NBC’s Parenthood is based on the 1989 film directed by Ron Howard, and aside from a large cast of characters who are all related in some easy-breezy way, the similarities with the movie seem to end. The series is a dramedy focusing on the Braverman clan and the trials which shaped their lives.

Where Parenthood really excels is its excellent casting much like ABC’s Modern Family, its all about the people behind these characters and how well they gel together. Anchoring the show are the beautiful Lauren Graham (Sarah Braverman), Peter Krause (Adam Braverman), and Braverman patriarch Zeek Braverman played by Craig T. Nelson who always shines.

The first hour provides a decent amount of laughs, mostly when Graham is in the room, and sets up a seasons worth of storylines with Sarah moving back in with her parents have a financial downturn, Adam dealing with the diagnosis of his son Max with Asperger’s. There are your typical sitcom moments, such as Sarah’s son catching her sexual escapades with a portly, balding former-classmate (Mike O’Malley) and your typical drama moments with long pauses and furrowed brows.

There’s definitely a lot to like here, and while the episode blows all of its comedic chops in the first 20 minutes, and loads up the final two acts with heavy drama, it’s still easy to see that the writers are mixing in a healthy balance of both. Ultimately the show needs time to grow into its own, but from what we’ve seen so far there are very capable people both behind and in-front of the camera and Parenthood can easily make its way into can’t miss territory with a few more episodes like the pilot.

Plain and simple FX’s new series Archer delivers the irreverent comedy that was experienced during the glory days of Warner’s adult swim. Not since the days of Sealab 2021 (another Adam Reed project) has a show come up with some of the most ridiculously funny and brilliantly absurd comedy as does Archer. Having seen the first five episodes of the series its no wonder why the network ordered more, aside from ABC’s Modern Family, Archer is the frontrunner for the best new comedy of the 2009-2010 season.

Sterling Archer (voiced by H. Jon Benjamin) is a secret agent for ISIS, a freelance spy agency run by his mother, Malory (the always funny Jessica Walter), and works with a cast of characters including his ex-flame Lana (Aisha Tyler), her new beau, and ISIS comptroller Cyril (Chris Parnell), and secretary Cheryl (Judy Greer) who changes her name from episode to episode.

From the very beginning the roots of the aforementioned adult swim classic, and Reed’s follow-up Frisky Dingo, are readily apparent, and that’s what makes Archer such a pleasure to watch. For an animated show to not be about the animation is always a risk, but the story, dialog, and just overall fun of the series clearly make up for it. Granted the animation has come a long way from Reed’s reusing of frames from Sealab 2020, but it has always been about the story, the situations, and the gratuitous violence that has brought viewers in.

The style of the show, set in a contemporary world, but with throwbacks to the spy movies of the 1950’s and 1960’s is excellent. More than a few Bond gags make their way into the early part of the season, including ridiculously named villains with quirks built in. Archer himself is a bumbling moron who, at times, seems to only have made it this far because of his overbearing mother, but does show flashes of how good he can be in later episodes.

Being on FX gives the animators and producers some more leeway on what they can show and what they can say, and while it’s usually shameful to push the envelope for the sake of shock, that’s what really works here. No show has done better cutaways since Family Guy, and even FOX’s cash cow could take a few notes.

In the end Archer comes together in a great mix of classic characters, hilarious dialog, visual gags, throwback jokes and a sense that we haven’t learned anything in the last 22 minutes, but we had a damn good time spending it with the ISIS team, even if our codename is Duchess.

Where FX has excelled in the drama game the network has always seemed to struggle on the flipside of the programming coin in the comedy genre. Save for the wildly popular It’s Always Sunny in Philadelphia, shows like Starved, Testees, and Lucky have always missed the mark for various reasons. The network recently unveiled a new slate of original programming including several comedies and dramas, the first of which is the fantasy football-themed The League which continues the network tradition of vivid characters based on excellent writing.

Breaking away from the sight-gag laced Testees, The League centers on an ensemble cast of characters all joined together by friendship and their desire to one-up each other in fantasy football. The competition is nothing to be taken lightly as characters influence each other in their work and home lives, all to get Peyton Manning.

The writing is sharp in the first two episodes with more than a few laugh out loud moments and more than a few hearty chuckles strewn about. What really works is the believable, relatable characters all pulled from the sitcom stable including the recently separated, charming guy; the clueless friend who drafts retired players; the married dude who has to watch porn in the garage while working out. Well, you get to expand the normal staples when you’re on cable.

A few standout moments are Taco’s (Jon Lajoie) wholly inappropriate song at a pre-teen’s birthday party, you know where its going from the very beginning, but there’s something about harmonizing and explaining various sexual positions that really makes you laugh. Nick Kroll’s Ruxin and his desire to win the fantasy league so bad he kidnaps an “oracle” leads to another stand out, laugh out loud moment that looks really, really bad, but you never realized implied pedophilia could be so funny.

The show has a semi-serialized nature to it, at least in regards to the first few episodes, and the “league” aspect is used (so far) as merely a framing device for a few jokes and as an excuse for everyone to stay together. In the end, however, The League is a very funny entry into FX’s already stellar lineup or originals, as long as the first season stays Sunny and avoids being Starved the future looks bright.

NBC’s long list of great comedy shows can add another entry in Community, which is aptly being called The Office in Community College. The series doesn’t present itself as a documentary like the aforementioned workplace comedy, however the cast of characters is every bit as memorable and the writing is top notch throughout the pilot.

The series focuses on Jeff, played by the very funny and criminally overlooked for years Joel McHale (The Soup, The IT Crowd), the series centers on the happenings of a group of students from all walks of life at Greendale Community College. From the opening speech by the school’s dean till the end credits role there’s a lot of clever moments even while some of the problems borrow from the sitcom cliché handbook.

Jeff is a washed up lawyer whose degree from “Columbia” has been brought into question. Now he needs to secure a degree from the United States to prevent himself from being disbarred. Our introduction to him and Danny Pudi’s Abed is just one of the episodes shinning moments. Jeff wants to get with Britta (Gillian Jacobs) so he organizes a Spanish study group which grows to eventually include several other students including Chevy Chase’s Pierce whose grandiose stories could only be true if he owned the college and was just milling about.

While a lot of the pilot’s jokes hit, only accentuated by the wonderful cast, the predictable story about boy meets girl, boy lies to girl, tries to cover it up, girl finds out, etc. is so overplayed that the ending of the episode is pretty much known from the very beginning, however getting to the end is the fun part and that’s where Community is able to keep your interest for 22 minutes.

While it remains to be seen if Community can break out like The Office, or if it will disappoint like Parks & Recreation, but when the season starts in mid-September there will be at least one person firmly tuned in.

While the premiere of Patrick Swayze’s newest TV endeavor is likely to be overshadowed by his health woes of late, behind the news reports and interviews is an average cop drama with lots of room to grow, but a penchant for taking bits and pieces of successful films and TV shows and incorporating them into a half-full melting pot.

The Beast see Swayze as Charles Barker an off-the-map FBI agent who goes undercover to bring down the big-bads with a rookie, hand-picked partner in Ellis Dove (Travis Fimmel). Sound familiar? It’s basically the premise of Training Day with a few things changed, but the producers didn’t really go the extra mile to eliminate some of the comparisons that would undeniably be brought up. Similarities include: Dove being by the book, much like Ethan Hawk’s character in relation to the off-the-rails mentor, the protégé being forced to “prove” himself, ordered to do odd jobs for the quiet, sneaky mentor, etc.

The plot doesn’t really help the series evolve either, there’s the B-storylines about Barker protecting a women and her family (we later come to find this is his sister), Dove attempting a relationship with his neighbor, a shadowy figure at the FBI who helps them, Barker somehow, someway managing to get what he needs, when he needs it, and the possibility that he’s dirty and Dove is recruited to spy on him. Essences of other staples like The Shield, House, and the aforementioned Training Day just leave The Beast as something old and worn at times. All this culminates with a big reveal at the end that one of the most closely guarded secrets in the US government (a disk drive containing every undercover agent in the world) is sitting behind an unguarded rent-a-fence in FBI headquarters where one old, fat, balding guy is protecting it. When you see its gone at the end of the episode so is your suspension of disbelief.

It seems as though the series creators cobbled together everything they loved about difficult-to-work-with-human-dramas, adding in some cops and robbers gave everyone a super tough life and asked us to watch. The audience is just thrown in to the deep end in the beginning though, no introduction, and we’re forced to care for characters who have no life beyond the caricatures they represent from years upon years of exposition on the small and silver screen.

In the end it doesn’t really matter that Swayze does an admirable job as the clearly intelligent, but disturbed Barker, if you can’t get past the ludicrously lazy writing there isn’t much to enjoy in anyone’s performance. The Beast could evolve into something much more, but based on the pilot, you’ve seen all this done before.

FX’s run with un-PC comedies has weathered the cable storm of the years with successes like It’s Always Sunny in Philadelphia and failed opportunities like Starved, now FX is bringing former South Park writer Kenny Hotz’s Testees to the small screen as a companion to Philadelphia, and while the series does induce a few laughs in its debut, the show still has a lot to live up to.

Testees is, at times during the pilot episode, a live action version of South Park, the characters are inherently dim-witted but likable, and the social norm-bashing is certainly in place, however Peter (Steve Markle) and Ron (Jeff Kassel) are no Stan and Kyle, they fall into place with what ever comes their way rather than point out the irrational behavior of everyone else a la the aforementioned animated duo.

Peter and Ron are introduced to the audience sifting through the couch in their rundown apartment looking for rent money, while a suggesting is made to just “buy more couches” in search of money, the pair return to their jobs at Testico testing out products with Peter usually receiving the product and Ron lucky enough to be rewarded with a placebo. Upon their return they’re entered into a clinical trial which, after a few days of gestation, appears to make Peter pregnant. The two prepare for their child as you’ve probably seen on nearly every sitcom known to man, however it doesn’t take a Hollywood writer to see where this is ultimately going. And that’s the problem with Testees, its almost too obvious at times what is going to happen, sometimes running the jokes completely.

There are a few jokes that sneak up on you, such as Peter attempting to abort his unplanned pregnancy with a coat hanger up his rear end, and as offensive as you think it might be, you have to realize that these guys aren’t the brightest bulbs in the chandelier.

A B-story with fellow product tester Larry (Kenny Hotz) and his amazing “cockzilla” penis enlarging spray is a worthy distraction from the main storyline, but, again, smart watchers will see the punch lines (such as Larry passing out when engorged due to massing blood loss to his entire body) coming and while you’ll cringe at the bits you should cringe at, you won’t necessarily laugh at everything thrown against the wall.

While its obvious the show needs more time to establish the characters and show us if it will turn into a “product of the week” device facilitating all the jokes, there is promise in this show and for those interested, give it a few weeks before removing that season pass.

The Shield‘s Kurt Sutter branches out on his own with Sons of Anarchy a show thematically between the grit of the aforementioned cop series and the dark humor of FX’s own Rescue Me dramedy. The pilot episode, creatively named “Pilot” introduces us to the Sons of Anarchy motorcycle club lead by Clay Marrow and featuring an eclectic mix of do-gooders and criminals all with noble intentions but less than noble, or lawful, ways of attaining those goals.

The story focuses primarily on Jackson Teller (Undeclared‘s Charlie Hunnam) the VP of the MC with a newborn baby and the stickling feeling that the gang has fallen away from its real intentions since his father’s, the former president, death. Jackson initially has to deal with his premature infant son and the thought that he might not survive his untimely birth from a drugged out mother (guest star Drea de Matteo).

The Sons of Anarchy operate out of fictional Charming, CA, a small town they use to work day jobs, protect the local businesses from meth-heads and Mexican gangs, oh, and run guns, lots and lots of guns for gangs in the Bay Area. The pilot establishes the less than cozy relationship between the Sons and the Mayans and brings a third player into the mix by the end of the episode.

The brutality of the violence is often overshadowed by impeccable comedic timing such as how a character achieved the nickname “Half-Sack” (it IS what you think) or the steps to taxidermy a deer’s head. While these moments are few in the pilot the nature of the characters and their relationships play well off of each other, the friendly taunting you see in close circles is very evident here.

The two big names on the roster are Hellboy‘s Ron Perlman, for once not disguised in make-up, and Married With Children and Futurama‘s Katey Sagal who lights up the screen in the rare opportunity to show her drama chops (aside from a few guest spots on Lost). Sagal manages to handle her character (Jackson’s mother) in such a cold, domineering fashion that there is more going on behind the scenes than she lets on. In the episodes pinnacle moment between Jackson’s ex-wife and herself, Sagal becomes almost frightening. Perlman, on the other hand, is his usual charismatic self, commanding the screen in every moment of the episode he appears in as a calculating leader and tough guy.

Sons of Anarchy continues FX’s tradition of breaking the mold of traditional dramas with out-side-the-box characters in situations you don’t usually see on TV. The strength of the pilot alone brings along a host of characters and branching storylines to cover over the first season, and while the impending war between the Mayans and the meth-heads is all but a given, we’ll have to see how the season’s other episodes flesh out the characters and the story as we go along.

The Cleaner is an interesting take on the we’re-not-quite-a-procedural-but-we-are drama for A&E who have come up from the reality wasteland with another try at a scripted series. Benjamin Bratt stars as William Banks a former addict who hit rock bottom and now helps others when they need to kick their addictions. Banks has a team and will use any means necessary to get you into a program, whether you want it or not, meaning the program comes booted with gritty nature to it, although there are some issues.

From the very beginning it’s hard to notice that this might turn into a procedural over the course of its run with a few family bits thrown in to break up the stories, but the pilot episode lent itself as a mix between CSI and the personal lives of a low-key drama thrown into the mix as well. Blend that up with unique subject matter, the intoxicating presence of Grace Park and you have yourself another cable show where you can say the s-word a lot. In fact, the pilot episodes big twist comes straight out of the CSI pilot episode as well, although there is room to evolve and grow here.

While it’s hard to base an entire series on its pilot, there are parts that work and parts that don’t in The Cleaner. Bratt’s screen presence has been missed since his days on Law & Order ended, and aside from passable made-for movies his lack of steady TV work has been disappointing. He’s a great actor and can carry a show very well. Banks gives off a vibe somewhere between Gregory House and Gil Grissom, while being sarcastic, he always means well, plus he talks to God. God doesn’t manifest herself as Alanis Morissette, random people, or inanimate objects, Banks just responds to events with fleeting questions, proclamations, and commentary directed towards the sky with no acknowledgement. If God were truly all around us, why does everyone talk to the clouds? Why not that happy little tree over there, or this large sheepdog?

Banks’ team is composed of the aforementioned Grace as Akani, joining her Cylon compatriot Tricia Helfer (Burn Notice) on another cable series, Arnie (Esteban Powell) who doesn’t really want to be here today, and newcomer Darnell (Kevin Michael Richardson) who joins the team at the end of the pilot episode. The opening case and the team get second billing to Banks and his family life in the pilot episode, but as the season goes on a good dynamic looks to form.

The Cleaner has the potential to be something fresh and exciting with its subject matter and take-no-prisoners attitude to helping people, almost to the point of the team becoming mercenaries or vigilantes. Yet, the too-safe moments and structure of the show could certainly use some mold breaking to keep it from competing with the big boys on network TV, where CSI, Law & Order, and their spawn still run strong.