Miller is infinitely watchable as the twitchy detective, and I'm sure Liu will bring more to Watson if she's given the chance.

The Neighbors revives an old storyline used in everything from the the "SNL" Coneheads sketch to "Third Rock from the Sun." It just doesn't do it as well.

Ben & Kate is at its best when the siblings lovingly spar--usually about one of Ben's hair-brained schemes.

The Mindy Project mostly lives up to the hype.

I get the feeling Grace will always do the right thing, which is going to make The Mob Doctor predictable and not all that entertaining.

Season 3 is off to a roaring good start.

I'd rather babysit a dozen children between the ages of 2 and 10 then sit through more of this.

NBC's The New Normal has its share of stereotypes and crass jokes that straddle the line of bad taste. But it's also sweet and, dare I say, funny.

The relentless bleakness would be my only quibble with the series; one doesn't often choose to feel as battered as the characters on screen. But you won't be able to turn it off.

Copper doesn't open as confidently as I had hoped (or as its pedigree might lead one to expect), but given the classic themes, rich time period and great acting, I trust it will keep my interest.

The Inbetweeners delivers moments of humor equal to all those other shows--mostly from the physical comedy--but overall it's too wimpy to make its own mark.

TV's best series that few are watching hasn't lightened up, and that's mostly a good thing.

Where it truly excels is in showing the emotional costs paid by the super soldiers doing their jobs and by the witnesses and/or victims of all the mayhem.

Seems to me she's [Alana's mother June is] desperate to stay in the spotlight. And all I can say to that is, "Honey, bye-bye."

Damages proves once again why it is one of the smartest thrillers on TV.

It's an incredibly poignant look at Mia and her new family, and Sevigny is outstanding.

It's mostly improvised, which makes the funny exchanges between Kudrow and her guest stars even more impressive.

Anger Management is a colossally wasted opportunity for both Sheen and FX.

Awkward's writing is sharp enough to keep even those viewers who refuse to go to their reunions laughing.

Some of the dialogue is groan-worthy, some plot turns totally predictable and some of the soapy silliness is just, well, silly. But J.R.'s Dallas is still a hoot.

Like "The Vampire Diaries," Teen Wolf successfully blends horror, mystery, romance, teen angst and plenty of reasons for cast members to show some (tasteful) skin.

When her Airbender training is postponed, Korra travels to Republic City, where Aang's son Tenzin lives, so he can teach her. And that's when the fun begins.

A show about a hot gay couple who are both cops would have been a lot more interesting than the umpteenth light police procedural USA has delivered.

When it really sails, it cuts through the waves swiftly. But it loses wind so many times the thrills come only sporadically.

An affectionate and surprisingly insightful look at Hollywood hopefuls clawing to make careers in TV, music, comedy and dance.

[A] cynical, hilarious and profane political satire.

These gals are at times so self-absorbed it's difficult to feel much for them when things don't go their way.

The former "Dawson's Creek" hunk provides much of the charm and limited punch lines until Apartment 23 starts to find its way in later episodes.

The Borgias is back with more drama, sex, violence and betrayals than ever.

Get on The Client List only to see some ripped abs; everything else is nonsense.

Although you've tasted many of the ingredients before (in "The Sopranos," "Mad Men," "The Godfather" movies), creator Mitch Glazer mixes in enough new elements to keep things tasty.

A tantalizingly juicy soap opera.

BFF uses the most obvious male-female cliches.

The acting remains impeccable, and the writing adds depth to characters that seemed one-dimensional the first season.

With all its harsh realism and attention to detail it feels more authentic than a lot of the actual historical dramas on TV.

I'm pleased to report that creators/writers Ben Court and Caroline Ip and exec producer Sally Woodward Gentle have tweaked that gimmick ever so slightly, making Whitechapel fresh yet familiar in Season 2.

Missing barely winks at the silliness it slings.

Game Change is less about Palin than it is about this sad state of political affairs....That message made an impression, as did two amazing performances, beginning with Julianne Moore's uncanny and nuanced portrayal of Palin.

It isn't consistently funny--and it definitely isn't as daring or groundbreaking as advertised.

Well acted and smartly written, Awake works as an intellectual puzzler, emotional family drama and case-of-the-week procedural.

Cougar Town returns with its wit, silliness and good-heartedness fully intact.

An exciting and scary trip.

Smash tries mightily and mostly succeeds.

Luck is a sometimes confusing yet fascinating study of the colorful characters--the jockeys, trainers, owners, gamblers and railbirds--who populate horse-racing tracks.

It's all very new-agey and a bit pretentious.

Watch it to laugh, and you'll have a lot of fun.

And we're off and running with another season of great animation, skillful voice acting and hilariously foul-mouthed fun.

Unlike "Archer" or "Sunny" or FX's "The League" and "Wilfred," Unsupervised refuses to go for the throat. And that makes it unfunny.

Justified continues to explode with superb writing, complex characters and rich acting.

Southland brims with plot twists that never, ever feel contrived.

It's a funny, creepy, touching thriller that had me laughing one second and peeking between my fingers the next.

Everything feels like a put-on; nothing seems plausible.

Sounds promising, but the premiere falls flat.

Rob is clumsy and uncomfortable, not to mention completely devoid of chemistry among its actors or subtlety in their delivery of "jokes."

If the writers relax their death grip on that formula and Handler stops choking the proceedings, Are You There, Chelsea? might be worth another look.

Nothing has really changed.

If you want bold activities, high drama and laughs motivated by something other than fame, tune in for Season 2 of Shameless.

ABC, you can do better than this drivel you call Work It.

A grisly tale, feuled by West's mesmerizing performance.

By pulling the curtain back on the magic of Neverland, Willing has stripped all the fun from a marvelous classic.

Hardy and the supporting cast deliver.

The gang delivers a ton of mostly low-brow laughs, but they're laughs nonetheless.

Johnston, Faison, Knight and Basche have their moments, but more often than not they hammer the jokes home, mugging insufferably as they do so.

Sad to say, another round of Black Friday madness would deliver more laughs than this brainless new sitcom.

Most of these characters are by-the-numbers denizens of any Western. Thankfully most of the actors make them more interesting than the sometimes atrocious dialogue should allow.

It's dark, disturbing and a little downbeat--which isn't a dis at all.

Whitechapel defies the odds, however, rising above its cliches with solid writing, taut direction, evocative cinematography and great performances by Penry-Jones, Davis and Pemberton.

Horowitz and Kitsis are clever and playful in how they insert the fairytale characters into the present day, which kept my interest even when, as I said earlier, I was chuckling.

[It's] a new season of jump-from-your-seat scares and shivery twists that will leave you breathless.

In its third season The League is sharper and raunchier than ever, and the aforementioned cast members, as well as Mark Duplass, Jon Lajoie, Stephen Rannazzisi and Katie Aselton, score TDs with nearly every line.

It's fun to look at, but there's not a lot of substance underneath.

The hauntings are staged for maximum creepiness; the show (and James) look great.

None of this, of course, is cutting edge new. But if you buy into the show's out-there fantasy of the suburbs--and I do, because I fear them--then you'll be amply entertained.

If they keep the cute at bay for more dinosaurs and dirty dealings, this should be a great ride.

Thanks to the rock solid performances of Bello, O'Byrne and co-stars that include Kirk Acevedo, Kenny Johnson and Chicago homeboys Tim Griffin and Aidan Quinn, Prime Suspect rises above the formula network procedurals that focus more on forensics than good, old-fashioned grunt detective work.

Charlie's Angels is as absurd as the original 1976-81 series that launched the careers of Jaclyn Smith, Kate Jackson and Farrah Fawcett (and her hair).

They say Revenge is a dish best served cold, and here it's downright delicious.

Some might say the show is overstuffed with stories, but I had no problem following the various strands, even if some were less interesting than others.

The office gang from Free Agents is anything but funny.

Spivey gives her stars so much better material stemming from the parents' self-doubt about everything from doing right by their daughter to still rocking a tight skirt (Reagan) to buying the right cheese at the overwhelmingly huge supermarket (Chris).

OK, so I'm having a real problem with the idea that Bridget could get away with this switch for even one second. If you can look past that, you'll still have to deal with a story so dense it takes a couple long expositional scenes to explain it all.

In order to fully appreciate SOA, viewers have to buy into Sutter's premise that murderers can be sympathetic and heroic, but that's not hard to do with such intelligent writing and so many mesmerizing performances.

All in all, A Royal Romance offers some OK acting of a dull story.

The smartly written series throws a lot of information, historical context, beautiful sets and costumes at viewers early on to create what eventually becomes a first-rate thriller.

There isn't anything too deeply intellectual here because the action moves the plot. And "Strike Back" has action to spare.

True Blood works best when its freak flag flies--as long as its core characters are along for the ride.

Ugly Americans can be gross and bizarre, but everything makes sense in the world that it has created.

The show still feels like it's coasting off the success of those super-charged early seasons.

The visual style pours as much emotional juice into the boiling, moody brew that Gilligan cooks up as his actors' searing performances do.

Tonally, it's all over the place.

It's a credit to Popper that the running gags seem fresh and funny every time, and that he can mine so much humor from a weekly dinner. But as long as he does, I'll have the table set.

Necessary Roughness hasn't scored a touchdown yet, but it's early in the game.

Stuffed with absurd situations and piles of bad taste, Wilfred is the strangest new show on TV. And the funniest.

Falling Skies, although competently directed, acted and sometimes written, goes off on more than a few tangents and paint-by-numbers subplots of the genre. It's best when it sticks to the main thread, and that's the battle for survival and to learn what the six-legged freaks are doing with the children.

The mockumentary soars more than it crash lands.

The Glee Project feels like an exercise in ego for the folks running the show. There's a whole lot of playing to the camera going on amongst the professionals, especially from choreographer Zach Woodlee and Murphy himself.