"Fashion House" is a bit more coherent, if still ludicrous.

While neither awful nor even particularly bad, there is an earnest silliness to the whole thing.

The filming is urgent! The dialogue is obvious! The actors get choked up! It's as if a film school class put together a thriller following all the rules precisely.

There's warmth and wit there, along with not a little magic.

"Brotherhood" is sharply written... Nevertheless, a heavy air of predictability hangs over "Brotherhood," which has a tendency to confirm viewer expectations instead of challenging them.

A second-rate knockoff of what's not quite a first-rate fabrication itself.

This four-hour gem is exquisite from start to finish, rife with the texture of its place and time, rich with human understanding expressed in everyday articulation and small gestures.

Because so many viewers will have seen this kind of reality show before, their minds may start to wander by the second commercial break.

There's certainly comedy to be found in these basic situations, but not in "Lucky Louie's" confounding approach or stilted presentation.

Yes, "Deadwood" was incomprehensible last season. It is incomprehensible this season. Fans will be delighted.

In its zeal to zing local TV news, "Dog" loses any flavor of authenticity, which is absolutely essential for effective satire.

Forced, frantic and continually preposterous.

It's fabulous in every sense of the word.

"What About Brian"... wants to be "thirtysomething" for twentysomethings, but it is clichesomething.

If Cecil B. DeMille's 1956 film was the Barnum & Bailey Big Tent version of the story of Exodus, this is the snippy little art house version - smarter (perhaps), a lot more accurate (perhaps) and indisputably duller.

A slight, cartoonish, and terribly, terribly obvious dramedy.

The writing is pointed, the direction tight. But what really makes it work is Tori herself, light, bright and vulnerably likable.

Despite the storylines' incessant emotional and psychological delvings, the result is an inert if not annoying muddle among unpleasantly profane people whose prospective salvation isn't worth wading toward.

Viewers will immediately locate the central flaw. If half of the contestants are so rich, then why go to all this trouble for $200,000?

So much of tonight's series pilot feels so glib and rings so false, it's hard to believe this soapy saga comes from the quality-not-quantity production team of Tom Fontana and Julie Martin.

"Teachers" isn't half-bad.

Far and away the best new pilot on NBC this season.

[A] shamelessly derivative cop show set in the shamelessly overexposed city by the bay, with high-school-play-level acting performances which help make the overall effect cornier than a cornfield in Kansas. And yet ... and yet, there's something appealing about ABC's new cop drama.

While "Men" may have the nutritional equivalent of stick gum, there's some genuine charm here along with a surprisingly seasoned and talented cast.

"American Inventor," ... is unspeakably awful, and makes not just a travesty of the type of television that "American Idol" so dramatically popularized, but an unintentional parody of it as well.

Yes, "The Loop's" a winner, although let us be the first to admit that the usual attributes associated with "winning" are probably stretched beyond all recognition in this context.

[The episodes are] smarter than you might expect but not quite as clever as they work at being. Like the family unit it portrays, this dark/lighthearted drama tries to have everything at once and struggles under the far-reaching effort.

Uncompromisingly revelatory.