The production budget is almost up to the challenge. Some of the costumes--especially of the French court--look cheap. But there’s such a delight in seeing such a gifted ensemble deliver lines that still resonate.

Boardwalk shows no signs of losing its identity. All signs point to a bloody proper finish.

Plotting is not Fellowes' strength, but Downton's appeal is visual.

Web Therapy is far more entertaining [than Episodes], but, alas, wildly uneven, probably in part due to the need to weave new material around the Internet series of the same name that spawned it.

The script is deliciously witty, but it never lets you forget some nice people are coming to perfectly horrible ends.

Penny Dreadful’s set work is unparalleled, and this season the bright oranges and yellows of the Old West make for a welcome contrast to the washed-out blues and grays of Old London. Oh, there is action here.

'24'... has matured beyond sheer novelty while retaining its relentless excitement. [28 Oct 2002]

The original “Roots” exposed and drew on the power of truth for millions of Americans. This Roots is an echo of that. It stands small in the great shadow of the original.

It’s not the end of an era. It’s the end of a good, occasionally great show that overstayed its welcome.

Arnold's Beyond Scared Straight hews to the premise of the original and proves to be just as gripping.

Esmail is one of the few directors who takes full advantage of the medium, imbuing ordinary objects with menace--a trio of vending machines, fruit being harvested--and distorts sound to pluck your paranoia. There are tracking shots in the first four episodes that play like homages to Alfred Hitchcock. As for Roberts, I’m not about to sit down for a film marathon--but I am down for the rest of Homecoming.

Of the cast, Winger seems to be the weakest link, brittle and uncertain, but it's too soon in her arc to write her off. The series is like a mystery novel, but the crimes of the heart here are ones the patients unwittingly inflict upon themselves and the lengths they'll go to hide from the truth. Watching Byrne's sullen shrink match wits with Ryan's cool therapist is the best reason to book an appointment with In Treatment.

The fifth and final season of BBC America’s Orphan Black finds Emmy winner Tatiana Maslany turning in some of her most subtle, authentic work. ... The mythology of the show, like many of these genre shows (“Lost,” “Alias”), can be more convoluted than the tax code.

If the script can at times seem slight, Douglas and Damon are 
superb.

For its own good, Legion needs to get out of its head.

On Veterans Day, Wartorn is a somber reminder of the price that many pay when they serve their country and a wake-up call to the rest of us about the debt we owe them.

A superb, bracing look at the terrorist attack on Boston and its aftermath.

Squeezed into a blue spandex suit with plastic chiseled muscles, the towering Warburton has done the nearly impossible. He has created a character who is ridiculously outlandish yet more than a mere caricature. [8 Nov 2001, p.50]

Friday Night Lights used high school football as a vehicle to explore plainly and authentically the way in which people live, struggle and thrive in small towns. It just might be the finest scripted series on prime time.

The humor is more subversive than ever. [13 Aug 2007]

In this true-life horror tale of a government refusing to acknowledge scientific fact and its ruthless demand for obedience, “Chernobyl” feels especially timely.

As with every good soap, there’s a bit of cathartic pleasure in seeing rich, gorgeous people suffer like the rest of us mere mortals. Whatever word you choose to describe “Big Little Lies,” the new season looks to be just as addictive as the first.

If there's a nighttime soap any better, I haven't seen it.

Dead is always at its most unsettling--and poignant--when its characters have a moment to breathe and to address their dark, nightmarish world.

[The Night Manager] makes the most of some gorgeous spots. Viewers, however, may find themselves anticipating the plot. Hiddleston is the draw and the catch. With a less capable lead, this story would only be mildly interesting. ... He proves here he’s ready to serve her majesty’s secret service and then some.

Feud edges at times to camp but always veers back into meatier fare.

A star arose during NBC’s Jesus Christ Superstar: Live in Concert last night. No, not singer John Legend, though he did grow into his part as the son of God in this adaptation of the Andrew Lloyd Webber rock opera, and not pop star Sara Bareilles, who was technically sound as Mary Magdalene but never seemed to find her heart. Broadway veteran Brandon Victor Dixon stole the show as Judas.

The real Grace was released from prison after 30 years of incarceration, reportedly moved to New York and was lost to the tides of history. “Alias Grace,” however, will leave you pondering the mysteries of this woman for a long time to come.

Born spends a lot of time following the group as they socialize but is at its most compelling when it tracks the compli­cated bonds tethering these young people to their parents.

Netflix’s The Crown is a sumptuous treat, a lavish costume drama with subtle performances and an astonishing attention to detail.

Her voice seems to roam all over the vocal register, but she is compelling.... West will make you forget he’s acting.

In its personal vignettes, Weight illuminates, but too often the segments are a numbing array of statistics from well-meaning talking heads.

Last season, Elliot was trying to save the world; now he’s trying to save himself. That battle promises to have lots of casualties.

Even at approximately 80 minutes, director/producer Nancy Buirski's work could be tighter, but it's hard to imagine a more appropriate documentary for Valentine's Day.

Rest assured: The Borgias are still bad to the bone.

Their characters--Welfare Queen, Fortune Cookie and the Old Biddies, to name a few--are wildly over the top, borderline offensive and true to the era. The crowd has no choice and falls in love. It’s no tilt-a-whirl crossbody, but GLOW gets close.

You just have to wade through a landfill of lame camp and gratuitous weirdness to get to the pop center of Gaga's HBO show.

This is the best ensemble of any show anywhere, and watching these gifted actors bounce off each other is a joy. Damages proves capable hands can craft a thriller for TV.

The TV mom has changed - from out-of-touch authority figure to giggling girlfriend. This WB series attempts to depict a thoroughly modern single parent-child relationship. Yet, there's a sense this type of chumminess could only happen on TV. [5 Oct 2000, p.48]

For those impatient for the return of "Mad Men," The Hour fills that void and then some.

Sparkling writing and smart performances - Elfman is a breakout star - make Dharma & Greg one of this season's brightest new half-hours. [24 Sept 1997, p.50]

Imagine "Seinfeld" distilled to its cynical essence. [12 Oct 2000]

There are too many instances of people conveniently running into each other. In short, common sense is missing from Justified.

Unlike most movie-inspired TV series - in which the TV version is usually a soggier incarnation of its movie original - this Buffy, created by Joss Whedon, an Oscar nominee for his "Toy Story" script, fulfills some of the promise sorely lacking in the 1992 big-screen version. [10 Mar 1997, p.32]

Southland's cast remains one of its best selling points.

The results are nothing short of breathtaking. Without relying on the fancy special effects of a film like "Apollo 13," the 12 episodes tell their fascinating real-life sagas patiently, clearly and with reverence for the courage of the astronauts and their support teams. [3 Apr 1998, p.52]

A dramedy about an unplanned pregnancy? CW has nerve--and the creativity to carry it off.

The three-week, six-hour miniseries introduces a colorful, international cast of characters who live and breathe to create one moment of perfection under the limelight.

No, Project Greenlight doesn’t promise art, but it does deliver drama.

Not every question--or every character’s fate--is settled in the premiere, but fans of the show will not be disappointed.

In its second season, The Walking Dead remains the most suspenseful show on any TV network.

This "Cheers" spinoff has a winking cleverness about it. The writing is snappy and Kelsey Grammer, who plays a radio shrink, is unexpectedly charming. If I was in major couch-potato mode after "Seinfeld," I wouldn't turn it off. [17 Sept 1993, p.47]

Those who love the books will probably geek out on the series. The rest of us may have a harder time sitting through Game of Thrones.

The performances are solid and ingratiating. ... The miniseries’ resolution is particularly satisfying and even surprising for a story that originated in the 19th century. In Seres’ confident telling, The Woman in White is as relevant as the Time’s Up movement.

The first four episodes Netflix made available are more intense and unpredictable than the first season.

Of the handful of episodes I watched, the pilot tonight, written by Adlon and directed by C.K., is the strongest. Subsequent episodes meander.

The show appears to be an uneven hour that hesitates at going either for the full-throttle laugh or an authentic dramatic beat.

Funnier than all of the new sitcoms combined, featuring the strongest ensemble of dramatic actresses around and able to leap genre cliches in a single jump cut, 'Desperate Housewives' is the superwoman of the new fall season and is easily the most delightful and intriguing hour to come along on ABC in years. [1 Oct 2004]

Driver’s manic spirit has never been displayed to such great effect. Yarbrough and Bowie bring warmth and depth to their roles beyond the script. At a moment when CBS has regurgitated “King of Queens” into “Kevin Can Wait” and its Matt LeBlanc series “Man With a Plan” looks embalmed on arri­val, Speechless is a fresh addi­tion to prime-time family comedy.

Tethered by Gonzalez’s authentic performance, Icebox doesn’t ask for sympathy, nor does it demonize the people Oscar comes in contact with as he tries to remain in the U.S.

What separates “Tara” from “Jackie,” of course, is that Tara’s family is aware of Tara’s problems and supports her. In creator/writer Diablo Cody’s world, even the most damaged among us can lead healthy lives if they are loved for themselves. That’s a comforting message.

The discussion of vampire politics seems toothless at times, but True excels at setting up episode-ending cliffhangers. The episode pacing is superb.

Later episodes suggest Brockmire will try to become a better person. That’s a bad call. The fun is watching him spin out of control like a drunk pitcher’s fastball.

You've been three rounds with this story before. Lights Out sets you up for a sucker punch.

This nebulous look at the blurry line between crime and the law is already being done better on FX's "The Shield." That series...is instantly more approachable and arresting. In The Wire, the characters' hazy morality is so ill-defined and sketchy that it's hard to care about them. West is a compelling lead, but his purpose and motivation aren't clear. He's a tough sell as the show's main protagonist. [1 June 2002, p.23]

When it comes to One Day at a Time, it’s best to go moment to moment. You might get hooked.

You'll be left tapping your feet all right--wondering impatiently if there's any sparkle under this drudgery.

The players seem to spend much of their time entering and exiting the same drab offices while shoveling exposition at one other.

Not nearly as bright as “Supergirl,” as angst-ridden as “Arrow” or as campy as “The Flash,” “Black Lightning” lights its own path--by being a story about the debt we owe to our community and the importance of inspiration.

Her Patty knows how to spread the hurt. Get in on Damages' final round.

The new crew is an intriguing bunch. [9 Jan 2005]

Some comedies lull you to sleep; The Carmichael Show gives you a slap, pushes your head out the door and still gives you something to laugh about.

Mr. Robot is like a computer virus that will worm its way into your consciousness if you’re not careful.

The Walking Dead in its sixth season premiere wants you to remember the nightmare started here, and this show owns it.

When Jackie snaps over one patient's plight, she could be speaking for impatient viewers: "People gotta stop trying to save people who don't want to be saved." Same goes for TV characters stuck in the same shtick.

It’s just as audacious as ever, combining American history (the Underground Railroad) with plot swerves right out “24.”

Ben Stiller, best known for his comedic turns in such films as “Meet the Fockers” and “Zoolander,” directs all seven episodes and he’s competent and maybe too thorough. The series could have easily been trimmed by a third.

This spy spoof hits a bull’s-eye with risque snark and one of the best vocal casts assembled for any animated series.

It's hard to imagine viewers voting with their clickers for this pretentious political soap.

The triangle--quadrangle?--becomes more twisted by episode's end. It leads to shocking violence against outsiders that deepens the tragedy and the mythology at the core of the show. "Game on" just might be the two most chilling words uttered this season.

The destination to this journey doesn’t sound all that compelling, but Better boasts a caliber of actors other shows can only dream about.

The two-hour documentary Robin Williams: Come Inside My Mind captures the magic and the mania that was the iconic comic. Bursting with hilarious clips and bloopers, it’s almost as good as having Williams back.

Series creator/writer Neil Cross continues to spin dark strands that stray unexpectedly into unsettling territory.

The six-part “Years and Years,” an often funny, often bleak, deeply unsettling look at our near future, follows the fortunes of the Lyons, a Manchester, England, family as they are rocked by the political and technological changes shaping the world. Imagine “This Is Us” crossed with “Black Mirror,” only with a slightly lower body count than the NBC sobfest.

Becoming Chaz never really gets under its subject's skin.

It's not often that a movie that's important also manages to be educational and entertaining. Five is all three.

Pacing issues undercut Adams, who presents a finely wrought picture of a woman who turns her anxiety in on herself with a ferociousness that leaves her scarred. ... Ultimately, the source material is not Flynn’s best work and shares little of the shocks and twists of her superior “Gone Girl.” Sharp Objects should leave more of a mark.

The first two hours are marked by surprising twists and betrayals. TV's most cunning series is back in session.

A delectable documentary. [29 Nov 2001, p.55]

The sequel to Netflix’s surprise hit seems as satisfying as its premiere season.

The Good Place,” from “Parks and Recreation” creator Michael Schur, is the true heir to “Lost,” right down to the flashbacks, half-baked philosophy and Colorforms-simple metaphors.

Schenkkhan abridges his teleplay to two hours and 15 minutes when this project might have been better served by going in the other direction, by making, say, a two-night, four-hour mini­series. ... There’s no comparing [Cranston's] performance to anything he’s ever done. All the Way is going to lead Cranston along a familiar path--right up to the Emmy podium come fall.

Russell and Rhys seem adept at the disguises and stunts. But their characters are practically flipped from pilot to second episode, and some of the black humor here is awkwardly executed.

After watching the first four episodes of the sixth season back-to-back--an endurance test I don’t recommend--it’s apparent Rescue Me is recycling plots.

Gods has its own dark humor--as when the erratic widow of Shadow’s best friend tries to have sex with him in a cemetery. “I’m trying to get my dignity back here,” she says. Gods takes delight in magnifying images hundredfold--a match being struck, a tile being cleaned. This can get a bit precious.

Things are about to get a lot worse on Penny Dreadful, and for viewers, that is a very good thing indeed.

As Pops, the sitcom cliche of grumpy old grandpa, Laurence Fishburne (most recently on “Hannibal” and billed here a special guest star) squeezes every line until it coughs up a laugh.

Cross The Bridge at your own peril. You just might get stranded in the summer’s best mystery.