Zero Hour is a terrible show. But for viewers who long to mock or hate-watch and for "Da Vinci Code" fans who like to be dragged along on a crazy ride to Crazytown, Zero Hour is a hoot.

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

A smart, astute political thriller/soap worthy of comparison to the shows that air on HBO and Showtime.

Do No Harm is a ridiculous show with plenty of lines of groaner dialogue.

If there's a downside to the Americans pilot, it's that it has some pace problems. The premiere runs long--an hour and six minutes--and spends time on flashbacks to Elizabeth in training 20 years earlier and the pair's first meeting.

Spartacus worked best when it was an ancient "Upstairs Downstairs" with the house of Battiatus as the "upstairs" component and the gladiator school as the "downstairs." With that element gone, the show has no natural home base and feels a bit unmoored.

Through the show's first four episodes, an unexpected love triangle develops among three of Carroll's devotees that's tinged with unexpected sexual politics and questions about sexual identity. It's the only aspect of 'The Following' that feels fresh. Too bad this plot only serves as a side dish; the main course is the same old reheated serial killer/crime solver hash.

Ripper Street is decent enough entertainment that's most likely to appeal to fans of procedural crime dramas, viewers who gravitate toward CBS shows but don't mind wading through sometimes thick British accents.

The animated comedy returns in stronger comedic shape in its fourth season.

Legit comes off as appalling at first but after a few episodes, you get used to how awful Jefferies is and the show even allows for a few skewed, sweet moments.

It's a cute concept but producers don't seem to have a knack for proper execution, filling time with terribly padded segments--picking teams takes an eternity--and challenges (watching people play chess in the premiere) that, try as they might, don't make for compelling TV.

It's the characters of Banshee and their labyrinth of relationships that make the show an engrossing, entertaining portrait of a fictional small town.

While some plots on Downton Abbey may be more meaningful than others, nothing in season three rings as false a note as the Patrick-has-amnesia story in season two.

When Skip is used more as a garnish and not the focus, his character is less annoying and more amusing.

Restless could benefit from a little more development of the characters Eva works with--it would make their stories more meaningful and poignant--but overall this four-hour miniseries is a strong entry.

Whatever her faults, Ms. Lohan is not the film's biggest problem. That would be the script, which fails to introduce characters or even explain plot developments.

In a sort of oral history style, a moderator leads them through the show's tumultuous birth, its low ratings, demise and resurrection as the 2005 motion picture "Serenity." But what's most interesting about Browncoats Unite is learning how what was going on behind the camera impacted what viewers saw on TV.

Not wild enough, not funny enough, Wedding Band comes off as merely OK entertainment.

All the cliches of unscripted cable drama (like "The Real Housewives..." shows) are present, including in-fighting by a few members of the clique and ridiculous displays of opulence.

Lousy writing and stale characters rule in Malibu Country.

Mockingbird Lane is funny, fanciful, a visual treat and, perhaps surprisingly, full of heart.

It's a small character study about a large man who comes off as a terrorizing buffoon.

Fans of these true crime shows may be intrigued by My Life Is a Lifetime Movie but viewers hoping for a series as irreverent as this title suggests may be disappointed.

In its first two episodes, AHS returns as a creepy, spooky jolt of unpredictable storytelling.

Underemployed is one of the most enjoyably upbeat twentysomething scripted dramas to hit prime time in ages.

If this all seems too precious, well, it is. But the show is saved by Ms. Gummer and a relentless pace.

Sunday's premiere doesn't advance the story much--shades of early season two--but there's enough zombie carnage that fans of mayhem may not care.

The CW's Beauty is laughably bad in myriad ways. There's no sense of star-crossed lovers, just a plasticized romance between a Cover Girl and a glum, anger-prone male model.