Whether you like it or not depends on your ability to leap with the show. We won't lie, though. While the pilot is well-executed, once we get into hour two of NBC's planned two hour premiere, we got the feeling that this may be too much of a good thing in one sitting.

Gruffudd carries the series well and brings a trustworthy and genuine presence to the role of Henry Morgan. However, after viewing two episodes, it is unclear where the series is going in the long haul.

The new FX drama from "Homeland" and "24" executive producer Howard Gordon balances family with politics in a show that constantly questions what the right choice is when torn between the two, but oftentimes finds itself bogged down in soap opera-style drama that distracts from the greater, more ambitious story that it's trying to tell.

With so much serial killer programming on TV, like "Hannibal" and "The Following," Those Who Kill could carve out its own little place. But it's going to take some work. On the bright side, the show has Sevigny, who is the clear standout on the series.

Sometimes it's nice to have a fun, well-acted, pleasant sitcom both about and for the family.

This joyful look into the past makes the dullest of facts come alive.

At the end of the day, The McCarthys feels like an incredibly dated concept done incorrectly. If it's not the worst new comedy of the fall, it's certainly giving the others a run for their money.

The Season 4 struggle starts somewhat intriguing, but gets repetitive quick.

The cast is good enough and the premise strong enough to carry it. Right now, though, Deception is a show that doesn't know what it is.

The premiere episode of the new series, "Always and Forever," tells pretty much the same story as the backdoor pilot, only from the point of view of Elijah (not Klaus, as before). This works on some levels but stumbles on others.

Lifetime chose to tell a by-the-numbers tale of passion gone wrong rather than the potentially compelling (if lurid) courtroom story that played out on news channels for weeks earlier this year.

Lucas is actually quite good as Mitch, as is Molly Parker as his wife, Abby. The issue lies more with the mechanics of the plot.

The show is so overstuffed and dancing so fast in its effort to achieve cultdom that it forgets some basic things, like making us care about the characters in the middle of this whole mess or drawing some clear stakes for what happens.

Eventually, the series makes way for just enough plot to give our poor, overstimulated eyes a rest. There's a bit of political maneuvering, fierce rivalries, the examination of slavery vs. free will, ludus-yard hazing and even romance.

Is it must-see TV? Perhaps not, but it's a lively and light addition to The CW lineup and pairs well with the unabashed silliness of "America's Next Top Model."

It's a show I would really like to like, and there are elements present in the pilot that make me want to see how it's doing by, say, episode four or five, but it's not there yet.

Broad, cheap and tedious, it wouldn't have the slightest chance of cracking a major network's schedule during the regular season.

Teen romance does play a major role in [Star-Crossed]... but there's a serious story of prejudice hiding underneath. That serious side--a look into the good and bad of humanity when faced with the "other"--is as compelling as it gets.

This won't be a show focusing on teenage angst, which is a healthy breath of fresh air from a network that capitalizes on brooding male protagonists.... One major aspect the pilot lacks is character development, as the fast-paced action and plot dominate the first hour to set up the series.

It's hardly the worst show of the fall, but it never really lands.

It's a not always comfortable mix of action, drama and comedy, and if it's far from the worst new series to hit the airwaves this season, it's also not at the top of the list. It's a little too middle of the road for its own good.

OTM doesn't immediately grab us the way "Grey's" or "Private Practice" did--though the latter did suffer an admittedly rocky start. This probably has a lot to do with the fact that there seems to be a bit of an identity crisis happening here.

Instead of an entertaining half-hour to ease our wait for the return of "30 Rock," the network has given us another "Outsourced."

It's too cringe-worthy for overempathizing animal lovers, but general audiences might tune in for lighthearted, escapist fun.

Visnjic's smooth and mysterious turn in just a handful of scenes instantly emerges as the best thing Red Widow has going for it. That's either the sign of a series with fundamental flaws, or the roots of a show that will only get better as it goes.

All in all--the action will draw viewers in and the loveable characters will keep them for the long haul.

It feels like a happy medium between "The New Normal" and "Everybody Loves Raymond," but it manages to feel comfortably familiar as opposed to stale and overdone, largely due to the extremely talented, relatable cast.

Action will only take the show so far, but eventually viewers need to care about the characters or they don't have a reason to keep watching and Chase turns into a show that gets watched as an afterthought, not as appointment viewing.