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

Scheuring gets sidetracked by the trite redemption stories of a hooker (Conor Leslie) and a Canadian Mountie (Marton Csokas). But those are small hiccups in this entertaining, expansive tale of one man's fight to keep his humanity, which he discovers is more valuable than all the gold in the Yukon.

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.

These final episodes overflow with love, compassion and one lesson we all can take to heart: Cathy lived.

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

With its strong performances, subtle details and believable situations, Looking presents a convincing portrayal of everyday life--either gay or straight.

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.

Arrow landed in my list of Top 5 pilots of the season, and I hope future episodes are as enthralling and well-made.

Despite fine acting from Cumberbatch and especially Hall and rare moments of comic relief, this adaptation of Ford Madox Ford's novels feels heavy and suffocating.

As Sarah makes one shocking discovery after another, Orphan Black weaves an increasingly intricate, suspenseful tale.

Despite its supporting cast of international actors who bring even thinly drawn characters to life, Outlander truly shines when Balfe shares the screen with either Heughan or Menzies.

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

[A] cynical, hilarious and profane political satire.

While "Copper" took some time to get into a groove, Ripper Street is riveting from the first cry of murder.

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.

Although the premiere is hampered by unnecessary narration and over-exposition, it's still a bewitching brew of whimsy, psychological scares, horrific atrocities and the wonderfully relentless feeling that something wicked this way comes.

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.

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.

Legit is legitimately and simultaneously raunchy, sweet and funny.

The good news is Vikings improves with each episode, slowly building its fascinating characters and discovering its ultimately absorbing tale.

Hunted is an intriguing and rewarding puzzle worth (trying) to solve.

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.

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

Live Another Day starts its 12-episode run in a typically gripping if superficial and improbable fashion, but you'll get no complaints from me.

In seriously exploring what drives people to kill, Hannibal serves up a meal too heavy to enjoy each week.

The quirky campus comedy is as clever and edgy as ever.

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

The Spoils of Babylon is an entertaining and spot-on spoof of the overdone potboiler miniseries of the 1970s and '80s.