The PJs can be plenty funny when it isn't crude and offensive—and even when it is.

What I've come to appreciate in its second season is that CSI delivers the goods—mysteries that keep viewers guessing, scientific crime-detection techniques worthy of the Discovery Channel and a consistently intriguing character in team leader Gil Grissom.

As a raw police procedural, Gracepoint thrives thanks to legitimately unsettling twists, sharp revelations that focus our attention on new suspects. But it's in Carver and Miller’s competing worldviews that the show finds something more substantial to work with.

Is there an audience out there for a sweet, modest ensemble comedy about the staff of a Pittsburgh radio station, WENN, in 1939? Let's hope so.

Some of the first-season bugs have been exterminated simply by recruiting young roommates who are more interesting and charismatic, people who smile and laugh a little more.

Andy aspires to write fiction but basically he's an ordinary guy—a role right for Richter—and the humor springs largely from the contrast between his fertile imagination and his dull, dry job.

Scratch the gritty surface of this new police drama and you'll find it's not a totally revolutionary contribution to the genre.

The show has a refreshing sense of humor and whimsy.

There are a few weak jokes, but in its substance, look (fly fashions), and sound, this could be a real trendsetter.

The humor is raucous and raunchy.

Unlike their self-absorbed counterparts on MTV's The Real World, these kids don't make you root for the sharks. But their unnerving docu-adventures do make you wonder about their parents.

This looks like another clever, irreverent, cutting-edge animated comedy from creator Matt Groening.

Early episodes can seem as static as a stakeout, and the viewer has a ton of information to absorb—much of it conveyed in obscenity-laced slang. But as we gradually get to know the players... The Wire grows electric.

Clever writing and the delightful Melissa Joan Hart... make this unlikely plot a high schooler's witch fulfillment.

Don't know if this extremely edgy material will wear well, but I'm up for more Action.

Though the characters endure some familiar embarrassments... the honest performances and perceptive writing will have you feeling freshly empathetic.

Peta Wilson, an Australian actress with the harsh blonde hair, snub nose and oversize, depthless blue eyes of your average mass-produced doll, makes a sexy, amusing Nikita.

The show may never again attain the sustained comic brilliance of last week's pilot. But this is a rarity for Fox: a sophisticated and clever sitcom.

The main plot lines are immediately involving.

All in all, this looks like one of the brightest new shows of the season.

You won't escape easily from this drama's grip.

There are a few misdemeanors: the over-the-top scenes between an agitated cop (Titus Welliver) and his shrewish wife (Jana Marie Hupp); the sneer of Hill Street vet James B. Sikking as an Internal Affairs Bureau lieutenant... and the mix of Brooklynese and police patois that makes some dialogue hard to understand.

In more ways than one, ER's new competitor is tough to watch. But the effort looks to be worth it.

Sex is showing more creative staying power than I expected.

In the tradition of Cheers, the show thrives by selling up distinct, contrary personalities and making them collide for a half-hour each week. So far the writing is sharp and punchy.

Achingly real stories of desperate teenage love, emerging sexual identity, athletic pressure and parental confusion.

This new Fugitive has a very good Kimble in Tim Daly.

It's a traditional, timeless sitcom scheme that would have worked as well in the '50s as it does in the '90s. ... The show's strengths are its uncluttered concept and its cast.