The TV Renewal/Cancellation Scorecard has been updated to reflect these ratings.

“Body of Proof” debuted well for ABC on Tuesday, drawing a 3.0 in the demo and 13.7 million viewers. That’s more than most programs in the 10 pm hour draw, and if “Body” can sustain that, Dana Delany and ABC will have a hit on their hands.

“The Good Wife” suffered from the premiere of the similar-demographic-skewing show; “Wife” drew a series low 1.9 in the demo and 10 million viewers overall, its lowest ever also. With this drop, “The Good Wife” remains firmly in danger of cancellation.

Against fierce “Dancing with the Stars” competition (3.4 demo, 18.5 million viewers), “NCIS” and its spin-off held up well, drawing a 3.8 and a 3.5 respectively.

Fox aired repeats and a disasterious new “Traffic Light” (1.1 demo), while NBC squeezed a 2.6 out of two hours of “The Biggest Loser: Couples.”

8 pm

NCIS: 3.8 demo, 18.2 million viewers

Dancing with the Stars (8-10): 3.4 demo, 18.5 million viewers

The Biggest Loser Couples (8-10): 2.6 demo, 7.1 million viewers

*Glee: 1.5 demo, 4.4 million viewers

*One Tree Hill: 0.4 demo, 0.8 million viewers

9 pm

NCIS: Los Angeles: 3.5 demo, 15.2 million viewers

*Raising Hope: 1.3 demo, 3.5 million viewers

*Hellcats: 0.3 demo, 0.7 million viewers

9:30

Traffic Light: 1.1 demo, 2.6 million viewers

10 pm

Body of Proof: 3.0 demo, 13.7 million viewers

The Good Wife:

Parenthood: 1.9 demo, 4.7 million viewers

Glee won the night with it’s Rocky Horror themed episode, and it was up a tick from its last new episode to a 4.8 demo and 11.5 million viewers.

No Ordinary Family is starting to look downright ordinary; it was last in the hour and drew a 2.0 demo; it’s now officially in danger at the end of the season if it doesn’t rebound.

A second episode of Raising Hope in Running Wilde’s time slot outdrew its last demo rating by a full point. Expect a cancellation notice for the Will Arnett comedy soon.

8 pm

Glee: 4.8 demo, 11.5 million viewers

NCIS: 4.1 demo, 19.8 million viewers

The Biggest Loser (8-10): 2.4 demo, 6.5 million viewers

No Ordinary Family: 2.0 demo, 7.3 million viewers

9 pm

NCIS: LA: 3.4 demo, 16 million viewers

Dancing with the Stars: 3.0 demo, 15.5 million viewers

Raising Hope: 2.6 demo, 6.3 million viewers

9:30 pm

Raising Hope: 2.3 demo, 5.5 million viewers

10 pm

The Good Wife: 2.4 rating 12.5 million viewers

Detroit 1-8-7: 2.0 rating, 8.8 million viewers

Parenthood: 2.0 rating, 4.9 million viewers

With “Glee” and “Raising Hope” in re-runs, “Running Wilde” was left to fend for itself against a tough CBS slate, where it was pummeled, drawing a lowly 1.3 demo rating and 3 million viewers. This one will not get a back nine folks, not on Fox.

CBS handily won the night. At 8, without “Glee,” “NCIS” rose to a 4.2 demo rating and 19 million viewers. “NCIS: LA” was also up to a 3.9 rating and 16 million viewers. “The Good Wife” was steady with a 2.6 rating and 12.3 million viewers. That’s somewhat on the low end for CBS though; “The Good Wife” should be on notice.

ABC had an up and down night; “No Ordinary Family” continued to decline to a 2.2 rating and 7.4 million viewers. “Dancing with the Stars” was top for the net, drawing 15 million viewers and a 3.1 demo rating, to see Florence Henderson go. “Detroit 1-8-7″ continued to be very low, with a 1.9 rating and 8.3 million viewers.

NBC wasn’t much of a factor. “The Biggest Loser” averaged 7 million viewers and a 2.5 rating from 8-10, and “Parenthood” was last with a 1.9 rating and 4.8 million viewers.

Television phenomenon “Glee” returned last night to open is sophomore season with more than 12 million viewers, and a exceptional 5.5 in the 18-49 demo, leading all shows for the night. That’s way above it’s first season average, when about 9 million viewers tuned in with a 4.0 in the demo. “NCIS” had a strong showing as well, with 19 million viewers and a 3.9 in the demo, good for second at 8 p.m.

“Dancing with the Stars” averaged 15 million viewers and a 3.4 in the demo from 8-9 p.m., while “The Biggest Loser” posted a 3.0 from just over 7 million viewers over its two hours. “One Tree Hill” was last at 8 p.m., pulling a 0.9 in the demo and under 2 million viewers.

After “Glee’s” big number however, Fox dropped considerably with the premiere of new comedies “Raising Hope” and “Running Wilde.” “Hope” averaged a 3.1 rating and nearly 8 million viewers; “Wilde” brought in over 8 million viewers but a much softer 2.5 demo rating. “Life Unexpected” was at the back for the CW with a 0.7 rating and 1.5 million viewers.

“NCIS: Los Angeles” was strong for CBS from 9-10 p.m., drawing 14.5 million viewers and a 3.2 demo rating, but that’s down from last season when it averaged 16 million viewers and a 3.5 rating.

ABC was unable to lure great numbers to Michael Imperioli’s new police drama at 10. It averaged 9.8 million viewers, but just a 2.4 demo rating, tied with “Parenthood,” which averaged nearly 6 million viewers. With “The Good Wife” returning next week, and “Parenthood” typically the hour’s leader in the demo, if “Detroit 1-8-7″ falters much it will find itself in third for the hour, and on the fast track to early cancellation.

According to a report in Deadline, NBC will cancel the long-running crime drama “Law & Order.”

The drama, which was trying to become the longest running drama on television (Gunsmoke) apparently will end after its 20th season.

NBC will, however, renew “Law & Order: Special Victims Unit,” and is expected to pick up a new spinoff called “Law & Order: Los Angeles.”

“Law & Order” was a groundbreaking cop drama which paved the way for shows like “CSI” and “NCIS.”

After leading the NCIS crew as director on the CBS show’s sixth season, Rocky Carroll is filling his director shoes for both “NCIS” and the popular spin-off “NCIS: Los Angeles.”

Carroll, who also played Carl Reese on “The Agency” and Lieutenant Darik Westergaurd in 1995′s “Crimson Tide,” is back as a series regular on the seventh season of “NCIS,” the most popular show on broadcast television. Carroll’s Director Vance role has become popular on the show, as audiences are still wondering what his connections are to Israel and some shadowy black ops.

BLAST: So thank you for agreeing to talk to blastmagazine.com for a little while. We really appreciate it this morning.

ROCKY CARROLL: Thanks for putting me on Blast as they say.

Oh thank you. The first thing we like to ask people who have been playing a character we are getting to know is, can you just tell us a little bit about yourself — tell us a little bit about Rocky.

RC: Well, Rocky is a professional actor now in Hollywood for over 20 years. Born and raised in Cincinnati, Ohio.

I studied theater at a very young age. I always approached this business as a craft. I was in a performing arts high school and then got a degree in fine arts at a university in St. Louis. So this has always been the pattern for my life, to be an actor. Working in Hollywood kind of happened by accident, just sort of fell into it. It wasn’t something I set out to do, I just happened to end up in Los Angeles. I went from one series to the next. I think after 20 years working, primarily in television and Hollywood, the best thing I can tell you is that I still absolutely love doing it. It’s fun, I’m still fascinated by people and I think that’s the thing that separates the difference between a 20 year career and a 3 year career, is that I still really enjoy what I do. I still feel there’s a long way to go and a lot more to learn but I’m fascinated by people. I’m fascinated by people’s perception of celebrity and how people respond to or defer to… and just being an actor. The first question you ask is when people have an impact on you in some kind of way, you know if you meet somebody in a restaurant or a bar or whatever it is and you strike up a conversation and you find them interesting, the first thing you want to do is get to know more about them. The thing about us actors is that, the reason we can kind of keep doing what we do is we kind of have to just play our cards close to the vests.

The natural instinct of people is you want to get to know more about them. But the thing I’ve realized after so many years is that you kind of have to keep people or at least stuff about yourself at arms length because the more you know about me the less likely I am able to go from character to character because when you have so many perceived notions about a person or personality it gets harder and harder to believe them in certain roles. If Madonna were to do the remake or Norma Rae you would spend the first 45 minutes dealing with the Madonna factor you know so it is what it is. That’s the part of this business that fascinates me so much is that it really is a paradox. You become popular because people like you and when people like you they want to know about you and there’s a real danger to that because the more people get to know about you the less they believe you in other roles. All of it is fascinating to me. I probably answered that question more than you wanted.

BLAST: It almost sounds like you kind of model your career after your character on “NCIS” somebody who’s been a little bit in the background who we’re getting to like but there’s still a little bit of mystery that he leaves up in the air for us.

RC: You know I think so. I think it’s not so much by design, but when you’re an actor your goal is to just easily transition from character to character from medium to different mediums. I’ve just seen it happen so many times especially 20 years in Hollywood; where people’s pitfall is you give people… the public what you think they want and eventually they grow weary of it. You’ve given them too much information they know too much about you and they become instantly bored with you and they move on. You know I think you just try to keep it interesting. Not being coy or anything like that I just think it’s very important if you’re going to sustain, continue a presence in a town especially like Hollywood.

BLAST: No, certainly. So one of the early roles that our readers would recognize you in is Lieutenant Westergaurd on “Crimson Tide,” do you still get called out for that role do you still get recognized for that?

RC: I do. I think primarily because of the fact that if you have insomnia on any given night you can probably turn on a cable station and that movie is on. It runs constantly, which is a great thing. I think the advent of cable TV and satellite TV has propelled what would have been a footnote in history. Now people go "Oh you’re the guy with the glasses on ‘Crimson Tide,’" yeah. A lot of guys especially. It’s such a guy movie. Guys love that movie.

BLAST: Oh yeah, we love submarine movies that’s for sure. That’s going way back. Now going forward to “NCIS here,” Leon Vance is a character that was in the shadows in the last season and now you’ve really taken this character to a new level. I guess kind of walk us through developing this character from almost a supporting role to a main role — to someone who really has his own story to tell.

RC: Yeah. When the executive producers from “NCIS” brought me in fir the role of director of NCIS, which had been a part of the show since day one played by different actors, when I was brought in to do it I think there was pretty much discussion of either severely limiting that character on that series or not even having it at all. My character was brought in as a four episode arc at the end of season five. Lauren Holly was still playing the director of NCIS and my character, Leon Vance, came from the San Diego office he was sort of an interim director lower level bureaucrat investigating a case involving Lauren Holly. Her character was killed and Leon Vance suddenly found himself as director of NCIS. I tell people I basically had a 4 episode on (not audible). I guess one thing it was apparent there was a genuine chemistry a real interesting and different dynamic between my character and Gibbs, played by Mark Harmon, something that hadn’t appeared before. A real atmospheric, dynamic, sort of mano y mano attention that was created because the other characters in the series especially the other agents had a very different relationship with Gibbs. Vance and Gibbs are like two gunslingers when they get together and they lock horns. The dynamic worked and the producers thought it, the network, and I guess the audience as well. Suddenly what became this four episode arc I found myself a part of the NCIS family and its sort of the jumping off point. Vance comes in and breaks up the team he enters with a real splash. The audience response was they didn’t know if this was a good guy or a bad guy. These characters that over six seasons had been developed and the audience pretty much could have known if they set their watch to who they were and suddenly you introduce this character who really is kind of a mystery. You don’t know if he’s a good guy or a bad guy, if his motives are good, if he’s there to undermine the team. Especially after 5 seasons I think it was a very refreshing dynamic not only for the creative side the producers and everybody but even for the audience. The death nail to any project is when the audience gets ahead of you and they know what’s going to happen. I think we were successful in keeping them a little off balance there.

BLAST: Of course. That success has translated now onto the role on the new “NCIS Los Angeles,” which is doing really well on its own. How’s that show been for you so far?

RC: It’s been good. It’s a very different dynamic. I call the original “NCIS” the mother ship. People ask what’s the big difference? Well one show has been on the air for seven seasons and one show has been on for seven months. There’s a great deal of energy and anticipation about the future. I’m really still kind of amazed at the fact that sometimes I can turn on the TV and I’ll see promos for “NCIS” and “NCIS LA” and I’ll be in both promos, and I’m thinking wow this is pretty cool man. I’m going back and forth here. It’s been great…its great that the network and the executive producers of the show feel that the character carries enough wait and can transfer between the two series. I’m really having a lot of fun.

BLAST: Great. So when Lauren Holly was in your shoes she got to do a lot of investigating. She did a decent amount of gun slinging on the show. We saw a little bit of that from you finally in a recent episode where you were being kind of not hunted, but pursued by a Korean assassin. Would you like to do more of the hands on, get your hands dirty action, or are you happy kind of being more of a cerebral character on the show?

RC: You know its fun to get out in the field every once in a while, but I don’t mind…I enjoy the dynamic we’ve created between Vance and the rest of the group, but on occasion, you know if its warranted. The fact that Vance was a former operative, he does possess the skills that the operatives and NCIS agents have, its nice to kind of just sort of get in that role and even remind the audience that oh yea that’s right the director used to be an agent as well. You know he specialized in crime scenes, he specialized in you know he’s a bit of a computer geek. So it’s fun, but you know sitting in the seat of power is also a lot of fun too. When they ask me to go into the field I do it on very rare occasions.

BLAST: OK. Now obviously your character’s past is left as a mystery on purpose on the show. There’s always been this question of what’s in that CIA file that Gibbs has on your character. Can you shed some light on your character’s shadowy past?

RC: Well, I think what we realized, cause I think we started to go down that road what we were trying to answer a lot of questions and sort of expose Vance as this character that is much more complex than we even knew from the beginning.

BLAST: Yeah, you’re not a pencil pusher.

RC: The great thing about Shane Brennan, the executive producer of “NCIS,” is he will give audiences little tidbits, little nuggets of information, or he may address something and go away from it long enough. Once it becomes a curiosity, once audiences go we wanna to know more of this, this, and that he will address it. So, nothing is arbitrary. I think over time bits and pieces of this Vance character will be unveiled, but what we’re trying to balance, the real trick especially for the writers and producers, is you can’t have especially in this day and age if a guy has ascended to the level of director of NCIS, there’s certain things about his past would have been vetted.

If he was really a traitor to his country, a rogue, a criminal, or whatever he wouldn’t have ascended to the top level of the federal agency. You know, it just wouldn’t be plausible that he’s one of the highest levels of office in the federal agency only to be found out to be a rogue or a criminal or whatever. I mean its possible, but what we didn’t want was and one of my favorite sayings and Mark Harmon says it all the time, and it’s true the real star of “NCIS” is the agency. Real NCIS agents have said to me and other people connected with the show that now when people find out they are connected with NCIS people are genuinely interested and fascinated by them because what the show has done by sort of putting the agency on display. The star of the show is the agency we don’t want to do anything to tarnish the real federal agency. So to suggest that somebody who is nefarious or that a bad guy could ascend to the top level of the agency, that’s not what we want to do. What we do like is delving into the complexity of a person. You can be the head of an agency and a very very complex individual and that’s sort of what we’re trying to balance out is where this complexity really lies. Was Leon Vance even deep coveted by the CIA, was there some other agency that he was a part of on a bigger government level even before this. So those are the kind of things that we’re kind of tossing around now and eventually we’re going to put on the screen.

BLAST: Great. The show itself has made this real federal agency sort of a household name. Had you heard of NCIS before the show?

RC: Not before the show I hadn’t, no.

BLAST: What do you think, I mean obviously NYPD, FBI, CIA, these are the ones we all hear of, how interesting is it to kind of play with this agency that you’re really setting the tone, creating the mold for NCIS in popular culture. What’s that like?

RC: It’s two fold for me because like I said the show had…I kind of feel like some guy who’s been traded to a playoff contending team you know I already said these guys are a playoff team, I was brought in to kind of help stir up the defense and hopefully kick them deeper into the playoffs. That’s sort of the feeling I have. I mean they already sort of established this relationship — you know when you still after seven years you still have 20 million people watching your show there must be something to it. Its interesting, its fascinating.

Since the heyday of television there have always been shows and about law enforcement on certain levels, but in the old days it was the “Dragnet”, “Adam 12″ — these shows have always existed, but now we get more and more into the science of crime solving so as oppose to just two guys driving around in the squad car and every time their squawk box goes off we’re off on another adventure that sort of has now morphed into the science of getting out of the squad car and into the lab. I think crime shows will always be around, shows about agencies, shows about cops and robbers that will always be a part of television. You can pretty much be guaranteed as an actor that if you do television you’re probably going to play a cop or a doctor at some point in your career. That’s where the most drama happens, it has the most potential for danger, for humor, whatever. Those are the sort of jobs and occupations that have the most dimensions. That’s why guys have been doing cop shows and hospital shows since the beginning of time. It’s interesting and its interesting to see the metamorphosis from the buddy cops driving around in the squad car to now an entire organization that you get to see from the labs to the morgue to the guys on the street all working together to solve a crime.

BLAST: Great. So obviously you’ve done well on television. Do you still kind of long to get involved in more Hollywood productions, or are you happy being in everyone’s living rooms every week?

RC: Well you know it’s funny. I’m at a point right now in my life man — where I am right now is great. I think it’s just the nature of the beast. You always feel that you’re missing out on something; you’re on a hit show, but you’re surrounded by agents and managers saying you should be doing this. But I’ve reached a point in my life where that whole grass is always greener, especially in the business, it’s just too much work man. What happens is you find yourself not really enjoying where you are because you’re on a hit show and you’ve got all these people in your ears going you need to direct, you need to produce you need to make a Christmas album and you’re like I just want to do this show and have a good time, I got 20 million people watching me. So if I’m not everything to everyone…and the business has changed, 20 years ago there was a huge distinction between you were either a film actor or a TV actor, now every film actor that I happen to run into that I know personally the first thing they say is god I’d love to be on a series. I read a very interesting article with Edie Falco recently and she said something I thought was very true, is that in our business doing series television is as close to a normal job as you can have. If you’re doing films or whatever hey three weeks in Prague, eight-week shoot in Virginia, nine weeks in Italy you know whatever it is, but to know from the beginning of July to the beginning of May that pretty much Monday through Friday this is what you’re going to do you’re going to be playing the same character for five, seven, 10 years. It’s just as close to normal as we get in our business and as you get older and life becomes more complicated, families kids what have you, I think more and more actors understand.

And television has gotten better. The sort of subject matter that could only be done on film is now all over the TV, especially with the advent of satellite and cable TV and HBO shows and Showtime, A&E so actors are finding much more satisfying work in the field of television than ever before. So I’m glad to be exactly where I am and I think there are a lot of guys in my business who would love to be where I am because the old distinction between ya know you’re not really living unless you’re doing a movie is just crazy.

BLAST: That makes sense to me. So obviously we’ll let you keep some of your personal details close to the vests, but is there anything else you want the fans to know about you yourself as a person instead of the character? Any hobbies or anything you do when you’re not on TV?

RC: You can usually find me on a fishing boat. That’s how you live in Southern California. The weather’s great 11 months out of the year. I try to be out and about as much as I possibly can. People always wonder what do you watch when you’re at home, I guess because you’re so immersed in it, the last thing I want to do is come home and turn on a cop show when that’s what you’ve been filming for 12 hours a day. I like to laugh and be funny because I play such a character who you know is sort of the straight-laced guy with the scowl on the series, but usually I come home and if there’s an HBO comedy concert or somebody doing stand up I’ll watch that before watching anything else.

BLAST: Okay. Rocky Carroll, who plays director Leon Vance on the top show on television, “NCIS,” Tuesdays at 8 p.m. Any final words for the fans here in Boston?

RC: As a guy in the AFC, good luck to the Patriots.

BLAST: Excellent. Rocky thank you so much for your time today we really appreciate it.

RC: My pleasure.

Blast Correspondent Tara Rufo contributed to this report.

Premieres of BET’s “Monica: Still Standing” and TLC’s “The Little Couple” can each be seen at 10 tonight.

Beyond that, USA Network is singing the praises of its new series “White Collar,” which debuted Friday night at 10 to the tune of 5.4 million total viewers. It was the best Friday 10 p.m. performance for USA in three years. CBS continues to carry Friday nights among the major networks, however, with new episodes of “Ghost Whisperer,” “Medium” and “Numb3rs.

FOX, with “Dollhouse,” finished fifth on Friday night, behind Univision, ABC, NBC and FOX. Even “The Jay Leno Show” did better than anything on FOX on Friday, which also boasts “Brothers” and “Till Death” in its Friday night lineup.

FOX is at the drawing board, however. The network has approved a new comedy from Seth Gordon and Adam F. Goldberg about a pack of 20-somethings who hack computer systems. That show, however, is still a ways away from even being a pilot.

NBC green-lit two products of its own recently. One, a drama called “Nola Rising” is from Teri Weinberg and writer Diane Ademi-John about a private eye who partners with an ex-con who can allow ghosts to use his body — like in “Ghost” — as the pair solves crimes. The second show is a comedy called “Ordinary People,” which is being hailed as “Mad About You” meets “The Cosby Show.”

“NCIS” and “NCIS Los Angeles” are on CBS tonight, and ABC busts out the big guns with “It’s the Great Pumpkin, Charlie Brown,” so don’t miss it.

Tonight is the premiere of “Tosh.0″ at 10 on Comedy Central. For you lady cop fans, “Police Women of Broward County” has its season finale tonight at 9 on TLC.

HBO will renew “Bored to Death,” a comedy about a Brooklyn writer, and CBS is going all in on “NCIS: Los Angeles” and “The Good Wife,” giving both new shows an order for at least a full season after very high ratings for both. CBS carried the evening on Tuesday, as it has done since the two shows premiered in September.

Showtime has been full of winners over the past few years, and the network is betting on another. The tentatively titled “Behind the Green Room Door” will allow viewers to go inside the green room where celebrities and comedians meet and talk candidly with each other. This show will include appearances by onathan Winters, Eddie Izzard, Roseanne Barr, Drew Carey, Robert Klein, Penn Jillette, Bob Saget, Sandra Bernhard, Andy Dick, Rain Pryor, Rick Overton, Paul Mooney, Bobby Slayton, Jim Jefferies, Patrice O’Neal, Brendon Burns, Larry Miller and Reginald D. Hunter, plus some newcomers.

Finally today, BET is developing a documentary series about Michael Vick and his return to the NFL after spending 18 months in prison.

FlashForward is on tonight along with Vampire Diaries. Stick to your couches, kiddies.

Just a few premieres tonight, and they’re all on cable.

ESPN starts up “30 for 30″ at 8 p.m. Discovery opens new seasons of “Dirty Jobs” and “Ghost Lab” at 9 and 10 respectively. SyFy has “Scare Tactics” at 9, and A&E has “Parking Wars” at 10.

CBS has new episodes of “NCIS” and “NCIS Los Angeles” tonight, and we expect the network to carry the night.

MTV will air the Adam “DJ AM” Goldsten hosted/created series “Gone Too Far” starting October 12 at 10 p.m. The network had to get consent from the entertainer’s family. Goldstein died from a drug overdose in August.

Showtime has renewed “Californication” for a 12-episode fourth season in 2010.

Sony and Mark Barnett are re-booting “Fantasy Island” and developing a new hour-long elimination reality show involving 12 contestants at an exotic island resort, battling to become the next “Mr. or Ms. Roarke.” The contestants will battle to best fulfill the fantasies of the guests arriving on the island.

The premiere season has just about wound down at this point, but we have a few cable shows on tap tonight.

Animal Planet premieres “Weird, True and Freaky” at 9 p.m., with “Lost Tapes” to follow at 10. MTV has some reality shows starting tonight; most notably is the reality-drama “The Hills” at 10 with “The City” to follow at 10:30.

Actor Omar Miller is joining CSI: Miami as a regular starting with the October 5 episode. Miller will play Walter Simmons, an art chief from Louisiana who joins the crime fighting CSI team.

CBS had the best night on Friday, according to Nielsen, with premieres of “Ghost Whisperer,” “Medium” and “Numb3rs” scoring big on the ranking charts. We predict that will continue tonight as CBS has new episodes of three of its biggest shows, “NCIS,” the new “NCIS: Los Angeles,” and “The Good Wife.”

We wonder how long “NCIS: Los Angeles” will continue to air on Tuesdays. The two NCIS shows are hits, and we have to assume one will get moved to bolster a slower weekday.

“Dancing with the Stars” is on ABC tonight and “So You Think You Can Dance” is on FOX.

Finally, no it’s not the 90s, but new episodes of the new “90210,” and “Melrose Place” are on The CW tonight.

By the way: Because of a reporting error, we said “NCIS: Los Angeles” aired on Mondays. It airs on Tuesdays.

“NCIS” is going the way of “Law and Order,” or so CBS hopes. The show began as a spin-off to “J.A.G.,” and now it’s getting a spin-off of its own. Both “NCIS” and “NCIS: Los Angeles” premiere tonight at 8 p.m. and 9 p.m. respectively. “Los Angeles” starts LL Cool J and Chris O’Donnell.

These are two that we’re excited about since the finale in the sixth season left us with a cliff hanger for the ages. Plus, the two-hour spin-off into “Los Angeles” that occurred toward the end of last season left us wanting more, and it gave us another cliff hanger whereby one of the main characters was the victim of a drive-by shooting.

CBS also has “The Good Wife” premiering at 10 p.m, competing with ABC’s premiere of “The Forgotten.”

On cable, Oxygen has “The Naughty Kitchen with Chef Blythe Beck” on at 10 p.m., and TLC starts “Table for 12″ also at 10.

Two finales to keep in mind tonight: SyFy ends the season “Warehouse 13″ tonight at 9 p.m., and Discovery Channel reality show “The Colony” has its finale at 10.

FOX announced Monday that it has given “Glee” the thumbs up, ordering a full season of the new comedy. It’s the first new show of the fall TV watching season to get picked up for the full season.

Reality network MTV is moving “The Hills” to 10 p.m., and putting “The City” at 10:30 starting September 29, which is also the premiere date for season five of “The Hills.” MTV has also said that a new season of “The Real World/Road Rules Challenge” called “The Ruins” will open September 30 at 10 p.m. This season is set in Thailand.