If the first two hours are any indication, Season 3 of "The Walking Dead" may be the most satisfying year yet. That's partly because the efforts to humanize and add detail to the characters happen in the margins of solidly entertaining episodes.
"Call the Midwife" does, in its own gentle way, send the message that determined people -- many of them women -- who ignore their allegedly limited opportunities can help create and sustain a caring community.
Few shows are attempting to thread quite as many needles as "Homeland," and few dramas have combined storytelling rigor and superlative acting quite this well (the show's only real competition is "Mad Men" and "Breaking Bad")
I want "Revolution" to work, despite the fact that positive experiences with dramas like this are more rare than NBC's accidental encounters with healthy ratings -- they're just too inconsistent to believe in.
"Guys with Kids" fails to find any of the humor in parenting, and rests most of its humor on a very tired and ill-conceived hook: Men taking care of small children is hilarious because it's so unexpected!
With the return of AMC's "Hell on Wheels" and the debuts of "Copper" and "The Crimson Petal and the White" -- a trio of hardscrabble dramas set in the 19th Century -- it's starting to look like Tribute to Old-Timey Prostitutes Month.
Eric McCormack brings a fiesty commitment to this relatively unsurprising Super-Smart Curmudgeon role. His energy and the chugging, unflashy competence of the show make "Perception" watchable, if not a must-see detective hour.
"Anger Management" is lucrative spin control disguised as a lazy, unfunny comedy. Charlie Sheen is doing something for himself and his corporate partners. He's being paid to play a character who achieves some kind of personal growth.
"Falling Skies" Season 2 is a different animal, a much leaner and meaner machine that allows sentiment to be present but unexpressed and depicts a darker world in which innocence is a luxury that no one can truly afford.