At turns it's sad, poignant, bitter and funny (yes, more than enough turns in that direction).

A ninth season. Wow. In fact, a change of scenery has done Scrubs a world of good. The new students are funny. McGinley is great as always--so, too, is Turk (Donald Faison).

The Narrative knot is further jumbled by all the head games Two plays on him and everyone else. Six is on shifting sand, and so, too, will you be.

V has its fun moments, but mostly this is pure bunkum, or 1980s-era TV with a thin 2009 veneer.

Even with endless talk about genitalia and the things people can do to them, The League is surprisingly dull and slack - without snap or payoff.

Quirky, funny, smart, wonderful acting, surprise cameos by cherished actors (Steve Harris, "The Practice"), and a one-two punch by Chandler and Britton that is unbeatable. What's not to love?

White Collar is not original. But White Collar is enjoyable.

We get some slightly bent soccer moms and dads debriefed by an impossibly cheery, cheesy, chummy game-show host. Showtime must have thought there would be great humor and irony in the mundane exchanges recorded here. But it miscalculated. Badly.

This was the best comedy on TV last season.

The result is often funny, ridiculous, bathetic and silly. Plus, watchable. Against all odds, this might actually be a good closing season.

Three Rivers is a masterful send-up of old medical TV show conventions, dating back to the '50s, with a parade of cliches so obviously and hilariously inane that you will laugh until your side aches.

This isn't only "Frasier," recast as a standard family sitcom. It's "Green Acres."

The writers have great ears for "real" dialogue, and, in fact, not a single line here feels like a dead ball. The characters, too, arrive fully formed and believable. First impressions are absolutely vital in TV, and The Middle makes an excellent one.

I laughed. Not often, or perhaps not often enough, but there was also enough McFarlane-esque gross-out sophomoric tomfoolery to keep even me reasonably entertained for a half-hour. Plus, good ol' likable Cleveland works well as a leading man.

Neither offensive nor particularly funny, it's merely another average, laugh-track-addled sitcom. The four leads are fine; they just need better material.

It's evocative, smartly structured, well acted and insists that the strange ride you are about to take will be worth every minute.

As the woebegone divorcee with an antic streak and a full-blown need to get down, Cox is not believable.

Modern Family is good. Better than good. Really good. O'Neil--dry and wonderful as ever--and Vergara (considerably less dry) are a winning combination.

This is a shame and a waste of three gorgeous actresses, a wonderful actor (Gross) and an idea that--with a little more wit, smarter writing and less soap--could have yielded a winner.

There's no reason to pile on here, but this show needed many more months of gestation before getting thrown to the wolves.

There are many enjoyable performances by many wonderful actors, including Baranski, Panjabi and, the nicest surprise of all, David Paymer, who plays a judge. But you've seen much of this before.

It's a Pre-Cambrian specimen that crept out of the primordial ooze of TV past, with a rhythm so profoundly familiar that if you happened to fall asleep during the first few minutes and woke up for the last, you'd be able to mentally reconstruct the entire program from scratch.

Accidentally feels like a show that's nearly been focus-grouped into oblivion--with lines, beats and a cultural resonance that's so familiar you can almost see the baseball bat of predictability descending upon your head. So be it. Elfman's fine, as usual. This could be worse.

Who else but Larry David could have imagined that a "Curb" largely without the glorious Cheryl Hines could conceivably be funnier? Or that her absence might work as a comedic plot foil for one of its major story arcs? He did, and that's genius.

Bored sometimes lags and drags, as if it took a few tokes, too. But when it's funny--and Bored certainly can be--it's a winner.

Michael is a clinically interesting personality type who is profoundly unempathetic, until such times as he is very empathetic. The wonderful creative trick of The Office is knowing exactly the right moment to humanize Michael.

Community can be fresh, funny, smart and extremely aware of its own cleverness; it also can be terrifically odd--odd good, or odd bad, or sometimes odd-good-bad-strange all at once.

There's so much to like here. Now, all P&R has to do is become consistently likable.