There's no need to go any further. Testees makes "Kath & Kim" look smart and savvy, a nearly impossible feat.

The Easy Money production values are low all-around but they wouldn't be as noticeable if the characters and tedious story sparked to life. They don't, and it doesn't.

Valentine, created by Kevin Murphy ("Desperate Housewives," "Reefer Madness: The Movie Musical"), is fine but nothing special.

Despite a poor job of establishing its characters and their relationships (wait, those two aren't a couple?), The Ex-List begins with a strong, romantic premise.

The first two half-hour episodes, airing at 9 and 9:30 p.m. Friday, are less raucous and seemingly more adult than the film. There's more attention to character development; Jabba the Hutt's flamboyant uncle isn't anywhere to be found.

The show isn't helped by a two-hour premiere that states and re-states its premise too many times.

This first episode back sets a lot of goals for itself: Remind viewers of the backstory, advance the plot from the cliffhanger, and introduce and resolve the murder-of-the-week. Daisies succeeds in accomplishing these tasks and even finds time for a "Sound of Music" shout-out as Olive pulls a Maria von Trapp en route to a nunnery.

It's still a hugely entertaining show thanks to its charismatic lead actor and the tension that builds in its twisty-turny plots. But when a lead character is a murderous anti-hero, there's a fine line to walk between cheering a righteous vigilante and offering sympathy for the devil.

As creator Marc Cherry explained this summer, he wanted to re-set the series and get the stories back to something more closely resembling reality. Sunday's season premiere does that pretty well with some of the women's stories, especially Lynette (Felicty Huffman), whose twins are now terrible teens.

I kept watching last year and I'll probably keep watching this year, although I think the show is already starting to repeat itself.

The easily offended should steer clear, but viewers with an appreciation for outrageous humor are likely to have a good laugh watching Little Britain USA.

Sophomoric and crude, The Life & Times of Tim may be a viable alternative for fans of Cartoon Network's Adult Swim.

The Grey's Anatomy writers acknowledge last season's ratings decline by offering a parallel plot that finds Seattle Grace's ranking as a teaching hospital suffering in tonight's entertaining and ridiculous-in-the-regular-Grey's-ways two-hour season premiere.

This sitcom may elicit a few laughs, but the premiere episode is pretty lackluster overall, with obvious punchlines and predictable characterizations.

Knight Rider is nothing more than car porn.

It's not groundbreaking TV, but the pilot does a good job of introducing the characters, their relationships, their potential relationships.

It's a cute, generally uplifting concept but I'm not sure it will work.

It's too soon to declare Worst Week the fall's best new sitcom, but if the show's writers can find a way to sustain its seemingly unsustainable premise, it may overcome all doubts. It's certainly off to a strong start.

The first hour of Heroes answers enough questions and moves the story forward in such a way that a few "Huh?" moments won't matter as long as they're answered in short order and don't linger for too long.

A disapointing and largely laughless comedy set in an upscale New York City hotel.... Do Not Disturb? Try, Do Not Watch.

Privileged has the potential to be a largely positive, female-skewing series.

True Blood is a sexy affair that sets up an entirely believable world where humans and vampires co-exist. It's a soap, to be sure, but a soap with an eye for social commentary.

It's less aimless and has renewed momentum--even if its plots tread familiar ground.

Gritty and occasionally violent, Sons was created by Kurt Sutter, an executive producer on "The Shield." As "The Shield" prepares to bow out, Sons should capably fill the smart, testosterone-fueled void.

Tonight's season premiere does a fairly good job of wrapping up the sixth season finale and setting the stage to move forward but there's still a fair amount of cleanup to be done.

It's not a great show but it's not a terrible teen drama, not by a long shot.

Bar still feels like an attempt at a '90s-era edgy prime-time drama whose time has past.

By the end of the third episode of the second season there have been multiple hookups and breakups, enough to make your head spin or bore you to tears. Alas, I found myself experiencing more of the latter.