"Moonlight" slid nicely into CBS' drama block in its debut Friday in the hammock slot between "Ghost Whisperer" and "Numbers."

Show's numbers were nothing to shout about, but by the low standards of Friday night it had a credible debut. Skein starring Alex O'Laughlin as a vampire-slash-detective opened to 8.6 million viewers and 2.5 rating/8 share in adults 18-49, per prelim Nielsens. "Moonlight" didn't move the needle one way or another from its "Whisperer" lead-in (8.7 million, 2.4/9), which for a new show is a victory of sorts. It hung tough at the half-hour mark in terms of audience retention and was competitive with the first hour of NBC's two-hour "Las Vegas" and the introduction of Tom Selleck into that show, which finished out with 8.2 million viewers and 2.4/8 average from 9-11 p.m.

The cutie-moody factor of "Moonlight" star O'Laughlin undoubtedly helped the show draw femme sampling in its debut. "Moonlight" delivered its highest demo marks (outside of the 55-plus crowd) with women 18-49 (3.1) and women 25-54 (4.1). For all the drama that's gone on behind the scenes of this show in the past few months, CBS has to be pleased with its opening night perf.

--Cynthia Littleton

Now that "Grey's Anatomy" and its spinoff "Private Practice" have clocked in with their season premiere and first official episode, respectively, it's time to check their vital signs.

Yes, it's way too early to make any major pronouncements based on one episode, but since I had "Grey's Anatomy" on my "Hanging on by a Thread" list (bio) and "Private Practice" on my thumbs-down roster, let's consider this a preliminary diagnosis, awaiting further tests and close monitoring.

"Private Practice" was up first, on Wednesday night, and by my estimation may actually have been worse than the backdoor pilot episode in May that sent Kate Walsh's Dr. Addison Montgomery headed out the doors of Seattle Grace Hospital for the sunnier climes of Southern California.

I cringed at least three times during Wednesday's bow, including the sight of Amy Brenneman on her hands and knees in the store with the crazy counting lady and Taye Diggs and his ex playing out their separation issues over a dead sperm donor.

Worst of all was the realization in the final 20 minutes that the show -- which is ostensibly centered on a top-notch neo-natal surgeon -- will never afford Addison the chance to do what she does best unless circumstances so convoluted as to be phenomenal are called into play. Dr. Montgomery is a surgeon and there's no sterile room in the clinic she's now a partner in? Where does that leave the show's storyline prospects -- emergency procedures that catch everyone off guard week after week, or frequent transfers to a real hospital with the show's midwife trainee in tow ? Did no one over in producer Shonda Rhimes' camp ever stop to think that having six doctors in a joint practice that don't do anything really medical might not be a sustainable dramatic premise?

Those cringeworthy moments don't even touch on the godawful feelgood crackpot vibe that the entire office exudes. Tim Daly's the holisitic healer, but between Cooper, Violet and Sam all spouting New Age nonsense and pseudo-medical gobbledygook, and the surfer-midwife waiting to catch his big break, the whole bunch come across largely as kooks, not doctors.

The whole debut episode felt forced and ridiculous. Kate Walsh barely got two moments to do anything worthwhile -- and I don't think they can have her dancing naked every week.

How about the rest of you? Do you think this show may already be headed for life-support?

By contrast, "Grey's Anatomy" returned Thursday night looking decidedly healthier, given all the scars it incurred at the end of last season and over the summer break. It's not out of the woods yet, but there were plenty of signs that the purge of last season's baggage (both in terms of onscreen relationships and behind-the-scenes turmoil) may put the show back on track.

With George repeating his first-year internship, it's almost as if Rhimes and her writers acknowleded the need for a reset and are cluing viewers in that they plan to return to the sense of wide-eyed eagerness that defined the show's first season.

Likewise, the arrival of Chyler Leigh as Meredith's half-sister Lexie Grey brought a suggestion of youthful optimism that's been sorely lacking since Meredith herself went into somber mode halfway through last season.

Sure, there were clunky moments: Izzy's ministrations to an ailing deer, Meredith's "alone" talk with a patient and, most awkwardly, the hamhanded bag of "change" metaphor. But the closing five minutes definitely brought the show's core characters back to firmer ground and hinted at brighter prospects for the season.

This patient might pull through after all.

-- Brian Cochrane

Thursday was a big night of big shows and a not-so-big debut for ABC's "Big Shots." (pictured left)

ABC's "Grey's Anatomy" and CBS' "CSI: Crime Scene Investigation" returned to their familiar duel positions at 9 p.m., with "Grey's" leading the night in adults 18-49 while "CSI" had total-viewer tonnage. Both "Grey's" and "CSI" flexed their muscles by spiking from their 8 p.m. lead-ins.

"Grey's" (pictured below left) finished out with 20.5 million viewers and 8.7 rating/21 share in 18-49. "CSI" (pictured below right) brought in 24.9 million viewers and 8.0/19 in the key demo, per prelim Nielsens.

"Survivor: China" was soft, by the show's past standard, but still dominated in the 8 p.m. hour with 14.2 million viewers and 4.6/13 in 18-49. ABC's "Ugly Betty" (11 million, 3.8/11) was a solid No. 2 in the hour, posting its best figures since February.

At 10 p.m., "Big Shots" (inevitably) slid from its "Grey's" lead-in to open with 11.6 million viewers and 4.7/13 in 18-49. The return of CBS' "Without a Trace" (16.7 million, 4.8/13)  to its longtime home adjacent to "CSI" did wonders for that show, allowing it to squeak past the "Big Shots" preem by the slimmest of margins in 18-49.

Click here for the lowdown on the entire night from Variety's Rick Kissell.

--Cynthia Littleton

The fall rollout continues next week with the debuts of the following new shows:

“Aliens in America’ (Monday at 8:30 on CW)

“Carpoolers” (Tuesday at 8:30 on ABC, left)

“Cavemen” (Tuesday at 8 on ABC)

“Life is Wild” (Sunday at 8 on CW)

“Pushing Daisies” (Wednesday at 8 on ABC)

And returning shows:

“Everybody Hates Chris” (Monday at 8 on CW)

“Friday Night Lights” (Friday at 9 on NBC, right)

“The Game” (Mondat at 9:30 on CW)

“Girlfriends” (Monday at 9 on CW)

“Supernatural” (Thursday at 9 on CW)

— KL

A Season Pass reader apparently thinks we’re experts and asked us the following question (grammar fixed for your reading pleasure):

I am hoping you can tell me, or direct me to someone, that can explain to me why new shows like, “The Bionic Woman,” “Damages,” “Journeyman,” etc. have such loud background music or noise to the point that you can not hear the actors dialogue. It has gotten so bad that maybe I should complain to their sponsors.

In response, most of us said we hadn’t really been bothered by this as much as we are by, say, the intrusive laugh tracks.

Brian thought maybe it had to do with the target demo of said shows: “As for the noise issue, my dad has long complained of just that.  You don’t see that occur as much with shows like “ER” and “CSI,” I think, because their auds don’t skew younger. But “CSI Miami,” “Bionic Woman,” “Gossip Girl,” etc. all incorporate heavy music cues as part of the storytelling and mood.” Presumably to draw in younger viewers?

Phil adds that “sound editors and music editors always butt heads over which should be louder and the winner is usually the one who gets to touch the print last before it is locked. Everything is done louder on new shows to make them seem more exciting. Also, HD shows are quieter so when a switch made from HD to regular the volume of everything rises.”

While Jon offers up this pithy solution: “(Why doesn't) a person who’s above both the sound editors and music editors find a happy medium. I would call him … a ‘showrunner.’”

But Brian responds: "I don't think showrunners are typically in the room during final mixes unless it's a pilot or major episode. Those chores are typically handed off to other producers and the sound team. There's supposed to be one sound mixer in charge on the final mix, but the others are sometimes in the room, and that final decision can be shaped by that person's particular background.Over time, most shows find a good working balance and settle into a rhythm. But early on, everyone's so wound up over representing their craft and freaking out that a show's going to last that the competition can be heated unless they've got prior working relationships."

Anyone out there think they have a better answer for our reader? We’re here to help.

— KL

Let's see ...

Better-performing network? Check.

Better-reviewed pilot? Check.

More recognizable star? Check.

Lead-in a spinoff of top-rated series? Check.

So it should have been a cakewalk for ABC's "Dirty Sexy Money" and star Peter Krause in their Wednesday 10 p.m. duel with NBC's "Life" and Damian Lewis, no?

No. As Rick Kissell writes, "Life" beat "Dirty Sexy Money" in their series premiere showdown among those 18-49 — in fact, "Life" even topped CBS' "CSI: NY" in the demo. That happened despite "Dirty Sexy Money" being preceded by "Private Practice," the "Grey's Anatomy" descendant that's folks got a preview of months ago.

A couple of caveats: Kissell notes that "Dirty Sexy Money" had more overall viewers and that "Life" lost 11% of its audience in the second half-hour.  Still, this would seem to qualify as a September Madness upset.

— Jon Weisman

(Stuart Levine adds: Hey, remember when I posted this a few weeks ago, about how no one was giving "Life" its due. Gimme my props, people ....)

Wednesday was ladies' night in primetime. NBC's "Bionic Woman" and ABC's "Private Practice" opened against each other at 9 p.m. with impressive numbers.

The 10 p.m. newcomers, ABC's "Dirty Sexy Money" and NBC's "Life," fell into the so-so category, given their strong lead-ins and the fact that CBS' "CSI: NY" didn't have much pull in the 18-49 column.

Fox's "Back to You" took a tumble in week two. So did CW's "Gossip Girl" (not surprisingly against the "Bionic"-"Practice" duel), CBS' "Kid Nation" and Fox's "Kitchen Nightmares."

"Bionic" (pictured above) ranks as the top premiere of the new season so far in adults 18-49 with an average of 13.6 million viewers and 5.5 rating/14 share in adults 18-49. "Bionic" showed its superstrength by building significantly on its 8 p.m. "Deal or No Deal" lead-in (8.9 million 2.6/8) and by growing at the half-hour mark (it climbed from 5.3/14 from 9-9:30 to 5.7/14 from 9:30-10).

"Private Practice" (star Kate Walsh pictured right) won the 9 p.m. hour in viewers, drawing 14.2 million and 5.1/13. "Practice" got a boost in viewers from its 8 p.m. "Dancing with the Stars" results show lead-in (16.6 million, 4.0/12), but it demonstrated clear tune-in interest by spiking in the 18-49 column even against the heat of "Bionic." "Practice" held fast in the demo column at the half-hour mark but lost about 800,000 viewers in its second half.

At 10 p.m., "Dirty Sexy" weighed in with 10.4 million viewers and 3.6/10 in 18-49. "Life" opened to 10.1 million and 4.1/11, good enough to win the hour in adults 18-49 against the fourth season preem of CBS' "CSI: NY" (12.7 million, 3.7/10).

For a full rundown of the night, see Rick Kissell's ratings flash.

--Cynthia Littleton

Sure, in the end, we just want our comedies to be funny. But when they're not, it sure is easier to cope when you're not hearing the sounds of countless people laughing around you.

That's the problem with the set-up/joke/wait-for-canned-or-uncanned laughs formula represented by Old School shows like Fox's "Back to You." When the show isn't funny, when the jokes are the same old telegraphed double-entendres we've been hearing on sitcoms for two decades now, waiting for the inexplicable laughter to die down just underscores the point. It's a turn-off — in more ways than one, if you get my meaning.

— Jon Weisman

There was "House," and then there was everything else in primetime last night.

CW's much-loved "Reaper" (pictured left) and CBS' "Cane" (pictured below) fell into the solid-not-sensational category in their Tuesday debuts. "Reaper's" job was made much tougher by having to go head to head at 9 p.m. against the heat of Fox's "House" which was a strong draw among the same 18-34 demo targeted by "Reaper."

CW's devilish dramedy bowed to 3.2 million viewers and 1.8 rating/5 share in the 18-34 demo. (By contrast, the withering sneer of Hugh Laurie as Dr. House brought in 18.1 million viewers and 7.5/20 in adults 18-34. In 18-49 "House" pulled a 7.7/19.)

At 10 p.m., CBS' "Cane" came in ahead of the final hour of ABC's 90-minute "Boston Legal" season preem. Jimmy Smits and Co. drew an average of 11.1 million viewers and 2.9/8 in adults 18-49, which CBS was quick to note marked the Eye's best preem in that time slot since "Judging Amy" in 1999.

As has become a regular feature of ratings releases, CBS is predicting that "Cane's" numbers will bump up by about 9% in adults 18-49 when DVR playback is factored in during the next few days.

Click here for the lowdown on the entire night from Variety and Season Pass' hard-working Rick Kissell.

--Cynthia Littleton

This week is a grand time for TV fans in not only do we get to check out the new TV entries but it gives fans a chance to come back to some favorites and catch up with old friends.

That's why I was excited about last night's premiere of "How I Met Your Mother." I've always felt "Mother" was current day comfort food. The way some thought of "Friends" is how I relate to "Mother." I like to hang out with the gang.

By episode's end, however, I felt like I would've preferred to wait longer for a better episode than the one offered.

"Mother" has never been a show filled with belly laughs or gut-busting guffaws, but that's OK. It's more about the little light-hearted digs the kids — and since they're all younger than me, they're officially kids — take at one another.

And while the writing has always been been sharp and clever, it felt somewhat lazy last night. Specifically, there were a reference to a woman's chest that seemed unnecessary, then that same character tossed out a vagina reference that seemed a bit gratuitous and then Robin, at the end of the show, talked about how Ted is "bigger" than her new boyfriend.

Now, I'm far from a prude but suggestive and lewd lingo might work on "Rules of Engagement" but it hasn't made "Mother" a show with a hardcore group of fans. Maybe it's not an exceptionally large group of fans (see Rick Kissell's story on Monday night ratings) but they're a dedicated bunch and the ones I spoke to this morning felt, for the most part, the same way as me.

By the way, there were some elements that worked well. Loved the slap bet countdown after the credits and Ted partially shaving as he's getting ready to hit the bar was good stuff too.

Hey, despite my complaints I'm still on board, season pass firmly set. Here's just hoping the season premiere was  just an out-of-the-gate miscue.

— Stuart Levine

(Ed. note: My season pass was canceled last night. — KL)

The big winners of Monday: ABC's "Dancing with the Stars" and NBC's "Heroes."

NBC's "Chuck" and CBS' "Big Bang Theory" (pictured left) qualify for OK starts -- not terrific but not terrible.

On the not-so-hot side, NBC's "Journeyman," which didn't make much of its "Heroes" lead-in. And CBS' "CSI: Miami" was surprisingly sluggish in its premiere, though it did still win its 10 p.m. time slot by a comfortable margin.

The 8-9:30 p.m. "Dancing with the Stars" was the night's most-watched program with 21.2 million hoofers tuning in. "Dancing" was also second for the night in the adults 18-49 demo derby to NBC's "Heroes" ("Heroes" pulled 6.5 rating/15 share and 14.1 million viewers; "Dancing" scored 5.8/15 in the demo.)

"Chuck's" maiden voyage at 8 p.m. averaged 9.3 million viewers and 3.6/9 in 18-49. At 8:30 p.m. "Big Bang Theory" grew from its "How I Met Your Mother" lead-in to finish out with 9.6 million and 3.7/9, coming out of "Mother's" 8.3 million and 3.2/9.

"Journeyman" fell from its "Heroes" lead-in to 9.5 million viewers and 3.7/9. "CSI: Miami" was off its usual game in its sixth season opener with an average of 14.8 million viewers and 4.6/12.

Bragging rights for the night went to ABC in both key measures of viewers (15.4 million average for the night) and adults 18-49 (4.7/12, narrowly beating NBC's 4.6/11).

Click here for a complete rundown of Monday night ratings follies from Variety ratings guru and Season Pass contributor Rick Kissell.

--Cynthia Littleton

It's a "Wild" back-to-back scheduling of continental proportions.

BBC America has slated the second season of "Wild at Heart" -- the U.K. drama about a family that flees British city life to run a game park in South Africa -- Sundays at 7 p.m. (ET) starting Oct. 14. That means it will run an hour before The CW's "Life is Wild" -- the new U.S. drama about, you guessed it, a family that flees American city life to run a game park in South Africa.

Yes, "Life is Wild" is based on "Wild at Heart" -- part of this season's Brit invasion (see also: "Viva Laughlin," "Kitchen Nightmares" and the sheer number of U.K. thesps lighting up U.S. small screens). "Life is Wild" even shoots on the same set as the U.K. original (and, I presume, uses some of the same animals).

"Life is Wild" will air Sundays at 8 p.m. starting Oct. 7, which means you can flip to the CW and re-live the same concept you watched an hour prior (but with better teeth -- hey, it's a joke!). Then decide for yourself whether you prefer your family-in-South-Africa dramas with a Yankee accent or a British one.

-- MICHAEL SCHNEIDER

"Pushing Daisies" is by far one of the most beloved pilots of the new season. But a number of people are already fretting that "Daisies" and other popular new series ("Reaper" for one) won't be able to match that initial hype in subsequent episodes and that they might meet an early grave creatively.

But it almost never happens that way.

In the 2006-07 TV season, my favorite network pilot was "Friday Night Lights," and I wasn't alone on that one. Coming in on the next tier behind "Lights" for me were "30 Rock," "Andy Barker, P.I." "Heroes," "The Nine" and "Six Degrees." (OK, I rode solo on a couple of those.)

"Lights" only got better, as did "30 Rock." The others drifted a little, but remained ever-so-watchable ... until, in most cases, they were canceled. (Guess I don't always mesh well with the masses.)

Other pilots that got preseason praise, like "Studio 60 on the Sunset Strip" and "The Class," were borderline at best for me from the start, so I can't really say those shows went downhill. It's up to their original cheerleaders to make that call.

Historically, one could make a case that the good stay good and some of the bad get a little better. But the great almost never fall apart.

So keep the faith — at least in the show's creative team. And then light a little candle so that Nielsen families across the country might share the love.

— Jon Weisman

Good luck, "Chuck." Having seen the second seg of the NBC skein that bows tonight at 8 p.m., I can report that it's growing on me.

Show's been tagged an action-comedy by NBC, but it seems to lean more toward the comedy than the action, at least in the early going. Not gonna blow any of it for anyone who's yet to see the pilot, but the second episode is more fun if only because there's not as much set up needed and there's more time for the interplay between its sheepishly charming star Zachary Levi, aka Chuck, and secret agent Sarah Walker, played with style by Yvonne Strahovski.

NBC's assured of doing well tonight with the second season preem at 9 p.m. of "Heroes." (The prospects for the debut of "Life" at 10 p.m. is a whole 'nother story.) So here's hoping the "Heroes" tune-in halo extends far out enough to give a boost to a worthy newcomer.

--Cynthia Littleton

This season has many character trends. You'll see nerds (“Big Bang Theory,” “Chuck,” “Aliens in America,” “The IT Crowd”), slackers (“Reaper” and “Chuck,” again — which would make him a slacker-nerd, I guess), wealthy clans (“Dirty Sexy Money,” “Cane”) and hot women kicking ass, literally (“Bionic Woman,” “Sarah Connor Chronicles” and, um, “Chuck” again) and on the job (“Women’s Murder Club” and midseasoners “Lipstick Jungle” and “Cashmere Mafia”).

Perhaps most interesting is the influx of transgender characters this fall. There are three, all on ABC shows — one played by a supermodel and two played by transgender performers.

“Dirty Sexy Money,” which bows Wednesday, has a character named Carmelita, a transgender woman having an affair with Billy Baldwin’s character, a married politician. Carmelita is played by transwoman Candis Cayne (pictured at left with Baldwin), who’s slated to appear in at least five episodes of the soapy drama. In this interview, Cayne explains that her voice was digitally lowered in post-production. Some sites have objected that this character is a homewrecker but there’s no shortage of those on TV, across the spectrum of sexual identity.

The net’s “Big Shots” goes the less subtle route, making its transgender character a prostitute (and using a far less charming phrase that won’t be repeated here). Transgender actress Jazzmun plays a working girl named Dontrelle whose encounter with Dylan McDermott’s character leaves him with some explaining to do. Jazzmun (pictured at right with McDermott) is scheduled to appear in one episode beyond the pilot, which bows Thursday. The actress is a veteran of episodic television having appeared in episodes of “CSI” and “CSI: NY,” “Desperate Housewives,” “NYPD Blue,” “ER,” “Gilmore Girls,” “The Shield,” ”The Closer,” “Nip/Tuck” and others.

And of course Thursday, “Ugly Betty” is back for its second season with model-turned-actress Rebecca Romijn (left) back as as series regular, playing transsexual publishing executive Alexis Meade, who was introduced last season. She’s the most fully fleshed out of the three transgender characters — just a regular gal working in the cutthroat business of a top fashion magazine while she struggles with her new identity and seeks acceptance from her family and the world at large.

I should mention that daytime’s “All My Children” — also on ABC — had a transsexual storyline last year that was dropped rather abruptly. It was a valiant effort, not entirely well executed. Michael Logan of TV Guide wrote: “AMC is risking big viewer turnoff with this landmark story — not because Zarf is a transgender but because she's an annoying, self-obsessed bore.” And he was pretty much spot on with that assessment.

Remember the days, before the reality TV boom, when “Will and Grace” was groundbreaking for having a gay character and Ellen DeGeneres’ show was cancelled not long after her coming-out episode? Now there are so many gays portrayed on TV that it’s practically passe. For a pretty comprehensive list, visit AfterElton.com.

Bravo to ABC for continuing to push boundaries.

(A special thanks to my new friend Christine Daniels for her guidance on this post.)

— Kathy Lyford

The fall rollout kicks into high gear next week with the debuts of the following new shows:

“Big Bang Theory” (Monday at 8:30 on CBS)
“Big Shots” (Thursday, at 10 on ABC)
“Bionic Woman” (Wednesday at 9 on NBC)
“Cane” (Tuesday at 10 on CBS)
“Chuck” (Monday at 8 on NBC)
“Dirty Sexy Money” (Wednesday at 10 on ABC)
“Journeyman” (Monday at 10 on NBC, pictured right)
“Life” (Wednesday at 10 on NBC)
“Moonlight” (Friday at 9 on CBS)
“Private Practice” (Wednesday at 9 on ABC)
“Reaper” (Tuesday at 9 on CW)

Returning shows too numerous to list are also on tap next week.

For details, check TV Guide’s website for a list by date or by name.

Here’s your chance to play network executive. Bravo has added to its catty fansite Television Without Pity with a new site called TV Big Shot.

TV Big Shot hosts a season-long game for participants to create imaginary network lineups with a hypothetical budget of $300 million. The game is inspired by Bravo Digital’s “Fall Season DeathWatch.” The creator of the most successful season wins $100,000 — real money, of course.

The site is sponsored by AT&T and CBS, one of the networks providing the shows on offer to TVBigShot’s aspiring net execs. NBC, ABC, FOX, and the CW provide the others.

— Sam Thielman

Here's a handy way to kill time at work. Yahoo's TV page is offering streaming vids of a smattering of new and returning shows. Most notably, they're giving people a sneak peek at the sophomore season opener of NBC's glorious "Friday Night Lights."

I'm a latecomer to "FNL" fanaticism but I've been hooked ever since Season Pass maven Kathy Lyford thrust the season one DVD set in my hand and said "watch!" I don't have the time to gush properly here about how fabulous the show is on every level: writing, cast (leads Kyle Chandler and Connie Britton were robbed this year of Emmy noms, that's just a fact), directing, pacing, setting, tone -- I could go on. And on.

I can't wait to see the season opener but first I've got about five segs to go from last season. Kathy sez the opener is apt to be a little controversial among the "FNL" faithful, so click here to watch it via Yahoo, and if anyone has an opinion, let us know right here....

Other shows on Yahoo's free streaming vid menu include:

Aliens in America -- CW

The Big Bang Theory -- CBS

Blood Ties -- Lifetime

Brotherhood -- Showtime

Chuck -- NBC

Dexter -- Showtime

Life is Wild -- CW

--Cynthia Littleton

Wednesday's newcomers got off to fair-to-middling starts, per the prelim Nielsens. (Click here for a full rundown of the night by Variety ratings guru and Season Pass contributor Rick Kissell.)

Fox's "Back to You" won its 8 p.m. timeslot in adults 18-49, but didn't have the kind of opening night drawing power you'd expect for the combo of Kelsey Grammer and Patricia Heaton. Sitcom averaged 3.1/10 ratings share in the key demo and 9.5 million viewers overall.

For all the advance hoopla, CBS' "Kid Nation" didn't do a whole lot of business for the Eye in its 8 p.m. debut, pulling in about 9 million viewers and 3.0/9 ratings share in adults 18-49.

Gordon Ramsay's numbers also cooled off after his hot summer in "Hell's Kitchen." Chef's new show "Kitchen Nightmares" followed Fox's sitcom block at 9 p.m. with 6.6 million viewers and 3.1/8 in the demo.

CW had something to talk about with the 9 p.m. bow of "Gossip Girl." Show wasn't so hot in overall viewers, drawing about 3.7 million, but scored in its target demos of women 18-34 (3.2/9) and femme teens (5.3/17).

--Cynthia Littleton

Tonight, finally, after all the hubbub is the the first episode of the controversial CBS series "Kid Nation." We'll finallly get to see -- through the prism of editing, of course -- how these tykes and teens adapt to a no-parents environment.

Now, I know the network has taken a ton of flack for the way the show has used kids for entertainment and ratings purposes. Much of the criticism is probably deserved but parents who send their children seem to be as much to blame as CBS and the producers.

Looking over the 21-page contract that parents had to sign for their kids to participate, there are clauses that include "hazards and conditions that may cause death … injuries arising from equipment failure or defect …loss of orientation in primitive areas." There's tons more disclaimers, each more frightening as you go along.

I understand parents were paid a $5,000 stipend, plus the possibility of other monies depending upon how their children fared at certain games and challenges, but at what price do you risk your child's life? Is $5,000 the current number?

Understandably, that's a lot of money to many people but I can't get around the fact that a mother would sign this document with the possibility — certainly a remote one, but that's not the point — that their child could be in harm's way for the sake of a reality show.

Lets see if all the negative publicity will translate into ratings, or will the hype be much about nothing and, like many reality shows, this one will come and go in a matter of weeks.

One part of me wants to watch, the other part makes me feel icky about tuning in and giving this "Lord of the Flies" concept credibility. Can't wait to hear the reaction Thursday morning.

— Stuart Levine

TV execs continue to buzz over the departure of Barry Sonnenfeld from directing the first several episodes of "Pushing Daisies" (by far the best-reviewed new show of the fall).

Sonnenfeld directed the pilot -- lauded for its unique, colorful look (a purposeful contrast to some of the show's darker themes) -- and its first regular episode, and was on tap to direct several more.

But after a run-in with producer Warner Bros. TV, which grew leery of cost overruns on the skein's first post-pilot seg (which wound up an extra three days in production -- not unheard of for a new show), Sonnenfeld was asked not to return for the second post-pilot episode.

Insiders said Warner Bros. TV eventually reversed course and asked Sonnenfeld to helm upcoming episodes -- but because time had elapsed (and the show went dark a week in order to get a jump on writing), the director was no longer available.

But Sonnenfeld continues as an executive producer, and he told Variety that he's still spending a "minimum of two hours a day on the show."

"I'm reading scripts, looking at visual effects and emailing the performers at least three times a week on their acting," he said. "I love the show and I wish I were available to direct more episodes... if we stay on long enough, I can't wait to direct more."

For now, Sonnenfeld (pictured right) remains busy expanding his TV resume. He's directing the Fox pilot "Hackett," which goes into production this Friday, and is also in pre-production on a legal thriller with scribe Luke Reiter at NBC (through Universal Media Studios). He's also got an the hour-long fantasy entry "Kingdom" with Chad Hodge in the works CBS (along with Sony), and has at least two other projects percolating as well. As a result, the earliest he can next direct a seg of "Pushing Daisies" is February, Sonnenfeld said.

Meanwhile, creator Bryan Fuller, who dreamt up the fantastical world of a pie maker who can bring people back to life with the touch of a finger -- but can send them six feet under with a second tap -- remains in charge.

"I love Bryan Fuller and ABC, and want to make sure I can do everything possible to make it a success," Sonnenfeld said.

Despite the behind-the-scenes drama, "Pushing Daisies" continues to score high praise -- and the backing of a hefty marketing campaign by ABC. Show bows Wednesday, Oct. 3, at 8 p.m.

-- MICHAEL SCHNEIDER

(Sonnenfeld pic by Jean Baptiste Lacroix/WireImage.com)

"Prison Break" bowed its third season last night and, based on that first episode, season 3 is going to be a lot more fun than season 2.

With the guys back together and incarcerated once again, this time in a Panamanian hell-hole, the show has that claustrophobic, high-tension vibe back. And how nice to see the tables turned on a couple characters: evil prison guard Brad Bellick behind bars; Agent Malone no longer the hunter; and Lincoln Burrows trying to be the savior for his little brother.

And now that Michael is forced to plan another escape, the show returns to its roots. I didn't dislke season 2 as much as others did but since it involved neither "prison" nor a "break" it was a little disappointing.

I'm not completely back on the bandwagon, but I'm ready to go along for the ride.

— KL

It was mostly bon ton roulette time for Fox's "K-Ville" in its debut Monday in the 9 p.m. slot behind "Prison Break."

"K-Ville," starring Anthony Anderson and Cole Hauser as tough cops in post-Katrina New Orleans, pulled in a credible 9 million viewers and 3.4 rating/8 share in the adults 18-49 demo, according to prelim Nielsens. Undoubtedly Fox would've liked to have seen a higher demo number, but it's a start. Most importantly, show built on its "Prison Break" lead-in -- not by much, but inching up is better than going the other way. (Click here for a rundown of Monday night's primetime action by Variety ratings guru and Season Pass contributor Rick Kissell.)

Fox brass have to be encouraged by the solid male demo numbers that "K-Ville" garnered -- including a 3.1/8 in men 18-49 and 3.7/8 in men 25-54. However, "Prison Break" had a much stronger hold on the men 18-34 crowd, averaging a 3.1/10 to "K-Ville's" 2.3/7.

--Cynthia Littleton

The start of fall -- at least for scripted programming -- begins tonight with Fox's "K-Ville." Here's hoping this one makes it out of the gate in one piece and doesn't find itself DOA Tuesday morning.

The pilot wasn't anything extraordinary by any means, but with the backdrop being N'Awlins, and the devastation left by Katrina, that's reason enough to root for this one to at least have a fighting chance to succeed.

I've always felt Anthony Anderson is a bit underappreciated as an actor, mostly because he took on so many roles in kid movies. But his turn in "The Shield" forced people to take notice, and a small role in "The Departed" makes him a graduate of the Scorsese School of Filmmaking.

Can't say I'm all that familiar with Cole Hauser's work, though I saw him and thought he did his best to raise the level of the mostly awful "Paparazzi." The "K-Ville" pilot reps a bit of a dark side to his character that's ripe for some exploration.

"K-Ville" faces off against repeats of reality skein "Wife Swap," "Two and a Half Men," "Rules of Engagement," "Girlfriends" and "The Game." Plus a new edition of NBC's "The Singing Bee." Not exactly stellar competion.

There will be no excuses for a poor night. Let the Nielsen games begin!

— Stuart Levine

With the 2007 Emmys behind us, the obsessed among us are free to wonder (and then seek psychological help thereafter) which actors from the crop of new network shows are most likely to grab nominations in 2008 .

Not an easy question to answer -- especially because the coming TV season will bring even more one-hours that could submit as comedy or drama, such as ABC's "Pushing Daisies" or CW's "Reaper."

For example, what happens with Lee Pace of the heralded "Daisies"? There are spots opening up in both the drama and comedy actor categories now that "The Sopranos" (James Gandolfini) and "Extras" (Ricky Gervais) have concluded their series runs. Putting aside the competition from returning actors who got passed over this year (ahem - Kyle Chandler), where would Pace best fit in? The show and his role might just be a 'tweener.

The most likely actor nominee from a new network series might be Peter Krause of "Dirty Sexy Money," another ABC show. If "Dirty" finds traction with viewers, Krause will benefit from a juicy role and his past nominee track record (three nods for "Six Feet Under," though no wins).

On the drama actress side, Edie Falco of "Sopranos" drops off the nominee list next year, but the category had an atypical six official candidates in '07, so that doesn't exactly free up a spot. Still, by stepping out of the popular but crowded "Grey's Anatomy" cast, Kate Walsh has the clearest path among network contenders to Emmy success via spinoff "Private Practice." 

Walsh's main challenges: The show needs to convince voters that it is better than de facto first episode last spring, and Glenn Close will carry big support from her towering presence on FX's "Damages." If "Practice" doesn't make perfect, perhaps Michelle Ryan of NBC's "Bionic Woman" will gain some voter momentum.

Among the laffers, there's no getting away from vets Kelsey Grammer and Patricia Heaton of "Back to You" as the most likely to step into the '08 Emmy race. But keep an eye on Johnny Galecki from CBS' "The Big Bang Theory" and, if it were to submit as a comedy, Anna Friel of "Daisies."

Obviously, there are many more worthy possibilites than listed here -- including those on midseason replacements -- but as we go from Emmys to season premieres, I couldn't resist thinking out loud.

— Jon Weisman

Be sure to check out Cynthia Littleton's On the Air blog tonight where she'll be live-blogging from the 59th Annual Emmy Awards.

I know I'm supposed to dislike "Viva Laughlin," since that's the popular opinion that's been spreading around town for a couple of months.

And those who don't think it's very good can make a compelling argument — the singing seems awfully out of place, the characters are one-dimensional, the dead body makes it feel too much like a procedural and then there's Melanie Griffith (and that's all I say on that) — but it has one huge ace up its sleeve.

Its got gambling at its core. I don't know, maybe it's the start of football season and winning parlays dancing around in my head, but there's always room on my TV for series that focus on a roll of the dice or turn of the cards. And that these shows take place in casinos … even better.

NBC's "Las Vegas" is nothing more than a showcase of beautiful women and handsome guys strutting around a casino, and the show's been on the air since 2003. "CSI" takes place in Vegas.... and it's been one of the most popular shows for years. 'Nuf said.

The singing didn't bother me either, only because I like the tunes they played in the pilot. Now, if the music turns into the top 10 at KIIS-FM, I'm a goner.

Hopefully, exec producer Hugh Jackman will appear in more episodes than not, since he brings a certain panache as the bad guy casino owner trying to monopolize the local gambling business.

For now, all things considered, I'm on board. Lets talk in November, though, after a few weeks have passed and see if "Viva" has crapped out.

— Stuart Levine

Spoiler warning: If you haven't watched Thursday's "Mad Men," read no further.

We may have witnessed the first truly brilliant moment of the 2007-08 television season with the pitch-perfect end to Thursday's "Mad Men." There's been no shortage of greatness on the new AMC series, but this really was one to cherish.

In the final scene, Betty Draper (January Jones), having been allowed a brief escape from her housewife prison before events beyond her control shoved her back behind lock-and-key, walks out into her backyard in a robe wispy enough to fit her personality, cigarette dangling from her mouth  ... and BB gun in hand. Coldly fuming, she takes aim at the domesticated pigeons of her neighbor (who earlier in the episode had scared her children by threatening their dog) and fires. And fires. And fires.

Has there been a better expression on TV in recent times of giving life the finger? What's more, the simmering rebellion echoed storylines involving Betty's husband, Don (Jon Hamm) and Don's assistant, Peggy (Elisabeth Moss).

"The Sopranos" and David Chase had their ducks. Now "Mad Men," created by "Sopranos" writer Matthew Weiner (who co-wrote this episode) has its pigeons. The coda capped another tour-de-force offering from "Mad Men," which somehow needs to be remembered at the 2008 Emmys -- even though the bulk of it is airing before this weekend's 2007 awards.

— Jon Weisman

When are we going to see the first rays of "Moonlight"?

We've been bugging CBS about getting a look at the new drama it for a few weeks now. It's usually not a great sign when the pilot screeners are this long delayed. Back in May when the Joel Silver-produced vampire-detective skein was picked up, CBS offered only a 15-minute-or so glimpse of the show on its post-upfront screener mailer. Warner Bros. TV show stars Alix O'Laughlin as immortal private eye Mick St. John, who fights his natural vampire tendencies to help the living fight off the blood-thirsty attacks of  his fellow vamps. We know that it's undergone some recasting during the summer (Amber Valletta out, Sophia Myles in as the beautiful and ambitious reporter trying to get to the bottom of a string of unusual murders), so we'll continue to give 'em the benefit of the doubt until we get a chance to see the finished product.

As of this writing, CBS is saying it'll arrive early next week. Show's set to preem on Sept. 28 in the spooky Friday night hammock slot between "Ghost Whisperer" and "Numbers."

--Cynthia Littleton

The season begins in earnest next week with debuts of the following:

New shows…:
"K-Ville” (Monday at 9 on Fox, pictured at right)
“Back to You” (Wednesday at 8 on Fox)
“Kid Nation” (Wednesday at 8 on CBS)
“Gossip Girl” (Wednesday at 9 on CW)
“Kitchen Nightmares” (Wednesday at 9 on Fox)
“CW Now” and “Online Nation” (Sunday 7-8 on CW)

…and returning shows:
“Deal or No Deal” (Monday at 8 on NBC)
“Prison Break” (Monday at 8 Fox)
“Beauty and the Geek” (Tuesday at 8 on CW)
“America’s Next Top Model” (Wed. at 8 on CW)
“’Til Death” (Wed. at 8:30 on CBS)
“Survivor: China” (Thursday at 8 on CBS)
“Simpsons,” “King of the Hill,” “Family Guy” (Sunday  8-10 on Fox)
“Cold Case” (Sunday at 9 on CBS)
“Shark” (Sunday at 10 on CBS)

For a comprehensive schedule, by date or name, click here.

— KL

Jessica Collins: The name so nice, they cast it twice.

Last year, ABC chose Jessica Collins (left) to play one of the hostages in its ballyhooed drama, "The Nine." WIth all the positive press heaped upon that pilot by this time in 2006, Collins' name figured to grace the Alphabet network for years.

And in a way, that's still a possibility.

"The Nine" failed to last the 2006-07 TV season, but undaunted, ABC has again dipped into the Jessica Collins well -- and pulled out a different Jessica Collins.  This Collins (right), a former recurring guest on such shows as "American Dreams" and "Tru Calling," will appear on ABC's "Big Shots" as Marla, the mistress of Joshua Malina's character.

Normally, the Screen Actors Guild requires a performer with the same name as a predecessor in the union to alter their moniker in some fashion, either by adding an initial or with a wholesale change, but apparently it hasn't come to this yet for the Jessicas.

Don't fret about the fate of ABC's first Jessica, however. She'll appear on the season premiere of NBC's "Heroes" on Sept. 24 -- three days before "Big Shots" bows. Crossover episode, anyone?

— Jon Weisman

I’m a longtime fan of the following actors — Jimmy Smits, Julianna Margulies, Hugh Jackman, Kelsey Grammer, Michael Vartan, Anthony Anderson, Kate Walsh, Jean Smart and Julie White — all of whom have new shows this fall. And that’s why it’s so disappointing that I don’t like any of their new shows. I was determined to enjoy all of them, I promise.

At least Grammer’s sitcom “Back to You,” Anderson’s “K-Ville” and laffer “Samantha Who?” (on which Smart has a supporting role) showed enough promise to entice me to check out at least one more episode.

The big misfires were Smits’ “Cane,” Margulies’ “Canterbury’s Law,” Vartan’s “Big Shots,” Walsh’s “Grey’s Anatomy” spinoff “Private Practice,” “Cavemen” (White has a supporting role) and “Viva Laughlin,” on which Jackman serves as exec producer and guest star. (In fairness, the reshot pilot of “Private Practice” has been better receieved than the inane “backdoor” episode of “Grey’s” that aired in May.)

And while they might not have been my thing, all of the above-mentioned shows had at least one supporter among our Season Pass panel, save “Canterbury’s Law,” which has thumbs down across the board so far.

It’s easy to be flip when shows turn out to be clunkers, but it’s a reminder of just how serendipitous it is when all the elements come together on a pilot: development, casting, staffing, timeslot, marketing and the factor that cannot be controlled — audience support.

I wish the best for the actors involved and it’ll be interesting to see how their shows fare. And what do I know anyway? Last year I discounted “Heroes” and pegged “The Class” as a surefire winner.

— Kathy Lyford

I was obsessed with “Desperate Housewives” that first glorious season. I used to get together with a large group of friends and watch every episode. I would sometimes even re-watch scenes I really liked when I got home from the “DH” party.

Then came season two. Some shows have sophomore slumps but this was ridiculous. The episodes ranged from disappointing to unwatchable. And as much as I love Alfre Woodard, the whole slow, homicidal son locked in the basement storyline was just stupid. Still, Marcia Cross’ lovely OCD-afflicted Bree kept me tuning in. I guess I always hoped it would return to form.

Season three was better, but still not up to snuff. It needed more of the mystery and magic long missing since season one. Susan lost in the woods was nearly a jump-the-shark moment for me. And Marcia Cross’ maternity leave really sucked the life out of the show. Why I’m still planning to give season four a chance is the only mystery remaining.

Of our panelists who listed "Desperate Housewives" on our season pass list, 75% of us said we were very close to giving up on it and another gave up last season.

This season the neighborhood will see the addition of a gay couple, played by Tuc Watkins and Kevin Rahm, and a new family (Dana Delany, Nathan Fillion and Lyndsy Fonseca) moving in. According to TV Guide, the family has a dark secret. Please let it not be a relative locked in a dungeon or a deceased person in the basement freezer … again. Also Sarah Polley joins as Lynette’s sister who moves to town to help Lynette as she goes through cancer treatments.

I sincerely hope the additions add some life to Wisteria Lane. Otherwise, my thumb is poised over the “delete this season pass” button.

— Kathy Lyford

I didn't hate "Cavemen."

Earlier this summer, before I watched the original pilot for the controversial ABC sitcom (premiering Oct. 2), I got the impression that I was supposed to hate it.  After I watched it, and after more people offered their reactions, I really got the impression that I was really supposed to hate it.

But I didn't.

I didn't love "Cavemen" either, not by any stretch, but I thought it had a few important things going for it.

First and foremost was caveman Nick (left), played by Nick Kroll. Nick felt to me like a fully formed character, one whose skeptical yet not entirely dismissive view of the world seemed the product of a good deal of thought by the show's creative team. Nick's anger is tempered by bemusement, and even though he has come to believe that society is set up against him, he has not given up the pursuit of joy. (He wouldn't seem entirely out of place as a commentator on "The Daily Show.")

Nick plays well off his best friend on the show, Joel (Bill English, right), who is both less cynical about the world and less secure about himself. Joel is optimistic, yet not naive. You can see him trying to make the best of things yet still aware that life is a struggle. 

Note that both these lead characters stop short of extremism, that neither can be pegged in a single line.  That's something you don't see in every television show, and it shouldn't be taken for granted.

Finally, I admired that a half-hour comedy sought to pursue issues of race in its storyline.  That the cavemen of "Cavemen" were an allegory for real-world minorities in the U.S. emerged this summer as a sin in and of itself, and I never was quite clear why. When exactly did racial allegory become off-limits?  A critique of the effectiveness of the allegory is certainly welcome, but some people seemed offended by the allegory's mere presence. (It certainly wasn't the producers' intention to claim that any minorities are in fact cavemen.) Me, I was pleased to see a show attempt to combine humor and substance, even if it didn't entirely succeed.

"Cavemen" didn't lack for stupid moments. Not every aspect of the plot worked, nor did every character. There was sufficient ammunition for the naysayers, to be sure.

In any case, following notes and criticisms from seemingly everyone in television land, "Cavemen" will premiere next month with a different pilot than ABC screened this summer. Speaking for the minority (word choice just a coincidence) who didn't hate the original pilot, I'd recommend giving it a try. You don't have to worry about it being a thinly disguised infomercial: The show has distanced itself from its Geico roots, with the insurance company mothballing any commercials with cavemen for the time being. And the show clearly has ambition beyond any first impressions you might have. It's anyone's guess how good "Cavemen" will be or whether it will catch on, but there might be a there there.

— Jon Weisman

As a strong summer of cable programming transitions into the start of the fall broadcast season, Stuart Levine and Jon Weisman offer some thoughts about they've been watching:

Jon: How about we kick off our first Season Pass chat by talking about Sunday's premiere of "Tell Me You Love Me." I'm seeing a wide range of opinion on it; something tells me that this new HBO series could be the most polarizing program since … that last HBO series, "John From Cincinnati."

I think the show teeters on the edge of self-pity and self-absorption, but I'm cautiously interested in its serious look at sex and relationships.

Stu: I completely understand that all the explicit sex is what will draw attention to it, but that's short-selling the series. Creator Cynthia Mort is able to look at the underbelly of what makes relationships both thrive and then fall apart, and it's the latter I find most compelling. These four couples seem awfully real to me.

HBO distributed the entire series at TCA this summer and I've watched the whole thing already — I figured it was a good time with summer programming not burdening my Tivo. Without giving anything away, as the series moves along, the sex loses its wow factor and the out-of-the-bedroom problems take become much more scintilating.

Jon: Just to get the newer primetime cable shows out of the way, "Mad Men" was far and away the king for me this summer. Each episode is not only entertaining in and of itself, each seems to open up whole new worlds to explore. The characters are incredibly rich. It's a long way until next year's Emmy nominations, but I sure hope "Mad" gets remembered.

HBO's modest but clever "Flight of the Conchords" was my other summer favorite among the new shows ("Damages" seems to have forgotten to give Glenn Close anything interesting to do), while "Big Love" still doesn't seem to get the credit for excellence that it deserves. It really evolved into so much more than its premise in season two. In many respects, it does very well what "Tell Me You Love Me" is aiming to do.

Stu: I completely agree with you on "Mad Men." It captures 1960 so incredibly well, it's scary. Props to the set and costume designers especially. "Sopranos" alum Matthew Weiner has entered into the David Chase-Aaron Sorkin-David Milch arena with this one.

I may be wrong but I don't remember AMC renewing it for season two. Wonder what the holdup is? I know it's critically beloved but I don't think the ratings have been all that stellar. I'm sure it'll be completely forgotten come Emmy time next year but no matter, it's a gem.

I can't go along on "Flight of the Conchords." Very aware that some people just love it but I watched two episodes and didn't get it. Maybe it's me.

I'm really down on "Rescue Me." Used to love it but it seems to have gotten away from Denis Leary and Peter Tolan. What started out as a terrific look at how 9/11 affected this particular group of fireman has turned into a bad comedy. Time to get back to what made it a draw in the first place.

Jon: I only committed to watching "Rescue Me" this season, so it doesn't suffer from comparison for me. The thing I've noticed is it has the same problem "Party of Five" came to have toward the end of its run - an episode can be moving along smoothly, and then there's one clunker of a scene or subplot that just knocks it off the rails. 

If it is serious at all about becoming more than a channel known mostly for movies, AMC simply has to renew "Mad Men." Its value transcends ratings.

Stu: Agreed. Will be sorry to see both "Mad Men" and "Damages" come to an end. On the latter, FX's most recent dramatic fare ("The Riches," "Dirt") haven't really worked for me, but from the pilot, "Damages" had me hooked. Which makes me think: Can't wait to see the final season of "The Shield" too. The Vic vs. Shane confrontation could make for a great payoff.

Jon: It's going to be hard making time for all the high-quality cable shows along with the upcoming broadcast TV premieres, the increasing load of Oscar-contending movies and the baseball playoffs. It'd be nice to read a book once in a while, but duty calls.

Stu: A book... what's that???

I don't think I was alone in considering the CW a network for the Clearasil set. Fair or not, it just seemed like a desination for youngsters. So imagine my surprise at the nets' high rankings among our Season Pass panel — comprised mostly of people old enough to have kids in the CW's coveted target audience age range. You know, if we'd all married young and had kids right away.

Three of the CW's new shows (drama "Gossip Girl," dramedy "Reaper," and half-hour laffer "Aliens in America") got almost all thumbs up from our group, with multiple season passes being set for each show. I initially gave "Aliens" one thumbs down indicating it isn't my cup of tea, but I've sinced flipped it to one thumb up; I would watch it again, just not every week. And none of us thought drama "Life is Wild" was unwatchable — it just skewed a bit too young for our taste.

"Gossip" is soapy and dramatic in the way the exec producer Josh Schwartz's late Fox show "The O.C." was in its first season. "Aliens" is cute, humorous and sometimes poignant. And "Reaper" is just a delightful surprise. I can't say enough good things about the latter — funny, sweet, touching, beautifully cast...

Those CW DVDs sat on top of my TV for weeks until I finally had to watch them in order to finish off my list. What a mistake on my part. It looks like the CW is growing up. I just hope auds our age give the shows a chance.

— Kathy Lyford

Here's a shocker. According to a survey, the new fall skein that teenagers were most aware of back in early August was CW's "Gossip Girl." (Must be all those promo shots of pouty-looking girls in sexed-up school uniforms.)

Coming in No. 2 on the awareness-meter in the survey of 750 youths in the 13-17 demo, conducted the week of Aug. 6 by market research outfit OTX and social network site eCrush, was a tie among NBC's "Bionic Woman, ABC's "Cavemen" and CBS' "Kid Nation." ABC's "Pushing Daisies" rounded out the top three, followed by a tie for fourth among CW's "Reaper" and Fox's "Nashville" and "The Next Great American Band." CW's "Aliens in America" weighed in at No. 5.

When asked what shows they were most intent on checking out, No. 1 was still "Gossip Girl" (pouty star Blake Lively pictured at left) but ABC's "Pushing Daisies" rose to No. 2.

Survey did have some counter-intuitive findings. Despite all the hoopla about Net marketing and alternative distribution platforms, 51% of respondents said they were getting most of their info on new shows from ads and promos seen on...TV. Word-of-mouth chatter from friends was cited by 33% of those surveyed, while Internet ads were cited by only 26%. TV network websites ranked far down the list of info sources (19%); blogs and newspaper ads were even more negligible (7%).

And when these teens were asked how they intended to watch the new shows they're most interested in, some 70% chose the answer "in its scheduled time period on TV," warming the hearts of network skedding execs everywhere. Only 21% said "using my DVR, VCR or DVD recorder," which pretty much adheres to the stats indicating that DVR penetration, for all the ink it receives, stands at about 20% of U.S. TV households.

For more factoids from the survey click here.

--Cynthia Littleton

After staring at the disc for weeks on the table next to my TV, I finally caught the much-hyped Fox comedy "Back to You" over the weekend.

My first impressions: They're all trying real hard, maybe too hard, to be funny. But for the most part it works because we want to like these actors so much we're willing to give them the benefit of the doubt.

That goodwill comes in the form of Kelsey Grammer and Patricia Heaton, who are coming off their megahit comedies "Frasier" and "Everybody Loves Raymond." They were each so good in those — and made it look so easy — that it might be hard to see them in new roles. To ask them to relish in those retired characters forever, however, and not try something new wouldn't be fair.

Hey, a few million in syndication only goes so far.

Writers/creators Steve Levitan ("The Larry Sanders Show") and Christopher Lloyd ("Frasier") have great material to work with here and they know how to write a set up and punchline as good as anyone.

Three-camera/studio audience sitcoms seem the way of dinosaur these days, with laffers like "Curb Your Enthusiam" (for Variety's review, click here), "Ugly Betty" and "30 Rock" leading the charge in a world where drama is dominating the primetime schedule. Comedy, however, is still viable and can come in many forms. And there's nobody better than director James Burrows in knowing what makes us laugh.

So I'm on board "Back to You." With a stellar turn in "Damages," folks such as Ted Danson have proved this year that even actors with iconic characters on their resume can move on. The bigger question with "Back to You" could be will audiences too?

— Stuart Levine

"Curb Your Enthusiasm" kicked off its sixth season tonight with an episode that, for a show that has always treaded a thin line between annoying and uproarious, leaned a bit too much toward the former -- if only because so much of the episode was predictable.  There was one gambit involving repeated references to a certain dessert that paid off, but for the most part the premiere was underwhelming. This was no picking up a prostitute to get access to the carpool lane.

During the episode, I wondered if "Curb," which was groundbreaking in just how far it was willing to stretch the annoyance envelope, has now seen its moment pass. Other shows from "The Office" to "It's Always Sunny in Philadelphia" risk antagonizing their audience, yet seem fresher in doing so.  In particular, "The Office," which wears its heart on its sleeve right after sticking a knife in it, seems to shine a light on the limitations of "Curb."

But maybe tonight simply wasn't the best "Curb" will have to offer this season - certainly, Larry David and Co. have generated utter masterpieces in the not-too-distant past.  And of course, it only gets harder as a show gets older, and we'll have to see whether something like "It's Always Sunny" can keep the pace.

— Jon Weisman

From Variety.com's On the Air blog:

I'd buy Dianne Wiest as Parker Posey's mom, easily. The Oscar-winning thesp has signed on for a   recurring role on Fox's midseason comedy "The Return of Jezebel James," which means that creator Amy Sherman-Palladino has another solid actress and intriguing character to write for.

Wiest will play Talia, the mother of the two very different sisters, Sarah and Coco, played by Posey and Lauren Ambrose, around which the "Jezebel James" conceit is built. Wiest hasn't done much TV since her 200-2002 stint as D.A.  Nora Lewin on NBC's "Law & Order." She bagged an Emmy in 1997 for her guest shot on Disney Channel's "Road to Avonlea" to go with her two supporting actress Oscars, for 1986's "Hannah and Her Sisters" and 1994's "Bullets Over Broadway."

There's still no firm preem date set for "Jezebel James" but it's expected to land around the time Hurricane "Idol" hits Fox in January. For a peek at "Jezebel James," click here for your entry into Clip Madness.

Whatever the virtues of the new CW high school sudser "Gossip Girl" might be, there was one nagging question that persisted for me: Shouldn't Veronica Mars be out solving mysteries at her own school instead of talking oh-so-coyly about the follies of someone else's?

The dissonance arises from the use of Kristen Bell, mere months after the demise of her CW cult favorite "Veronica Mars," as the unseen narrator of "Gossip."  Bell also provided the ongoing voiceover for her own adventures on "Mars," and if the CW expects us to forget that voice so quickly, the network perhaps has underestimated its small but devoted audience.

It's just too soon - know what I mean? Veronica's body is not even cold yet.

Perhaps Bell has such diehard fans that they'll watch her -- or listen to her -- in anything, but it strikes me that by including Bell on "Gossip" and inviting the comparison, the CW and showrunner Josh Schwartz are in effect challenging their core viewers to find their new show to be better than "Mars." That's a gambit that might be futile. 

Of course, the whole reason "Mars" isn't around anymore is that it had such low ratings, so it's not as if there's loads of viewers at stake. Much of the reason for launching a new show like "Gossip" is to draw in new auds. Still, "Gossip" has to start somewhere when it comes to gaining ratings traction, and I can't help wondering if it has imprudently risked alienating potential fans by reminding them of their fair show now departed.

Moreover, "Gossip" has to face the prospect of Bell overload, now that she has been cast in a recurring role on NBC's "Heroes."

All in all, "Gossip" will live and die on its own merits, but I think it should have taken the opportunity to completely carve out its own space, rather than link so overtly to a show that many are bitter ended up in the TV graveyard.

— Jon Weisman

I am loving the promo for "Ugly Betty." If you haven't seen it, here it is on YouTube.

Betty struts through a park while the other characters show her loads of love, something that doesn't always happen to our little heroine. Then she snaps out of that dream by crashing into a glass door, in a moment reminiscent of the scene from last year's pilot episode that made me giggle no matter how many times I saw it. The promo is bright and breezy and fun with a terrific original song, "Big Girl (You Are Beautiful)" by Mika. And the "Brighter, Bolder, Bettyer" tagline is simple, yet perfect.

I spoke with "Betty" creator/exec producer Silvio Horta who was beyond pleased with the result: "The promo looks fantastic. We all heard the concept but were completely blown away when we saw the finished product."

In my opinion ABC has really left the other nets in the dust when it comes to this year's promos. Up until about a week ago the only billboards and bus signs I saw were for ABC shows. I'm slowing starting to see some NBC and CBS presence but have yet to notice any CW ads beyond "America's Next Top Model." Fox is hamstrung because they need to wait for postseason baseball so I'll give them a break.

And although I have filled my summer TV viewing hours with cable dramas, sports and reality shows, I have tuned into each network on a regular basis and again find ABC way out ahead with their TV spots for not only "Betty" but "Dirty Sexy Money," the brilliant "Pushing Daisies" and their comedies "Samantha Who?," "Carpoolers" and "Cavemen." Way to go Alphabet.

I'm not saying there aren't ads out there for the other nets; I just haven't noticed them — which isn't a good sign. I know some shows are focusing on digital promos but those also are not something I've run across. We'll see if that changes as the premieres get closer.

— Kathy Lyford

Readers in Gotham and L.A. don't have to take our word(s) for it. The Paley Center for Media (aka Museum of Television & Radio) is offering a sneak peak at fall's new shows through its pilot screenings series at its Manhattan and BevHills branches.

The TV party starts tonight at 6:30 p.m. in BevHills with a slate of Fox shows: "K-Ville," "Back to You," "Nashville" and "Kitchen Nightmares."

CW pilots unspool on Saturday starting at 1 p.m. with "Reaper," "Gossip Girl," "Aliens in America" and "Life is Wild." NBC takes over at 6:30 p.m. with "Chuck," "Life," "Bionic Woman" and "Journeyman."

On Monday evening it's ABC's turn: "Pushing Daisies," "Dirty Sexy Money," "Samantha Who?" and "Big Shots."

CBS rounds out the slate on Tuesday evening with "The Big Bang Theory," "Moonlight," "Cane" and "Viva Laughlin."

Screenings have already been underway for a few days at the Gotham facility, but as of this posting TV junkies there can still catch the same slate of CBS pilots on Monday and the CW sked on Tuesday.

For further details click here for the Paley Center website. For clips of some of the above, scroll down to the Variety Video link on this home page, and check out On the Air blog's Clip Madness. 

(Pictured above: CBS' "The Big Bang Theory")

The screener for the first proper seg of "Grey's Anatomy" spinoff "Private Practice" arrived in the mail on Thursday. I'll leave the reviewing to the professionals (Brian Lowry, coming soon). But for my broad-strokes reaction (remember that the Season Pass ratings for this show were based on the two-hour backdoor pilot "Grey's Anatomy" seg that ran in May), I'll say that I can definitely see why creator/exec producer Shonda Rhimes made the call to recast Audra McDonald in the key role of Naomi Bennett (originally played by Merrin Dungey), best friend to Kate Walsh's Addison Montgomery (and her excuse for heading down the Pacific coastline from Seattle to Santa Monica) and recently divorced wife of Taye Diggs' brilliant-internist character, Sam Bennett.

This seg overall is watchable, and beautifully shot, but there's still something that feels a bit amiss here. I can't quite put my finger on it but I keep coming back to the thought: Do we really need this spinoff? But I digress....

Opening moments deal of the seg deal effectively with Addison's resignation from Seattle Grace hospital and set up the new ensemble of doctor characters that she'll work with at the Oceanside Wellness Group, a touchy-feely non-hospital facility with touchy-feely Westide L.A./BevHills/Santa Monica clients. There's a nice inside-TV reference early on in the seg to Addison feeling the need to sally forth and "throw my hat all the way up in the air." (Think classic TV opening sequence for a show with a femme lead and killer theme song.)

Of the supporting ensemble, the most intriguing to me (as an actor and as a character continues to be Amy Brenneman, who plays the mixed-up shrink Violet Turner. (Is there any other kind on TV?) So all in all, I don't love it as much as I did the first batch of "Grey's Anatomy" segs, but it stays on my Season Pass list.

--Cynthia Littleton

It's Day One of the Season Pass. How are we doing?

Hope everyone's digging the new chart we've put together, in which we all graded and offered short, snippy comments on each of the pilots. As I was looking it over, I couldn't figure out how I was the only one who enjoyed the NBC series "Life."

Now, granted, it's no "Sopranos," but why all the haters? Sure, it takes a premise we've seen a gazillion times before -- cops on the case, figuring out who did it and why -- but Damian Lewis felt a little "House"-like to me, which I consider a good thing. 

He's got an interesting background that I've never seen before from a police drama -- he was holed up in the pokey for a crime he didn't commit. That's surely going to make for some interesting storylines going forward.

And he eats a lot of fruit. So it's all good.

I was really impressed with Lewis' turn in HBO's monumentally terrific series "Band of Brothers" back in 2001 and thought he was a guy on the rise. He's done a bunch of things since then but has never caught on in the States.

Throw in long-time fave Adam Arkin and "Deadwood" phenom Robin Weigert, and you've got a show that's worth hanging out with for a while.

— Stuart Levine

Gordon Ramsay's impressive new show "Kitchen Nightmares" launches by cleaning up the operations in a stereotypical Long Island Italian eatery. (While dramatic and humorous, it fits into the "reality" category so it is not being reviewed by the Season pass crew. That's a shame; this is fabulous television).

While the name on the building belongs to the loudmouth in the expensive yet tacky suits, the owner is the quiet sister who figures she'll be closing the joint soon if baby bro doesn't stop raiding the till. He, Peter, who treats his duties as host like some union no-show job.

Ramsay, with the help of the world's fastest heavy equipment installers, redoes the kitchen, the menu and the mindset almost overnight.

It is gripping storytelling with demonstrative characters - the expressions of the head chef are priceless; the directing and editing service the story so well, "Nightmares" immediately shoots to the upper reaches in the ranking of this season's new shows.

The restaurant that gets the redo, Peter's Italian Restaurant in Babylon, N.Y., apparently used to be called Peter's Pasta House, but nearly any mention or review of the eatery - and its mediocre food - seems to have been erased from the Internet save for this one numerical rating.

— Phil Gallo

Welcome to Season Pass, Variety.com’s blog for dishing about fall’s new scripted TV shows.
We wanted to give readers a wide range of opinions on the fall fare so eight of us spent a good chunk of our summer watching all of it. We like to complain, but it was really kind of fun.

Each of us has rated all the shows using four categories:

Love it, setting a season pass now

Worth another try

OK, but not for me

Won't watch again

"Reaper" (below) was one show that took us all by surprise. I did not expect to like it and it ended up being one of my favorites

The shows that rated the highest (one or two thumbs up) among our group of TV junkies were: ABC’s “Pushing Daisies” (seven season passes), NBC’s “Chuck” (four season passes), the CW’s “Reaper” (six season passes), CBS’ “Big Bang Theory” (three season passes), the CW’s “Gossip Girl,” (one season pass), Fox’s “Back To You” (one season pass) and CBS’ midseason entry “Swingtown” (one season pass).

See the chart for more details.

Our opinions are meant as a guide only. We encourage you to give all the shows a try and see for yourself what shows speak to you.

We’ll be blogging after each episode to track the shows’ progress. And we’ll weigh in on topics related to the season.

Have fun and happy channel surfing!