When you start doodling on the Internet instead of watching the show you are supposed to review, then either you, or the show, has a problem. I'm going with the latter.

This feels like "funny" by focus group, one composed of cloistered network executives.

The characters couldn't be more bland, and atmospheric Texas settings are ill-used.

Leaden, dull, flat, tone deaf. Any reason to go on? Sure. This replaces another ex-"Friends" vehicle (Courteney Cox's "Cougar Town," which returns mid-April) that launched with both left feet, then dramatically improved. With all the on-screen talent here, this ex-"Friends" star could eventually shine, too.

Beyond comprehension, beyond silly, beyond words.

Nothing to see here. Move on.

A few of the critical “makeshift” moments defy logic, if not ridicule.

The appealing cast valiantly tries to hack its way through the dense underbrush of jokes about frats and testicles and cannabis. But the harder they hack, the hackier it all becomes. Before long, the jungle has won. The show, and viewer, have lost.

Genius doesn’t just skate over the science, it ignores it.

Sit Down is raw, vulgar and blithely offensive, with so many triple and quadruple entendres for so many sexual acts, I lost count.

Grim, sad, painful.

With Tools, there is no discernible style, or point of view, or voice, or humor that ever rises to the level of originality.

Inhumans squanders its Marvel back story (largely unclear here), to come off silly and stilted (in the hands of “Iron Fist” showrunner Scott Buck), as it plods through a cheap parade of cliches in writing, design and production. Despite special effects up the wazoo, it’s utterly devoid of magic or wonder.

As expected, the transition from big screen to small doesn't exactly work. What this Bad Teacher really needed to do was outsmart the source material--make this version more clever, or sharper, or funnier, or (above all) make it for adults.

The material’s the problem. "The Mick" lumbers along instead of flies. Scenes grope for punchlines that — when or if they come — lack punch or just belly-flop. "The Mick" wants to be outrageous, but instead settles for excessive.

Character likability is actually just one issue. Plausibility is the other.

Because this [Manhattan-cetric romcoms where self-absorption ultimately gives way to romance] is such an overly familiar TV trope, it demands great chemistry among all the leads and sharply funny dialogue to match. I wandered through this purgatory for three episodes and found zilch.

Yeah, Brooklyn 11223 is awful, and awful not because it's inauthentic--it isn't necessarily to those being portrayed here--but because it's hugely phony.

As awful as $#*! My Dad Says is, you almost detect an ember of promise here. Maybe it's Shatner--whom we will always love, no matter what--or maybe it's an illusion. But CBS needs to blow some life into that ember before it's too late. Maybe it already is.

Has boundless contempt for its characters and their empty lives of not-so-quiet desperation. This would be OK if the satire had bite and wit or the lead character had a single redeeming quality. Instead, Coop is a self-pitying schlub without the brains or moxie to pull himself out of his tailspin.

In general, pilot films fall into three modes -- promising, bearable and for imbeciles only. Moonlighting is definitely in the last class. [01 Mar 1985, p.20]

Snooki & JWoww reeks of the end-times--the end-times for "Jersey Shore."

Rosewood's pilot is stuffed with hackneyed setups, tedious exposition and character quirks galore.

Even the most diehard of Western fans should keep on scrolling.

Disjointed operates on another plane of altered consciousness, which may begin to explain this genial, harmless misfire.

It's lackadaisical, weary, bland and off-center.

The Brink is a grim would-be comedy grindhouse full of half-baked one-liners propping up an overbaked plot.

It's slow. It's dull. It's listless.