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

“I Kissed a Girl” pop star Katy Perry, country superstar Luke Bryan and music legend Lionel Richie form a panel that doesn’t so much practice tough love as dole out “Chicken Soup for the Soul” critiques.

If you loved this show for its split-second pop culture spoofs and absurd, sometimes sophomoric humor, then you'll be happy with the new, unimproved 'Guy.' [1 May 2005]

Many of his tricks here are explained, and the means of execution may only increase your appreciation for his genius. Less convincing is the miniseries’ speculation that the British intelligence agency MI-5 recruited him to act as a spy in the run-up to World War I.

The longer you stick with this nine-episode season, the more the players reveal themselves. It’s a big part of how Britannia,”written and co-created by Jez Butterworth (“Black Mass,” “Edge of Tomorrow”), transcends its genre roots.

The first episode teases an exciting dynamic, with the possibility of forcing viewers to root for one monster over another.

It’s funny, sad, invasive and unhinged.

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]

Twin Peaks: The Return was creepy, surreal, bizarre, and often unintelligible. Just like its predecessor.

Not every skit landed, but more did than any on any 90-minute “Saturday Night Live.” I’m still not sure if Maya and Marty have comedic chemistry--maybe these crazy kids just need to get to know each other better--but I’m definitely going to be tuning in this summer to find out.

What separates this cast from just about every other real-ity show is that these people are chasing something larger than themselves, more vital to them than fame or money--that brief moment of perfection onstage, achieved after years of study and practice.

The eight-episode season (streaming tomorrow on Netflix) doesn’t always make sense and yet it does enough things right--especially in the depiction of naive, impetuous adolescents--that it casts a convincing spell.

More a cotton candy bouquet than a documentary, It’s Me, Hilary: The Man Who Drew Eloise introduces you to a man who has made millions of people happy--and would like nothing more than a chance to do it again.

Mob City takes its time to lock and load, but its aim ultimately improves.

While White Famous proves he [Jay Pharoah] can lead a series, it doesn’t give him many opportunities to show how funny he is. It does make a great argument that everyone in Hollywood is criminally unhinged.

There’s much about Chance that makes no sense, but the perfor­mances are terrific.

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.

It's as though Levinson and Fontana decided to throw everything onscreen that they're not allowed to show on broadcast television. But pushing the boundaries doesn't make Oz better or more realistic than "Homicide." If anything, it infringes on the storytelling. It's one thing to shock viewers for the sake of drama, quite another to frighten them into worrying about what visual affront to their senses will pop up next...If you can get past all that, Oz does tell some intensely interesting tales about life in a modern maximum-security prison, stories vastly different from the ones used in the average prison movie or cop show. [11 July 1997, p.47]

This season is more season one True Detective than season two True Detective, with Ali giving a tour de force performance as the show toggles between three time periods. The bad news? The central mystery is more fitting for a CBS crime procedural, and over eight episodes is stretched to its limit.

The stories aren’t quite as goofy as they could be. The series is clearly a labor of love for the creators. Still, the show has its wonderfully silly moments.

The rapid-fire editing suggests the producers are people who find MTV’s pace too slow. But Better is devilishly clever about dropping teasers about its destinations to get you as excited as its travelers about the journey. This is a Travel Channel spectacular with 10 times the budget and 100 times the star power.

If the queen of England isn’t enough drama for you, then something is amiss. Victoria gets close to the gold crown and then backs off.

Once the story finds its pulse, Coma is fun, but there are a few hiccups.

The Crossing has its moments, but if you look too closely at its story, it melts away like ice cream cake left out in the sun. ABC is promising flashbacks to fill in the visitors’ stories, another “Lost” tic.

The insanely intense action drama opens its final season tonight. Scenes of quiet only serve to bridge action sequences.

Game of Thrones starts less like an epic and more like a session of "Medieval Sims."

You may laugh, but you'll hate yourself afterward.

Tethered by Morse’s violent portrayal, Outsiders spins its story on a pace unlike most other prime-time shows.