With an ensemble cast led by Busy Philipps, Vince Vieluf, Reagan Gomez-Preston, Ion Overman and Holly Robinson Peete, the show revolves around five matchmakers working at a dating agency.

It included contemporary hip hop music and was promoted heavily by UPN to attract an urban audience, and to that end it was paired with Everybody Hates Chris as its lead-in on Thursday nights.

Love, Inc. suffered from low viewership despite its high ratings among young Hispanic women; it was canceled following UPN's merger with the WB to launch the CW in 2006.

Newly divorced Clea Lavoy, the founder and owner of the company, seeks out the help of her friend and employee Denise Johnson to reignite her romantic life.

[3] Each of the characters has various comedic and romantic adventures outside the agency, like Viviana's search for an eligible United States citizen to marry to secure a green card[1] and Denise's inability to find true love despite her talent in matching her clients with their "seemingly unattainable soulmates".

[26][32] In her 2018 memoir, Philipps said she was initially reluctant to play the part due to UPN's treatment of Doherty, writing: "they had decided to replace her only after they had trotted her out at the up-fronts and used her for publicity, which I thought was a fairly shitty thing to do".

[33] According to Vince Vieluf, the casting change from Doherty to Philipps led to the series being retooled as an ensemble show featuring all the members of the agency rather than focusing on Denise.

Todd R. Ramlow of PopMatters described the music as a further attempt to appeal to "an 'urban', black-white audience," and praised it as a "nice try at crossover for a network whose shows usually target a black demographic".

[74] Fern Gillespie of The Crisis was critical of UPN's decision to cancel the series given how the network "in one swoop, wiped out five of its eight African American comedies" for the creation of the CW.

Gillespie expressed disappointment at the lack of African American sitcoms on the three major networks saying: "Without that opportunity for some of the younger artists to hone and develop their skills, it will potentially have a generational impact.

[79] The Futon Critic's Brian Ford Sullivan praised Vieluf as the standout despite his limited role, but felt the execution of the matchmaking premise was inferior to that done in the 2005 film Hitch.

[8] The series was described as having "a quirky vibe, personable cast and snappy writing" by Variety's Laura Fries, but she felt the storylines and characters required more original material.

[6] Although they commended the show for its multi-ethnic cast, Jon Bonné and Gael Fashingbauer Cooper of Today wrote that it "struggles to salvage some screechingly bad jokes".

[67] Paul Brownfield of the Los Angeles Times criticized the series for being "unintentionally unfunny", comparing it to the fictional sitcom Room and Bored featured in the HBO comedy drama The Comeback.

[3] The Chicago Tribune's Maureen Ryan called the series a "grating comedy ... destined to be a footnote in history as the show that premiered after Everybody Hates Chris, and most likely faded shortly thereafter".

[11] USA Today's Robert Bianco gave the series a half of a point out of four, and summarized Philipps' performance as "constant motion; her face contorting, body twitching, voice braying" that transformed the show into something "truly unbearable".

[10] Citing the series as a "one-joke affair", Matthew Gilbert of The Boston Globe wrote that the premise behind Denise had the "same irony that failed to make Alicia Silverstone's Miss Match very interesting".

[14] The Pittsburgh Post-Gazette's Rob Owen favored Doherty's portrayal of the character, which he described as "brimming with self-confidence," and characterized Philipps' Denise as a "dizzyingly neurotic nutcase".