The best new TV comedy this fall isn't actually on TV.... Master of None is very much in the style of "Louis," except it is funnier. Really. It's far less about drama and more about comedy. This is a show for adults, about adults.

It's enthralling. The Night Of looks like this summer's TV obsession.

It succeeds, period.

The People V. O.J. Simpson: American Crime Story is thoroughly, surprisingly entertaining--but not always for the reasons that the people behind it intended.

The first three episodes are intriguing. Visually arresting. But if someone other than Hawley were running this show, I'd be a great deal more skeptical. As it is, I'm cautiously optimistic. With the emphasis on "cautiously."

This is great stuff. And, at just six episodes, it's a great length.

It's very funny at times. It balances on the edge of comedy/drama and sheer campiness--reflecting the lives of Davis and Crawford. But it is not the sort of over-the-top, unintentionally hilarious portrayal that the 1981 Crawford film biography "Mommie Dearest" became.

Morgan dramatizes Elizabeth's life--he builds the narrative on a framework of public events but includes private exchanges and personal motives in a way that's entirely believable and doesn't feel in the least bit exploitative.

It's weird. It starts quite slowly. But it turns into something rather interesting and quite funny.

Better Things is one of the best new comedies this year.

You won't feel like you're doing public service when you watch this show. It's very funny. Very entertaining. And it has a big heart.

Brockmire gets off to a very funny (and very vulgar) start. I don't know how long the premise will hold up, but it begins with a lead-off hit and scores multiple runs.

The cast is great. The performances--particularly by Colter in the lead role--are better than the show, which sags in spots. It's solid, but not spectacular.

This is a sitcom, not a public service announcement. But you can certainly argue that The Carmichael Show is doing a public service. It isn't often you can call a sitcom brave. This is one of those times.

When you're in the midst of it, you feel sort of crazy. When you're watching Rachel go through it, it's engaging. It's fresh. It's fun.

This show is offbeat, but it's definitely worth checking out.

Weird and mesmerizing. ... You can feel elements of other programs in this series, but it's also unique in the television landscape. But it's not always an easy show to watch, and not just because of the blood and the body count. You've got to be patient, because Fuller & Co. unspool this story slowly.

Empire is back for Season 2, and it's just as good as it was in Season 1. So ... it's not particularly good at all. Just because it's a soap opera doesn't excuse bad writing. And 13 episodes into Empire, the plots are already repetitive and--quite frankly--boring.

These characters feel real. Relatable. Sympathetic. Their stories are compelling. They interact in unexpected ways. And the Big Plot Twist in This Is Us feels right. And sets up what could be an outstanding series.

Grease Live! was exactly what it was supposed to be. It was fun. It was entertaining. It was well worth watching.

It doesn't feel like a reunion, it feels like we've been away and we're rejoining old friends.

WGN America's new drama Underground is an excellent program that's both engaging and disturbing.

WestWorld is intriguing, but it gets off to a very slow start. Despite all the shootouts, very little happens in the first couple of episodes.

Give it a couple of episodes and Crashing just might grow on you. But even if you're a huge Pete Holmes fan, you're more likely to smile than laugh out loud.

This new version of The Late Show is a program I could fall in love with. There was a lot to love on Tuesday night.... Colbert's monologue was good, the energy was great. George Clooney's appearance was fine. The closing musical number, featuring musical director Jon Batiste and his band, Stay Human, along with Brittany Howard, Buddy Guy, Ben Folds, Derek Trucks and Colbert himself--was wonderful.

For the first half hour or so, Designated Survivor feels a lot "The West Wing"--and that's about the highest praise I can give a show. But then things start to deteriorate. There's a rather ridiculous plot involving Kirkman's son. Worse yet, there's a plot involving one of the generals who seems to be plotting a coup--and he's a cartoonish villain if ever there was one.

The pilot is funny but pretty much one-note; continued success will depend on the writers coming up with more for Lowe, Savage and the supporting cast to do.

It's charming. It's funny, but not in a setup-joke, yuck-it-up way. It's sort of observational comedy--observed from the dog's point of view.

Despite the subject material, this is a very funny show. Amusing at times; laugh-out-loud hilarious at others.

Fugit is great as Kyle, the character around whom Outcast pivots. You've got to believe this guy is real to buy into the series, and the Utah native delivers a performance that makes the series work.

What makes Red Oaks work extremely well is that it not only has a sense of humor, it has heart.

It is an odd mix of horrific terrorism and popcorn thriller. But, at least in the first episode, it somehow works.

Despite clawing so desperately to achieve quirkiness, No Tomorrow could work. It depends on whether chemistry can develop between Xavier/Sasse and Evie/Anderson. It doesn't quite work in the premiere, but chemistry can develop.

Pitch feels phony from the get-go. The characters are caricatures. The premise is ludicrous. And the Big Plot Twist is manipulative, derivative and gob-smackingly stupid.

Greenleaf is a big ol' soap opera. A pretty good soap, as a matter of fact, filled with more than its share of characters who are instantly unlikable.

[Louie] Anderson and Martha Kelly--who delivers a supremely deadpan performance as Chip's downtrodden friend--are the best things in Baskets, which is so aggressively downbeat it washes away most of the humor.

It's not a great show, but it's decent summer viewing. There are some laughs, and I liked it more as it went along.

It can be a bit much at times, but there's a great supporting cast--including John Michael Higgins and Nicole Richie as the news anchors--and there are enough laughs to keep it moving.

It's silly and sometimes slapstick, but it works. And what makes it work is that Lithgow is so good as the alleged murderer.

Not only does it feel unoriginal and tired, but it comes across as a vanity project for star/executive producer Jason Bateman, who also directs some episodes.

It's a fine drama, and Fox should be applauded for commissioning and airing this project.

Animal Kingdom is not exactly a cerebral series. It's a show about guys doing guy things, complete with action sequences. And the characters are intriguing--although a little bit of Barkin goes a long way.

I was pleasantly surprised when the new two-part Salem's Lot, based on the Stephen King best-seller about a town of vampires, spooked me. And it did it the old-fashioned way, with genuine scares and classic horror elements. [18 June 2004, p.D17]

It's not great, but it's not bad.

So, yeah, poop and pee jokes. Not funny. Not clever. Not worth watching.

The movie wasn't that great. It was just sort of OK. The series seems to be in pretty much the same territory.

Once you get over what might be the initial shock of Andrea's dirty mouth and incredibly frank talk, she's a very appealing character. And I'm Sorry is amusing. Sometimes even laugh-out-loud funny.

It's chaotic, sometimes almost incoherent. Wildly inconsistent, it veers from dark drama to lighthearted fun.

This is a clever, laugh-out-loud sitcom written by adults, for adults. It's not too adult for children, but there are definitely jokes that will sail over their heads.

Incorporated looks great. It's intriguing and has moments of excitement, but lapses into tedious scenes that'll make you want to hit the the fast-forward button on the remote.

If it doesn't get weighed down by its pedigree, its iffy network or its own rather far-reaching aspirations, Dawson's Creek may be worth a long and winding run. [20 Jan 1998, p.C7]

It's pretty slow. This is related to the movies, but it's not a remake. It's just ... similar.

It's told with multiple storylines populated by myriad characters, and it's sort of slow going.

The Arrangement gets off to surprisingly good start, and I'm interested to see where it goes.

Braindead is pretty much completely insane. But in sort of a good way. At least for a while.

Nobodies is OK. Some of it is quite funny. And some of it really isn't.

American Horror Story: Hotel looks fantastic.... But as we've come to expect from Murphy, Falchuk and AHS, the storytelling is derivative; the scares are non-existent; and it's all about style without much substance.

The first two hours are well worth watching. It's funny stuff.

The most interesting thing about the premiere of The Catch is the camera-work and the editing--including some very clever split screens. But the characters ought to be the most interesting thing, and they're not.

The first couple of hours are very entertaining. Which isn't surprising, given that the show is basically just cribbed from a very entertaining movie. The question is how this premise is going to hold up starting in Episode 2 (which was not screened for critics).

Judging by Episode 1, Queen of the South faces some tough going. But it's too early to write it off altogether.

The latest entry is about kidnapping, not murder or terrorism, but it is the same sort of mystery and even includes the same sort of flashbacks that have proven so popular in those other [ABC] shows.... The Family gets off to a good enough start that I'll tune in to watch another episode or two, at least. Whether this is worth sticking with remains to be seen.

This show is supposed to be big, dumb fun. It's definitely dumb. It's occasionally fun. And it's actually too big. The original "Gong Show" was 30 minutes; at an hour, it's a bit much to sit through.

As a soap opera, Doubt is pretty good. It's filled with likable characters played by a nice cast and features relatively interesting cases handled by a boutique New York law firm.

My basic reaction is--meh.... The show suffers from the illogic of time travel. (Why not go back to when Vandal Savage was born and either kill him or set him on the right path?) And it suffers from too many characters and not enough plot to go around.

Comedian Anthony Atamnuik stars as Trump, doing a pretty good imitation.

It's not a bad entry in the genre, although it's hardly ground-breaking. It's a twist on the genre, but not enough of a twist. It feels like umpteen other cop shows.

Trite, shallow and completely unbelievable.

It's hard to judge where Limitless is going based on the premiere, which takes the hour setting up the premise. But CBS has had so much success with procedural crime dramas, don't discount the possibility that this one could turn into the latest in a long line of hits.

It's a good premise, but it's almost painfully unfunny. This is super disappointing.

It's pretty funny. The pilot episode isn't hilarious, but it's amusing. And it has plenty of potential to turn into a really good show.

The remake's biggest flaw is that it isn't funny. There are tears, but there isn't much in the way of laughs. Lifetime's Beaches isn't bad. For a TV movie, it's pretty good. And if you haven't seen the original, you'll like the remake more. But the younger generation is smart enough to know that the original is better.

This Lethal Weapon pilot episode is very entertaining. Great action scenes, snappy banter and a bit of pathos mixed together with nice chemistry between Wayans and Crawford. That's the most important ingredient, and it makes the rest of it work.

Crude comedy can be funny, but this is lots of crude and almost nothing in the way of comedy. Repeatedly dropping f-bombs doesn't make Vice Principals anything but lame. Neal and Lee are childish idiots, sure, but they're not amusing.

It gets off to a slow start, but Van Helsing picks up in the second episode. It is also super violent and super gory. If you like that sort of thing, you might want to give this a chance.

I've only seen the first episode, but I'm intrigued. And there are only 10 episodes (unless there's a second season), so it might be worth the time investment.

Code Black might seem more interesting if it felt in any way new. As it is, it feels like it's built from parts of medical dramas from years past.

The period trappings are cool. The show looks great. But it feels false. And for science fiction to work--for drama to work--you have to be able to buy into the premise. That's pretty much impossible with Houdini & Doyle--a crazy idea that just doesn't work.

Chicago Med isn't bad. If you're looking for just another medical show, this is it. If you're looking for something that will reach out and grab you, you're going to be disappointed.

There's entertainment value here for Carey fans, of course. But if you're not a fan, Mariah's World certainly isn't going to turn you into one.

The Great Indoors isn't a great show, but it has possibilities.

Whodunit? After screening the first two episodes, I have no idea. But I'm engaged enough to keep watching to find out.

There's something going on here. What it is is completely unclear in the first episode.

It's all predictable, syrupy and--at times--just downright stupid. Among the worst moments is the appearance of Parton herself.

The Mick knows what it is. Knows what it wants to be. And it is pretty uncompromising about that ... although there actually are some warm and fuzzy moments in late episodes. There are also some genuine laughs. Although, after having seen the first four episodes, there aren't as many as there should be.

This is a show about a town filled with people who have supernatural powers, and yet its greatest power is to bore its viewers into TV-induced comas.

It seemed new and different 16 years ago. Today ... it sort of feels like more of the same. Even without Jack Bauer.

The first hour spends so much time setting things up it may not have been indicative of what's to come. But the drama needs to ramp up quickly if this is going to have any chance at all.

Something like this has to be gripping, and Containment is anything but.

A summer series that begins pretty much just as you'd expect, but it seems to be relatively well done. The first couple of hours are OK, at least.

It's utter nonsense. Mind-numbingly stupid. Worse yet, it's a bore.

Roadies is so convinced it's clever that it feels like it's talking down to us. It feels forced.

It's entertaining in a none-too-challenging kind of way.

Feed the Beast has one huge narrative flaw. The storylines center on the tension that arises keeping the fledgling restaurant going. But there is no tension.

There are worse things on TV than Conviction, but this is a waste of time and talent.

Yes, it's a soap opera. But if this is "character driven," well, it's worth noting that none of the characters (or the situations) seem the least bit believable.

It's lavish, multi-racial and a bit of a confusing mess.

Meandering, unfocused and unfunny. ... It's terrible. Don't waste your time.