauntier and funnier than the root stock, the violence even more outlandish and cartoonish. Hardcore fans of the animé series may be disappointed by the liberties taken but a much wider audience — the one that never __watched animé — probably won't be. Flat-out entertaining.

Amusing to watch, but not particularly scary. "Creepy" seems the better word.

The "Melissa & Joey" pilot is no great shakes. But Melissa and Joey could be.

A little long-winded in some stretches, not detailed enough in others but Holmes fans--and fans of cop procedurals--should like this.

More of a fan-pleaser than crowd pleaser. ... So yes — absolutely — well worth the wait.

Bible Challenge tries to cover all bases in America's complicated Christian field.

Amusing, odd, fascinating, indulgent and not quite as funny as you might expect, or hope.

It's a slow burn that can be patience-trying at times, and it's fair to wonder whether there's really enough here to support eight episodes instead of, say, a single movie. But there's confidence to spare and a real sense that the show knows exactly what it intends to be, without compromise. And whenever the pace slows to a crawl, the actors are there to keep you engaged.

A far-improved start to the second season.

The indulgence gets annoying, even as the basic details are fascinating and fun, as are the seductive testimony settings. You gotta love the fantasy of all those swank joints and modern mansions.

By dint of smart casting, imaginative challenges and A-list guests, Top Chef retains its three stars for culinary entertainment.

This is good bunk, fun bunk, energetic bunk. Much better bunk than the last volume.

Its tone can be inconsistent. With a couple of actors’ actors--Leigh and Rapaport--and Gilchrist at the helm, Atypical still manages to mostly stay on track. It’s a good newcomer with the potential to get better.

"Nine-Nine" goes out on a semi-serious note, and for the most part, effectively.

It feels fresh and amusing. "True Blood" did a similar fast-forward, and both have benefited.

There was lots of life left here. If these first couple of episodes are at all representative, there still is. (But still too bad about Peretti's departure.)

Desus & Mero arrived at Showtime fully baked--a talk show that knows what it is, and what it does, and how to do it. That's good, and at least so far, the Bodega boys are, too.

There is no apology, though hardly no remorse. ... From there, "Right Now" becomes, in a comically inverted way, a plea for tolerance,for perspective shift, for a check-out-the-world (from where I stand) riff. ... Risky show, risky strategy and both pay off.

A stylish, intelligent production.

The Catch is about illusions, also about who’s real, or not. It’s about human mirages. Could Ben possibly be a genuine “catch,” or is he just another Shondaland heel in a bespoke suit? The answer is not so clear-cut, and it’s also what makes The Catch so possibly engaging.

The pilot is itself uneven, with the go-for-bonkers impudence of a live-action "Family Guy." But without it, Mystery Girls might be just another ABC Family-com for viewers who have aged out of Disney Channel and silly situations with sentimental topping for studio audience uproar.

No, it's not exactly "House." But it isn't like any other show, either, with its mad mix of moral dilemmas, medical crises, family ties, double-life-living and, y'know, rubouts 'n' stuff.

Good Girls gets the journalism part almost laughably wrong, but as an ensemble drama with a good cast, high production values, and much else, even a crusty editor might observe that, “This story has legs.”

You dive into the deep end of this pool and struggle to make it back to the surface, not because you have to (although in my case I did) but because you can't. That's obviously good, also occasionally frustrating because Homecoming can be parsimonious with information. ... Then, there's Roberts, who is superb (and always is).

Good show with fine cast, but it all still feels a little too familiar and old-fashioned.