NYC 22 is very much a prototypical CBS show--it lacks ambition but it's not terrible.

Girls grew on me. As annoying as the characters can be, they also evince recognizable traits in absurdly realistic situations.

I don't care about the characters, their treasure hunts or how much they make or lose when they gamble that they'll find something of value in a locked storage unit [on "Storage Wars"]. And that's pretty much my reaction to Baggage Battles, too.

Don't Trust the B---- in Apt. 23 gets off to a strong comedic start with a quick-witted, fast-paced premiere episode.

Putting Jackie in rehab actually works out well comedically, too, because she's surrounded by a new batch of odd characters to bounce off.

While some aspects of the Magic City characters and their relationships are handled sloppily, others are too on the nose.

She's maybe-sorta a prostitute but the show's tone is light, frothy and downright sentimental when Riley gives emotional support to her male clients.

If only what's new about Scandal was supported by something better than blah writing, ludicrous situations and cardboard characters.

The single-camera comedy is not particularly memorable, but it could have been much worse.

Even a half-hour of these admittedly entertaining Q&As might get old but as a fan of Savage's writing (but not always his advice or views), I was pleasantly surprised that MTV found a way to keep Savage U entertaining throughout.

Once viewers accept it for the mediocre melodrama it is, they'll be more satisfied, tuning in for the strong performances and high production values while rolling their eyes at the umpteenth red herring and illogical plot turn.

GOT is easily television's most ambitious drama for expansive storytelling, but it doesn't shirk its duty to tell smaller stories about individual characters. That the series manages to excel at both is rewarding and breathtaking in its achievement.

It comes across as a low-rent operation making cheesy effects for the likes of "Hallow Pointe," not a big-budget effects house that works on movies you might have actually heard of.

Mostly the show, as these reality series are wont to do, follows the dysfunction within the family.

Bent is not a terrible show but it's not particularly good either.

Missing is like a bad Lifetime movie blown up into a weekly series.

Fashion Star remains a cool idea. But its execution and formatting need work.

Filled with pulse-pounding, thriller-style music, Game Change is a thoroughly engrossing film made all the more compelling by Ms. Moore's performance.

GCB offers surprisingly clever dialogue and winning comedic performances.

Generally they do their best to walk a fine line, attempting to execute the show in as uncomplicated a way as possible so less devoted viewers keep watching while rewarding obsessive fans with small steps forward in the exploration of Britten's condition.

It's a sensitive, one-hour portrait of three teens: one gay, one lesbian, one transgender.

The show conjures the most laughs when Mr. Gervais is on screen, but his presence doesn't mesh naturally with Warwick's world.

The River lacks the sophistication of "Lost" but its formula is more flexible than recent Fox addition "Alcatraz."

An entertaining drama that sucks you in and gets your toes tapping during several musical numbers.

Its hits outpace its misses--by a mile. That's not often the case with sketch comedy shows. Just as important, the humor is consistently smart.

Viewers who appreciate slow-moving stories set in gritty, somewhat sleazy environments with characters of questionable morals are most likely to be rewarded by betting on Luck.

Touch feels like yet another series--last week it was Alcatraz--that seemed like a better idea for a one-shot movie than a weekly TV series.

Although Friday's season premiere is a bit confusing at times, the Spartacus world comes into better focus in episode two.