If you've ever wondered how television screws up so many promising projects, check out Episodes, a new Showtime series with Matt LeBlanc that provides the answers in deliciously hilarious detail.

Fortunately, the series has enough edge and action and compelling conflict to keep it from getting mired in sap. Berlanti, in fact, has humorously referred to Everwood as "'Our Town' on crack" and he may have something there. [16 Sept 2002, p.D1]

A surreal, visually striking, insightful comedy-drama about the American way of death and a troubled middle-class family that deals with mortality every day. [3 June 2001, p.6E]

Some viewers will delight in the edgy humor, while others undoubtedly will want to slap an extra-tight muzzle on Wilfred.

Whereas most entries in the musty genre are simply inclined to go for cheap shrieks and lofty body counts, this saga defies expectations with a more humanistic approach.

Torchwood is grand fun and great adult entertainment.

Once you get used to the surroundings, it's still the same "As You Like It"--utterly charming and completely winning.

Although a bit rough at times (it's nowhere near as slick as "Laguna Beach"), Confidential is strong, emotionally charged stuff with the kind of real kids not often seen on TV.

It's an engaging series that's definitely worth at least a trial spin.

If you're looking for allegorical, intriguing science fiction, this isn't it. If you're OK with rapid-fire, light-hearted dialogue with an occasional dig at politics and culture, this "Doctor Who" is your cup of tea.

It is a gripping and explosively acted piece that involves the New York Yankees, the Son of Sam killer and the infamous 25-hour blackout that darkened all of New York City.

By the end of the first hour of Tell Me, I found myself caring deeply about what was happening to the couples and whether, in the end, they would find some joy of sex and emotional satisfaction. And whether I care about the characters is always my bottom line as to whether a series succeeds.

The early episodes of Project Greenlight do a great job of demonstrating just how important access is in Hollywood. [2 Dec 2001, p.C04]

Effortlessly mixing drama and wit, mysticism and biting social commentary, there is a real glow to Eli Stone that will brighten your day and lift your spirits. That is a very rare thing on television.

Yes, this highly addictive -- and often painfully funny -- soap can trample all over your comfort zone, but that can be a good thing if you give it some slack. It is rough and visceral and intense and defiantly alive -- commendable qualities, considering how so many banal (and derivative) TV dramas these days carry the mind-numbing effect of pre-op anesthesia. [22 June 2004, p.D01]

There's a depth, a richness to the series now that was only suggested [in the first season].

There is certainly enough right about the first hour of State of Mind that I'll be back for at least one more session with Ann Bellowes.

It can be downright uproarious at times. [27 Jun 2006]

It just oozes potential with sharp dialogue and a strong cast.

The [first two] installments--titled "The Beginning of the End" and "Confirmed Dead"--are gripping, vivid, beautifully executed and loaded with answers to the little mysteries of Lost life.

With striking eyes and a seductive smile, she's pretty much the only thing you see when she's on the screen. But Gugino doesn't get by on looks alone. She impressively balances toughness with a sultry vulnerability and plays Karen with a well-modulated nonchalance that brings an air of mystery to the character. And through it all, she avoids coming across as a cartoonish action hero. [1 Oct 2003, p.D01]

A show that, while ponderous at times, ultimately adds up to some very absorbing television. [10 Oct 2000, p.D01]

Although the pilot is hampered by a few cliches and acting that feels forced at times, the main leads are likable, the relationships involving and the storylines provocative. Consider it a promising start. [14 Apr 2003]

As messy as it sounds, the cast is good, the show looks great and the executive producer is Greg Berlanti, a writer whose recent track record ("Everwood," "Jack & Bobby," "Brother & Sisters") is unmatched.

Definitely worth your time.

The show could grow on you quickly because those involved are actually talented and engaging on- and offstage. One upside to Nashville is that it doesn't feel as staged as "Laguna Beach" or, in particular, "The Hills," a spinoff of "Beach."

Initially, these and other fresh characters make Season 3 feel overcrowded--and we pity any new fan trying to make sense of it all. But by the middle of the second episode, the show begins to gain traction and sucks you in with its new set of tantalizing mysteries.

Johnson is such a multi-layered character, and Sedgwick plays her so beautifully that you can forgive the weaknesses of the opening episode and hope they get smoothed out in what could be a very long run for this show. [13 Jun 2005]