Traffic Light is the kind of sitcom that revs from zero to zero with laughter.

Thornton seems to be playing against script. His Billy seems to be thoroughly enjoying himself, despite the dire circumstances he finds himself in. It’s about the only surprise in Goliath. By the end of the second episode, it becomes obvious there are forces in play that will stop at nothing to thwart Billy’s quest for answers.

Maybe some day someone will give some stay-at-home dads some respect. This show isn’t it.

There are larger-than-life characters and then there are impossible-to-believe roles, and “Yellowstone” runs deep with the latter. ... There’s a much easier way of summing up “Yellowstone”: Horsepucky.

What’s odd here is that even with the influx of injured, Chicago Med never builds any dramatic heat.

Seduced is many things: a funny road trip, a canny look at Cannes and the industry, a conversation with directors about their epic battles to get their masterpieces on screen. If it had stuck to one idea, it might have made a terrific documentary.

Can we please have a moratorium on voice-over narration? This lazy device is being overused to convey what simple dialogue should. In John Doe, the title character's innermost thoughts won't stop. [19 Sept 2002, p.48]

The maestro behind “Sons of Anarchy” returns to FX with this over-the-top gorefest that tries to outdo both “Game of Thrones” and “The Walking Dead” for spectacle.

Rosewood tries so badly to create the next prime-time super couple, but the duo at the heart of this awkward crime procedural are less together than they are apart.

The only show with kinky father-daughter conversations. And no, that's not a good thing. [24 Sep 2001]

Hale is pretty but bland. The voice-overs range from precious to Carrie Bradshaw impersonations.

The glimmers of truthfulness in the family nucleus offset the chilly crime elements. ... The office environment is less compelling as the coterie of feds... perform their unpleasant tasks with little personality. [23 Jan 2005]

Creator Byron Balasco’s sense of pacing seems off, as if he’s trying to figure out the direction as he goes along. The dialogue, too, runs in laps. If I had to listen to Grillo bark, “Relax!” one more time, I might punch my own TV. But with actors such as Lauria and Jonas driving the drama, Kingdom may yet rise.

Unfortunately, the drama between Federline and Jackson seems to be about the only reason to tune in, making this serving of “Fit Club” especially tasteless.

Meloni is smirky, Hargitay whiny, and transferred-from-"Homicide" detective John Munch (Richard Belzer) seems out of place. But Wolf has proved an expert at integrating cast changes on "L & O," and we have to believe he'll iron all this out. [20 Sept 1999, p.36]

If you like your comedy slathered in crude, this sitcom is catnip. Everyone else will wonder if CBS stopped making shows with recognizable human beings when “Everybody Loves Raymond” went off the air.

[A] dreary show that has all the edge of a doughnut hole and comes slathered with an astonishing amount of sexual innuendo for a network sitcom.

If there were a Match.com for sitcoms, this show would be blocked, banned and forgotten.

It's strangely devoid of drama. [23 Sep 2002]

You don’t need a CGI delusion whose one skill is pratfalls. Elfman is game and charming, and Scarrwener could be the reincarnation of Janeane Garofalo. Imaginary Mary just needs to go away.

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

Unfortunately, the pilot doesn't flesh out the premise, making the episode little more than an average "Outer Limits." With all the special-effects possibilities of a virtual realm, "Santiago City" looks like the set of "Combat" with a high-tech fence around it. [8 Oct 1999, p.S34]

Betas brims with raunch, perhaps in the belief that it is key to hooking younger viewers.­

He seemed nervous in a rapid-fire monologue that took shots at Dick Cheney, Alan Greenspan and Tiger Woods.

The show moves briskly but not well. Kazinsky is good and tries to continue the cranky character Hall so memorably creates, but the writing wants to turn him into Captain America.

When you title a show “Everything Sucks!” it can be viewed as an act of defiance or truth in advertising. Netflix’s new dramedy manages both in this sludge of teen angst.

One problem with the new season is we have too few favorites left and not nearly enough time with them.

The workplace segments are rife with sexual innuendo that don’t creep so much as just haul off and whack you in the face. ... There are some funny bits.