The 100 offers up a well-conceived society on the Ark that brims with conflict and moral dilemmas that’s paired with the unexpected discoveries of frontier exploration on Earth.

Jousting on ATVs aside, there’s not a lot of exciting, forward plot momentum in the first few episodes, but later episodes spend more time with characters in town, and episode four includes a plot twist that will either make viewers sit up and take notice or prompt them to turn off the TV.

The first episode runs two hours and sets up all the characters, their relationships and backgrounds. It presents a serialized show with a lot of potential for growth and interesting plot possibilities, especially considering a scene at the end of the premiere that raises a whole host of questions.

There’s an odd-couple vibe to Vicious, though it’s also a big, broad comedy reminiscent of Frasier if Niles and Frasier were a bickering gay couple instead of brothers.

The writers use a contrivance viewers will see coming miles away to pull I’m-done-with-all-this Eve back into the game. It’s an eye-roll-worthy plot turn. The acting remains impeccable, the costumes amaze, the locations offer beauty shots galore. Maybe for some viewers that’s enough. But it’s tough to get past the unbelievable relationship at the show’s core.

Taken on its own, Marry Me offers a fast-moving, often hilarious debut episode that traffics in pop culture references as it establishes Annie as the loon and Jake as the tolerant, abiding guy who loves her.

In its early going, it's a fun, summer TV frivolity--an entertaining enough hour of TV that sneaks in moments of social satire.

If Firefly weren't from Joss Whedon, the talented, respected creator of "Buffy the Vampire Slayer," this review would probably be a lot more dismissive. Because of his track record -- six seasons of "Buffy," five of them good; the successful and ultimately distinctive spinoff series "Angel" -- Firefly gets the benefit of the doubt despite an inauspicious debut. It's not good, it's not bad, it's just so-so. [20 Sept 2002, p.40]

When Betty White is on screen, the emotions are real, and she's on screen a lot. It's a safe bet that tears will be shed.

The Lying Game is not great television by any means but it's an adequate teen soap filled with attractive performers playing characters much younger than their actual ages, something the target audience for this type of series has come to expect.

Most of the young, relatively untested actors in Ground Floor are not nearly as talented at creating endearing characters; in the first two episodes the characters are mostly just ciphers.

The dull Descendants.... just seems like a widget--albeit an occasionally cute, harmless widget--churned out by the Disney machine.

A funny, fresh comedy half-hour, “Alternatino” offers some welcome laughs amid the drama-heavy diet of summer TV.

It's marginally more engrossing/less ridiculous in its pilot than CBS's fall flop, "Hostages."

In Tuesday's pilot, New Amsterdam reveals itself as a pedestrian cop show with a vampire-like lead character

The series feels padded and the lack of Kristen Bell’s presence – she does introductions for all the episodes but only appears in a few – is a disappointment.

Hell on Wheels is not a bad show, but it's also not engrossing.

It's a mixed bag of un-PC attempts at blue collar humor as four guys yak and try to avoid doing their jobs.

A funny enough comedy with a predictable premise that manages to surprise by often taking an unpredictable path.

I watched two episodes and with the exception of one riveting segment on security failures pre-9/11, I was bored out of my gourd.

Traffic Light seems to want to be a male "Sex and the City" or "Entourage" without the Hollywood backdrop. But the scrapes these guys get into are more recognizable and more cliched than what the "Entourage" guys encounter.

After two hours, Mob City gets its hooks into viewers and should leave many begging for more. But it takes some time to get there.

The biggest problem with "so noTORIous" is that the laughs, when they come, are few and far between.

If you’ve been missing “Desperate Housewives,” the new CBS All Access show “Why Women Kill,” debuting Aug. 15, is the series you’ve been waiting to see. But if you were over “Desperate Housewives” before it finished its eight-season run, well, “Why Women Kill” is kind of more of the same.

Judging by three episodes sent for review, the[se] course corrections work.

Although the subject matter is darker than usual for USA, series creator Sean Jablonski manages to find lighter moments so that Satisfaction is not a depress-a-thon.

Always an acquired taste -- one most likely to be acquired by the politically incorrect -- this new "Guy" is just as rude, attention deficit disordered and funny as past episodes. [28 Apr 2005]