Series creator Vince Gilligan wrote the first two episodes of this eight-episode batch, and they crackle, as always, with intelligence and an ever-lingering sense of dread.

The series improves slightly in a sketch that's filmed backstage where the improv comics are filmed from above sliding around on the floor on a set designed to make them look like they're standing upright.

The show is not so much awful as it is a colorless copy of better shows that have come before.

It remains to be seen whether the series will be capable of using the unquestionable talent of Ms. Sevigny and the rest of the cast to build a show that's compelling enough to convince viewers its worth tuning in on a weekly basis.

The result is not all that funny but more interesting than what most stand-up TV programs deliver.

Sheen's obvious, minimally funny new sitcom.

The series remains smart and thought-provoking but it's also quite funny.

It's more cheekily amusing than hilarious and full of comedy-of-the-uncomfortable moments.

A preposterous action-drama.

The relationship plots are less interesting to me than the comedy.

The Newsroom characters grow a bit over the show's first four episodes and begin to seem less like types and more like fully-defined people, but they never feel altogether real, the unintended consequence of inhabiting an idealistic fantasy land.

There's nothing wrong with TV Land trying to revive the old-school, multi-camera sitcom but the pilot for this show wouldn't have cut it in the 1980s.

There's a lot that's terrible about Bristol Palin: Life's a Tripp.... But this show adds additional layers of hypocrisy and silliness.

It's also similar to Fox's "Raising Hope," except that "Raising Hope" offers smart comedy and Baby Daddy is stuck in the realm of TGIF humor.

It's not deep, meaningful TV, but Falling Skies is OK summer entertainment for fans of breezy, things-blow-up-easy programming.

[A] silly, unnecessary reboot.

There's still some fun to be had watching True Blood but it offers more soap than satire or social commentary these days.

Bunheads feels like it's taking shape but hasn't coalesced in its first episode. But what it does get right is the introduction of characters from whom a lot of potential stories can flow.

As far as medical stories go, there's not much in Saving Hope viewers haven't seen before (and better) elsewhere, including on "Grey's Anatomy."

As with any pilot, Longmire barely scratches the surface of the possible directions it could go but the premiere does an excellent job establishing a sense of place and character. It's enough to make a viewer want to return for more.

Push Girls is at its best when the women tell their stories and depict the challenges they face in everyday life. But when the show's stars convene for gabfests, it feels as inauthentic as other docu-series.

Last summer Oxygen's The Glee Project proved a better TV show that Fox's "Glee" and it appears that may be more true in the show's second season.

When Hatfields & McCoys slows down enough to develop its characters -- and it's fairly rudimentary character development -- the miniseries comes to life.

Men at Work is mostly an unfunny, uninteresting look at four work buddies.

United Stats of History feels like it's a show that wants to be 30 minutes that's been stretched to fill an hour.

Most of the time Sherlock's cheeky sense of humor makes this version of the character a delight.

While it's fun to see what happens in Total Blackout once, it seems like it will grow old.

No one will confuse The L.A. Complex with "Mad Men" or "The Good Wife," but for the type of show it sets out to be, this Complex is surprisingly, well, complex.