Gardell and McCarthy are two of the more realistic-feeling, instantly appealing sitcom personalities in ages. They're enough to make it worth drudging through the sludge tonight's pilot considers comedy writing.

The most entertaining--and beautiful--new series on TV this fall.

Almost public TV-like by current reality-show standards, this new edition is actually a lot like the original, absent the Velveeta. True-blue fans will rediscover its pleasures.

Outlaw isn't bad as much as bogus. The whole faulty premise creaks and groans under the weight of a now-you-see-it-now-you-don't shell game, as key plot points zip by, then are quickly tucked back under their shell in the vain hope you won't remember them, or maybe take them at face value.

Pretty much all a fan (or critic) could ask of a cult series remake is this: Does the newbie measure up? Based on all available evidence--the 42-minute premiere--the answer is yes.

Good start with a pair of shockers. Beware.

The formula's a little too familiar, the pilot a tad dull. But Michalka's a big talent and for that reason, Hellcats has potential.

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

In the third season, the song remains the same. Biblical themes of fathers and sons, fathers and daughters, honor and dishonor, Cain and Abel are all baked under that pitiless California sun. Brace yourselves.

The "Melissa & Joey" pilot is no great shakes. But Melissa and Joey could be.

The Housewives evolve. Yes, watch what happens, if only for the richer plot lines, smarter dialogue and more pressing matters of the day.

Rubicon unfolds at a languid pace, dispensing information at the rate a not-quite-broken kitchen faucet dispenses drops. You want it to speed up. You want some urgency. You want a few more thrills in this thriller. At least this average TV viewer does.

It's an upbeat, glass-half-full hour with some tough love from Tony, who also dispenses sound couples therapy advice. But the hour also feels facile, and rushed.

True-blue fans will swoon. Everything they - you - love about this classic is laid out, banquet-like, Sunday night - the fashions, style, elegance, writing, characters, precision, beauty and most of all, the humor.

Admirers of the novel probably will be pleased. Average viewers who never read the novel (or any historic fiction) will be either confused or bored--possibly both.

I'm punchy after an hour-and-change of lame chases, inane dialogue, ludicrous plot twists and absurdist acting techniques. But by the end of this, I pretty much had a crush on Piper Perabo and Anne Dudek (who plays her sister), so I guess it was worthwhile after all.

Mostly this show belongs to Harmon, once a key member of the "Law & Order" ensemble. She's likable and intriguing. That salvages an otherwise average cop show.

All this is to say, simply, that Passmore is an intriguing screen presence who holds a well-constructed if otherwise boilerplate cop show together.

King didn't actually write Haven but "developed" it for the small screen, which is a form of plausible deniability if things go wrong. With Haven--as somnolent as a summer afternoon--they most likely will.

It's all vaguely familiar and spirited enough to look like shiny summer fare. Just don't scratch the surface.

Problem is, the show is more comfortable with cliché than subtlety.

Often profane and occasionally offensive, Louie won't be to every viewer's taste, but it's a more interesting show than many with a definitive point of view.

Can Rescue Me wrap all this up in the short time left? I hope so, but this episode feels like so much temporizing.

Huge looks and feels like a show that knows what it's talking about.

This show doesn't feel even remotely played out.

It's summer, expectations are low, and you could do a lot worse than this genial, softhearted import.

As with his earlier shows, "Hopkins 24/7" (2000) and "Hopkins" (2008), Wrong has structured these stories masterfully. Nothing seems wasted, nothing is superfluous. As a result, the hugely important work these people do is honored in every shot.

A by-the-book cop show without much bite or heft. But it's got Memphis and Lee.