Heights almost feels like atonement for the biggest hit in MTV history. The kids don't swear (much), esteem their elders, work at their dreams and have no obvious or debilitating vices--until they drink.

Unassuming Longmire doesn't shout "LOVE ME!" but instead works its charms subtly, quietly.

I wanted to love Fringe, with its extraordinary pedigree and exotic, soulful Australian beauty Torv in the lead role, and splendid Noble in key support. Plus, Blair Brown's here, too, as a top exec at an evil corporation. But I just can't shake this word "derivative."

Another fine Hawke performance — and entertaining series — but the character he's created never quite gets a backstory, at least over the first five episodes.

This is pure kiddie fare; no big deal--Chuck's back; TV's a better place.

A baffling, beautiful, maddening, provocative puzzle.

Like all love affairs, this one needs the time to develop and gets it.

Often funny, engaging, and not nearly as complicated as it sounds, Dietland does grow progressively darker. This is a revenge fantasy, and with Marti Noxon at the helm, both “dark” and “funny” come with the territory.

This intelligent, sensitive portrait effectively explores a lost childhood and remarkable mind. It's engrossing to a point, then tiresome.

Still strange, dark, harrowing and often — unexpectedly — very funny.

The Save Me pilot saves itself artistically. But debuting in a summertime double dose makes series salvation improbable.

Watching “Shōgun" is a you-are-there-you-are-not-there experience — both bracing and chilly, not consistently engaging yet (paradoxically) always engaging, “Shōgun" draws you in, but never quite makes you feel welcome to be there.

Gritty, jarring, profane and smartly produced.

A partially successful reboot, with less music, more story.

Solid opener and Carey's theme song is a winner, too.

So yes, "Abbott" is familiar but the early episodes also have charm, potentially meme-able moments and what ultimately may matter most — heart. The year is new but we may have an early winner.

Suffice it to say, keep the kids away, but you will laugh - and feel guilty about it afterward.

Smart, well-crafted, layered — verging on over-layered.

Though they certainly cover the heady early days, filled with screaming girls and their cultivated persona as the anti-Beatles, Mick Jagger and Keith Richards aren't afraid to keep it real. Both show some interesting insights into their success.

A good portrait of a fallen man and the place he has fallen into. Promising--but also frustrating.

Still absorbing. Still painful.

It's an ideal match of creative talent and material, with serious appeal for history buffs of all ages.

Which isn't to say Duck Dynasty isn't entertaining. It's just more of the same.

No one wants this show to channel "24," but C-SPAN won't do either. For the most part, however, Madam Secretary charts a steady--and intelligent--middle course.

From "The Mod Squad" to "Being Human," TV's young misfits find it [family] where they can, and Tomorrow is that next step, too. Scripter Phil Klemmer wrote for "Chuck" and "Veronica Mars," good arguments for promise here (and "Undercovers," a bad one).

With some of the zip of the original, and some of the heart too.

Filmed in New Orleans, Coven wants to soak up some atmosphere, bowdlerize some local history and otherwise creep out viewers. At least on these three points, this season should easily score.

Lively pilot, with plenty of pop--but you've seen it all before.