You go on the lam, and you find Laguna Beach. [2 Oct 2006, p.45]

Despite the backstory, the humor is conventionally jolly. [30 Aug 2010, p.38]

Crass Peter's couch-potato tendencies give MacFarlane the pretext for one quick TV spoof after another, and some of them are hilarious. I find these satirical flights far funnier than the frustrated schemes of Stewie Griffin, a sinister baby bent on world domination.

Though Krumholtz captures Charlie's combination of genius and immaturity, Morrow's straight-arrow role sorely needs a few dabs of color.

In the first few episodes, nothing's happening. No pulse. Doctor, what's wrong? [24 Oct 2005, p.41]

The show is light, viewer-friendly entertainment, but without the conceptual novelty that gives USA dramas their oomph. [20 Jun 2011, p.48]

It feels less like Freud's fun house than an opportunity for one performer after another to launch into frenzied, vituperative speeches. [24 Apr 2006, p.39]

Harsh Realm looks to be capably acted and artfully creepy, but I'm not sure I care to get involved in another dark, paranoid drama from Chris Carter.

It's not a fascinating process. As host and co-judge, Jewel is so glamorously reserved, she's faintly sinister. [6 Jun 2011, p.46]

Neither [Underwood nor Moyer were] helped by the fact that the production stuck to the original Broadway show, which premiered more than half a century ago. It was full of business that might be delightful or even exciting on a stage--nuns gliding about while singing their alleluias, characters racing up and down grand, sweeping staircases--but on a wide-screen television it tended to look like just that, lots and lots of stage business.

The show needs work-—why all the breast jokes?-—but [Lithgow and Curtin] don't.

It's a promising setup, but Deception doesn't allow us the dirty pleasure of enjoying the awful Bowers. [14 Jan 2013, p.56]

In the show's best moments, this moral pickle (being a mole vs. being a cop) leaves Ryan scrambling to improvise ways to prevent gang crimes without really catching anyone. [26 May 2014, p.40]

This makeover series isn't breaking any new ground: A wallflower, repotted and pruned, blooms overnight into an assured woman willing to tackle her dream date. The real asset here is its charming British host, style adviser Louise Roe.

None of these results will rock a viewer's world, but it's unexpectedly satisfying to see stars in a reality project that's more relatable than ballroom dancing or a temporary work detail for Donald Trump.

Parker is appealing as always, but watching the show is an empty diversion—like scanning a gossip column about people who don't exist.

It's an enjoyable enough whodunit. The problem is McCormack. [23 Jul 2012, p.38]

Path sometimes feels like 24 downsized into The Office. [18 Sep 2006, p.39]

A solid, well-done series. [19 Jan 2012, p.42]

Now, ma'am, no need to bolt like a horse-unless you're scared of cliches. You aren't, are you?

It is nice but overly familiar in its reliance on pop-culture signposts and snuggly sentimentality. [30 Sep 2013, p.53]

This is Amazing Race of the damned, with something of the open-ended, Pandora's-box mystery of Lost, and it has the potential for out-there adventure. [23 Apr 2007, p.37]

Rivers scarcely pretends any of the setups are real--it's just more material for her. [7 Feb 2011, p.41]

Scott's performance is totally believable, but that doesn't mean you want to ride shotgun with him in such a tired vehicle. [19 Jun 2006, p.37]

The team behind Bad Teacher has successfully reconfigured the raunchy comedy into a heart warming sitcom starring Ari Graynor that is still bad in all the right ways. [28 Apr 2014]

Savage's sarcastic bon mots sound distinctly more like the words of a grown-up gag writer than they do the spontaneous utterings of a preadolescent. Even though they've dumbed him up since the Borscht Belt pilot, his character is still overwritten.

Motive isn't ingenious enough to motivate imitations or spinoffs, but it's smooth and diverting. [27 May 2013, p.40]

Not too original, but the cast makes this King more than a commoner.