It's not a bit hokey, as are many reality show competitions. Unlike "ANTM," the coaches don't judge. Instead, they leave that to industry experts who are authentic: smart, tough and unemotional.

You have plain old smashmouth elemental TV story devices--good guys, bad guys, evil corporations, a family unit, and a headlong rush toward the Truth, whatever that may be. Plus this special bonus: Intimations of Jack Bauer.

Still defiantly Community, still good and still uninterested in adding new viewers.

Monday Mornings is Kelleyesque in all the best and admittedly worst--melodramatic, manipulative, shocking--ways. But it's also intelligent, particularly well-written and acted, and above all interested in matters other than what's directly mounted on the screen before your eyes, most notably ethics, human nature and human fallibility.

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

Above-average newcomer with a great actor in the leading role and frosty grace notes throughout.

Part Dr. Jekyll, part Mr. Hyde and all dumb.

Smart newcomer with a pair of leads that turns The Americans into a likely winner.

Monday night's return of Dallas is a joy and everything fans could ask for--the past, present and future all skillfully bound up in a high-gloss melodrama full of deceit, greed, Velveeta and (surprisingly enough) even love.

The Following is a bummer of significant proportions. Not that it's bad--it's not--but it's bleak, sordid, blood-spattered and creepy (though not necessarily always "creepy" in a good way, like "The Walking Dead").

A surprisingly revisionist take on one of the most controversial trials of the decade.

Extremely raunchy, and often quite funny.

You have a life--live it, and don't watch this.

Mostly boilerplate teen soap that lacks the (umm) zest of "Sex and the City"--a good thing, in case you're wondering.

Sharper, smarter, more richly layered, detailed (and acted), Girls has improved upon its first season.

Banshee is baloney, but viewed as pure camp, there are some good action sequences and amusing moments.

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.

Been here/seen this--a lot--but familiarity could work in favor of Deception.

Africa convincingly, emphatically, establishes that you ain't seen nothing yet.

Character--as the old saying goes--is a long-standing habit, and their habits remain very much intact. The same could be could be said of Justified.

Fans will be pleased, though they shouldn't be too surprised by the major plot development Sunday--it's obvious by half.

Cheer Perfection is numbing in its ordinariness--dull, trivial and never, ever outrageous.

Zombie Apocalypse is hilariously awful, as bad, sordid, silly and foolish as you can possibly imagine.

This is a very good cast laboring through terribly weak material.

Dim, dumb, dull, daffy and dippy, Discovery should know better.

For Mel Brooks lovers everywhere (you know who you are), but it's on the light side.

In Vogue doesn't get quite as far "in" as one might hope, but the mag and its polished crew never fail to intrigue.

Good performances, good period details, good payoff. But Restless would've worked better as a two-hour film.