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.