This one is stylish, smartly produced and has a very appealing cast.

If you loved it before, you'll love it again. "Auf"-ully good.

Finding original humor in this tired old horse of a format may not only be difficult, but close to impossible.

Mad Men, as ever, remains a solid and beautifully produced TV program. Best of all, this episode promises a compelling third season. Fans will find much to savor.

Defying Gravity is a glorious, glimmering glop of foolishness--a spitball magnet of the first order that elicits jeers when it wants tears and catcalls when striving for philosophical heft.

What's new here? Nothing, really. Jane is likable, Adams is, too, and so--believe it or not--is Hung. That's another problem. Hung needed to be scabrously funny. Instead, it's just middlebrow amusing.

Purefoy brings some raffish charm to the role, but these days, who wants to embrace raffish philandering philanthropists--particularly ones so defiantly dim.

Yes, cliches about wealth and privilege abound and are confirmed, or perhaps further embedded....But NYC Prep is so eager to establish a kinship with "Gossip Girl" that it's forgotten to tell much of a story.

Silly, gross, soapy, mysterious, intriguing, exotic, erotic True Blood is fun. Even more fun this season.

The pilot is flawed (most pilots are), not particularly funny and even--bizarrely--deploys two bland jokes from the "Weeds" premiere at 10 (did the writers trade notes?). But Falco is good, proving that she can transcend Carmela Soprano.

The Goode Family is a highly imaginative and often amusing variation on that one note.

It is so numbingly derivative--effectively a dull mash-up of "House" and "Private Practice"--that you quickly forget it's also numbingly silly. But then, maybe that's the whole idea.

McKinley and its denizens feel just a little too cliched, the emerging romantic entanglements a little too forced, the female characters--notably Terri and Sue Sylvester--just a little too mean-spirited. Still, it's a great cast.

If you thought the "Real Housewives" of New York City, Atlanta and Orange County were outrageous, you haven't seen anything yet.

What's here is pitch-perfect - the fear, loss, emotional devastation and, peculiar to this disease, silence.

Overall, a meaner, harsher fashion competition, but compelling.

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

The Beales' story--predictably, sadly--descends into mutual recrimination, then near madness. It's all rescued by two stunning performances.

CSI is not looking for a facsimile, so fans can rest assured that Fishburne will evolve into a unique and valued lead on his own.

Sure, The Cougar is idiotic--these shows always are. That's a large part of their appeal. But casting fouled up here.

What a hoot. What a ridiculous, soap-operatic cutup of a series. But if you can stop giggling long enough, as I managed to--quite a feat, let me tell you--Harper's Island is also hugely enjoyable.

The Unusuals is not a good show; it is a messy, uneven, silly, inconsequential show.

One of TV's bleakest shows is also one of TV's best comedies. What a marvel.

Byrne is brilliant and--for the most part--so is this fine and absorbing show.

Cannavale's Cupid is at least funny and charming. He's good here and so is Paulson. The weak link--the "B" story, like tonight's tepid one with the Postie, which was as appetizing as week-old cod.

This is a gentle, good-hearted series and Scott was pretty much born to play Precious. But LDA can also be willfully, stubbornly languid.

It's bright! It's energetic! It has that sort of dialogue that zips, zaps and zings! It's even ironic! Yet, at its very core, Motherhood is completely vacant.

Honestly, it's a complete oddball with some charm and a few good lines.