Mad Men is back and back in all the right ways--the humor, the writing, the period details, and best of all, the flawless attention to these characters and their cluttered interior worlds.

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

The show ambles along without getting viewers to particularly care about Alex or Pete. Without that requisite electricity, they're hollow, or just sad.

Stunning, beautiful, hypnotic, engrossing, spectacular... That oughta do it here as well, except Frozen Planet unexpectedly adds another word: Unprecedented.

Nice locales (Paris! Rome!), a couple of decent action sequences... but otherwise a tepid potboiler over-seasoned with too many spy tropes and a plot with too many gaping holes.

All the eyeliner in the world can't make Cleve intriguing.

If you can see the forest through the trees, it's good, wearable fashion that's the real "fashion star" on this show, and it gives viewers an unusual glimpse into the world of retail despite all the superfluous hoopla.

No matter where you stand on the death-penalty debate, this is must-watch revelation--and, thanks to Herzog, tense and suspenseful drama.

A luminous and fully alive portrait by a first-rate actress.

Another insufferable nose-pressed-against-the-glass reality romp that says the rich are just like you and me--only rich, and exceedingly, tiresomely narcissistic.

Crazy Obsession gives us benign compulsives who mainly come off as amusing.

Not so much scandalous as scandalously dull.

Yup, the story can be downbeat, the pace at times languid. But this is a show with a brain and a heart.

[A] confoundedly tedious bric-a-brac of a reality show, now entering its 12th overall season.

Odd...make that very odd, and not for all tastes--probably very few. But there are some funny bits.

Cox remains a very engaging lead, and her supporting cast is rock solid.

Way too obscure for the average viewer, Comic Book Men is strictly for Smith groupies, and there are probably enough of those to keep this six-parter afloat over its short run.

The River still has a quirkily eccentric charm. It's just so deliciously odd.

I've seen four episodes; they're all good.

Everything fans loved about the first season--which improved dramatically over its course, by the way--is here. Everyone is not. McIntyre is good, but he's not Whitfield, either.

There are three excellent reasons--Milch, Mann and Hoffman--why your faith will be rewarded.

A bit melodramatic, a bit manipulative, Touch is still one of the best pilots of the 2011-12 season to date.

Good start to the third season, and from what I sampled, it builds from there.

Unsupervised is a cheerier, less nihilistic "Beavis and Butt-head Lite," and not remotely as funny or trenchant.

Lean, laconic, precise and as carefully word-crafted as any series on TV, there's pretty much nothing here to suggest that the third season won't be as good as the second--or better.

It was a dark and stormy night--and a weird, fun, trippy one, too.

In spots, it's been turned into an antic Saturday morning cartoon. A shame.

Old-fashioned and a bit placid, but Stults and Duncan save the day, and maybe the series.