There is a warm sense of family in this series. There is a distinctive sense of style--of being its own kind of show. And there is a sly sense of humor. On all three counts, Jane the Virgin delivers.

Will is as sensual as it is suspenseful, as bawdy as it is bloody, as lusty as it it is lyrical.

What truly makes the Bays-Thomas collaboration smarter than your average sitcom is the storytelling chances taken by the script.

This show manages to give us the hilarious, horrific and heroic... and it has brains.

With a cast led by Michael Chiklis and CCH Pounder, The Shield isn't just pushing boundaries. It's bashing through them like police officers wielding those door-destroying battering rams. The results are often quite arresting... Chiklis and Pounder are terrific. Their co-stars aren't even close to being in their league. [12 Mar 2002, p.e5]

Murder One survived on appeal after approaching cancellation. It makes a great case for itself tonight. [10 Oct 1996, p.8E]

In a season overloaded with domestic sitcoms, Dave's World is distinguished by featuring the least annoying and most realistic kids, and by being based on the work of a Pulitzer Prize winner, humor columnist Dave Barry. [20 Sept 1993]

The tone of the second season is slightly different from the first, yet he remains remarkably true to his stated metaphoric mission. Have no fear, it's the same Penny Dreadful, but Logan is shaking things up in all kinds imaginative ways.... No if about it. Penny Dreadful works.

The documentary not only is a moving tribute to the prolific director who died at 84, it's a reminder of what's too often missing from so much of television and pop culture--conversation... real, in-depth, smart, respectful, insightful conversation.

Once this crime thriller lures you in and really gets going, it's an off-to-the-races ride that never forgets to delve deeply into the dark sides of the central characters. Derivative? Yes, but in endlessly sly and fascinating ways.

It's a slow start to be sure, as American Gods gradually, deliberately but surely draws you into its elaborate, impressively nuanced world, where old myths and religions intersect with new American gods.

An endearing and often-poignant eight-part adaptation of John Green’s first novel. ... They [writer-producers Josh Schwartz and Stephanie Savage] are aided in this mission by performances that are every bit as refreshingly genuine as the writing.

It's an ambitious and engrossing combination of mystery story and medical drama - and a powerful reminder that docudramas can be more than true-crime sleaze. [11 Sept 1993, p.1E]

Like many an anthology series, it is a bit uneven, sometimes corny and clunky, sometimes wonderfully sweet and sentimental. But when on top of its game, “Modern Love” produces some magically romantic results. The touching first episode is enchanting proof of that. ... Another superb entry stars Dev Patel.

An intriguing and surreal serving of fun fantasy. It’s an ideal role for Rudd. Well, make that two ideal roles for Rudd.

Smartly and humorously written, spiced with cartoonish mayhem and over-the-top acting, it visually resembles the "Dick Tracy" and "Batman" movies, deals in the sort of speculative scientific fantasy that distinguished "Quantum Leap" and the miniseries "Wild Palms," and provides ... escapist fun. [19 Mar 1994]

Although "Reunion" has its labored and lackluster moments, it is an admirable attempt to try something a little different with traditional prime-time formats. Give this one major innovation points.

The result is a delightful horror hodgepodge packed with eerie surprises, colorful characters and Gothic plot twists.

It is packed with towering performances that boldly and magnificently reinterpret characters who have become part of our national folklore.

despite some clunky moments, Daly's The Fugitive sprints well past the vast majority of this fall's freshman series. [6 Oct 2000, p.5E]

It changed the look of King’s lead vampire from a cultured villain to a ghoulish beast recalling Max Schreck’s makeup in “Nosferatu” (1922). [22 June 2013, p.E4]

The ingredients aren't always in proper proportion, yet enough of the magic works in this series to keep you under its spell, episode after episode. The acting styles can be all over the place as well, and still, due to the strong cast, it doesn't undo the spell.

Emphasizing action more than character, Babylon 5 is a show that's simply grittier, more exuberantly freewheeling and more fun [than "Star Trek: Deep Space Nine"]. [25 Jan 1994, p.9D]

Clueless pulls off the balancing act of being bright and sophisticated while remaining almost squeaky-clean. [20 Sept 1996, p.1E]

The good news is that Snowfall, the searing FX drama about the 1980s crack cocaine epidemic in Los Angeles, does start moving at dazzling speed after a slow, plodding start. The bad news is that this occurs somewhere about the fourth episode.

Although the pace is at times too deliberate and many of the story elements seem familiar (earning the dubious raised eyebrow Mr. Spock put to such good use), it’s not difficult getting to the end of this third episode. For one thing, the series looks terrific. For another, you’re in great company all the way. The cast is marvelous, starting with Stewart, the finest actor ever to wear a Starfleet uniform. His aging and conflicted Picard is an endlessly intriguing revival of the character. He not only keeps you involved but also (to borrow the captain’s trademark phrase) engaged.

"My Name Is Earl" is a good show that doesn't quite have the feel of being the next "Seinfeld" or "Cheers." But like Lee's Earl, Garcia's feel-good concept is strangely effective. If not brilliant, it is ambitious, and it is definitely funny.

While The Strain is pretty much a cauldron churning with familiar ingredients, the dark brew bubbling inside is served up with a great deal of panache.

It's familiar enough territory, to be sure, yet it's covered in lively fashion, thanks mostly to Katims' breezy script and the delightful comic chemistry between Walton and young Stockham.

Sharply paced, A Very English Scandal doesn't make the mistake of overstaying its welcome. The story is told in three tightly packaged installments that cover the endlessly curious ground efficiently and elegantly.

Even if you're bothered by the "oh-come-on" moments, you're more than compensated with the sheer number of "oh-wow" moments. They are in huge supply over the course of this opening four-hour run.

Serve up enough great moments (and The Normal Heart certainly does), and Ryan's occasional missteps are easily dismissed as mere annoyances, not major gaffes.

It's quite a good one. It boasts a brisk pace, strong direction by Rick Famuyiwa and a superb cast led by Kerry Washington as Hill and Wendell Pierce as Thomas.

It's a free-wheeling good time with a good heart and some good laughs.

And yet, given how derivative it is, (say it with me now), Humans turns out far better than you'd think possible. The performances, pacing and direction are that compellingly good, at least in the first two episodes made available to critics.

Simmons, as you might expect, is equally convincing as each Howard Silk, but he's only getting revved up for the many twists and turns taken in this 10-episode thrill ride. ... Still, no matter how convoluted things get, you keep coming back to the two Howards, and, because of Simmons, you want to.

While the political dynamics have changed greatly, House of Cards remains an addictive mixture of over-the-top soap opera, wicked dark comedy and sly melodrama.

'24' is back in top storytelling form, spinning an intricate new web of mystery and suspense. [29 Oct 2002]

While often great fun, the series' premiere occasionally shows the strain of trying to blend all of those genres into one sleek package. On the plus side of the Firefly universe, the show is expertly paced and is full of those wickedly humorous asides that fans of "Buffy" and its ever-improving spinoff, "Angel," expect from the mischievous Whedon. [20 Sept 2002, p.E1]

Might be the fall's funniest and most satisfying show. ... Smartly written and well cast, it sparkles with characters, situations and dialogue that owe more to real life than TV contrivances. [12 Sep 1996]

Yes, there are times when excess gets the better of this series. Pace occasionally becomes a problem, as we move from episode to episode that could be more tightly edited. Yet the sheer vitality of the performances keep us fully engaged.

Godless manages to come across as both familiar and fresh. Plot lines are recognizable without becoming trite. Characters are taken to predictable extremes without sliding into caricatures.

It starts at a dead run and never slackens its pace.

Worth watching? Oh yeah, particularly for the genius of Rush and Flynn. Despite the inconsistent nature of the dialogue, the series obviously has much to recommend it. It's superior, if not superlative.

Visually very different from the film, TV's Rocky Horror Picture Show also boasts superior choreography and wildly inventive costuming. It's a wonderfully dark castle packed with twisted delights.

While unquestionably a strange brew, No Tomorrow also is quite bewitching. It's fun falling under its spell.

Peyton List stars in this immediately riveting mix of police drama and time-bending fantasy.

As raw and raunchy as the comedy sometimes gets on Crashing, there's something incredibly endearing and downright sweet about this new HBO series. That something is the performance of the immensely likable Pete Holmes.

Typical of the series, Yost and his team tackle something deceptively difficult to do well and make it look easy.

The two-tiered, supersized season premiere tells its compelling story with flashbacks intercut with what's happening in the present.

The Crazy Ex-Girlfriend premiere also was full of surprises, taking oddball twists and turns with, not only Rebecca, but the supporting characters as well. All in all, an impressive prime-time debut for Bloom as star, co-creator and executive producer of the slyly crafted show. That's the good news. The great news is that, from what the CW has revealed of future episodes, Crazy Ex-Girlfriend appears to be staying on the wild and unpredictable track.

At the black heart of this uneven but often-mesmerizing crime drama is Donald Sutherland's sly and spellbinding portrayal of the richest man in the world, J. Paul Getty Sr.

It's moving so fast that the missteps never turn into a full-fledged fall. More than compensating, Anderson and Mulroney deliver big time, while Gross and Erenberg make a surprisingly winning odd-couple team. If there is a weak link in this cast, it's probably Taylor, who has yet to convince us she's a savvy and experienced FBI agent.

The potential definitely is there for a bloody good finale. The setup is intriguing enough.

The cast, led by Kevin Bacon and Aldis Hodge, is exceptional. The intricate web of story lines is intriguing. And there are several moments when “City On a Hill” jumps to startling life, providing us a glimpse of the series it could become.

The era-by-era approach can lead to a bit of a by-the-numbers feel, as Burns and Duncan make a mighty effort to touch every base in every decade. This also robs the film of the grand overall cohesion that holds together such epic efforts as “The Civil War” and “The Roosevelts.” Because of this, “Country Music” often feels like eight two-hour films rather than one intricately interwoven effort. But each of the segments is intriguing in its own way.

If not a triumphant return to form, Big Little Lies is the best new Kelley series in quite a while. It contains all of his considerable strengths (sharp and clever dialogue) and some his weaknesses (precious and labored moments). It is nothing less than fun, if never much more than that. But that's more than enough to keep you engaged and keep you watching.

[These] episodes find the celebrated series running true to form. That means an occasional misstep, to be sure – too much time inexplicably spent with one of the blander characters or a less-than-intriguing subplot. But, for the most part, it means elegant storytelling that richly blends social commentary, comedy, soap opera, romance, intrigue, tragedy, melodrama and razor-sharp satire.

If not top-tier TV terror fare, Under the Dome certainly is solid second-level stuff. And given the state of horror on television these days, that's a bloody good compliment. Even while acknowledging the occasional misstep, give Under the Dome credit for getting a lot of things right.

If it's time for a new military comedy, this is a good one. It marches to the beat of its own dumb drum.

As brilliant as many of the storytelling flourishes are, the narrative frequently suffers from awkward construction, clumsily bouncing among three time periods.... It's a brainy drama, to be sure, and it's a challenging one. The riveting lead performances are what keep you engaged when the going gets static--something more than engaged, actually.

America doesn’t exactly need another urban crime drama, but this one demands and deserves attention. [22 Sep 2004]

This is a solid case of so far, so pretty good.

This first hour is all about reinvention. It's a rather clunky attempt to remake the 1993-2002 vehicle in a manner that will please loyal fans and new viewers. The second episode, with guest star Doug Savant ("Desperate Housewives"), pushes this redesigned vehicle into a higher gear.... Now this is the X-Files we fondly remember. Can they push this to yet a higher gear? Why, yes, they can, and they do with the third episode.

A sturdy family drama. [2 Apr 1994]

It hits a few sour notes, to be sure, and there are some off-key moments, but, for the most part, Empire artfully draws you into its high-stakes game of throne envy.

The troubling questions and terrific performances are enough to keep you following this murky trail, if you're not seriously burned out on serial killers. There seems to be one waiting around every corner in television, and this dark corner can be found near the intersection of trite and tremendous. Absentia is both.

It's a bit of throwback, which makes it sort of a time trip in itself. A fun ride. [21 March 1995, p.7F]

A riveting, suspenseful, briskly paced drama packed with intriguing performances.

Much of this takes a by-the-numbers approach, but the cast is strong, and you get the feeling that the second episode is more indicative of where the show is heading.

What Mars lacks in consistency, it makes up with scope and scale.

If not as sharply realized and profoundly resonant as the "Battlestar" reboot, this "Lost in Space" is a visual stunner packed with exhilarating action sequences. It's not a great drama, but it is great fun.

Falling into an erratic pattern, the annoyingly choppy "Wonderland" follows an incredibly powerful moment with one that's incredibly forced. Intriguing confrontations lead to unrealistic plot twists or hackneyed resolutions. Artfully constructed dilemmas are undermined by cliches...For every step in a brilliant direction, Wonderland takes a stumble. A dark drama filled with dreary and haunting images, the ABC newcomer has ambition to spare. What it lacks is consistency. [30 March 2000, p.1E]

There's plenty of room in the graveyard for Salem, although it's way too early to tell if it can effectively build on the scary and sensual elements introduced in Sunday's premiere.

It may not be the Second Coming, which is how hard-core fans have awaited it, but it's a lavish and inventive spectacle that lives up to "Star Trek" tradition and shows why the franchise has flourished. [7 Jan 1993]

The acting styles range from sullen underplaying to over-the-top melodrama, and that mix can be quite effective. But both can be carried too far, with the underplayed stuff tending toward somnambulism and the over-the-top extremes inducing a cringe or two.

The dialogue is intentinonally bad. The CGI work is intentionally cheap. The plot is intentionally ludicrous. The shock tactics are intentionally schlocky. And all this bad adds up to one monstrously good time, particularly if experienced with a rowdy and ready group of friends.

Better Call Saul is an offbeat drama with moments of quirky humor. The drama is wonderfully heartfelt. The comedy is a little more hit and miss.

Fallon, 39, made an energetic and charming debut Monday night as the Tonight Show host. But providing the real rocket fuel for this high-profile launch were the many stars dropping by to wish him luck.

[Carey is] a fresh and winning presence, but so strong that the show will have to work to see that the other characters hold their own. [13 Sep 1995]

Although not anywhere near as epic in scale as Fox's Batman prequel, "Gotham," The Flash does have a better sense of what it has set out to be: a sturdy superhero drama with an engaging lead character played by likable young star.

It's an auspicious start for the fifth live-action "Trek" series, with less moralizing, less preaching and more action than past incarnations. [23 Sep 2001]

Loco is the right word for this amiably goofy and endearingly dumb comedy. [8 Nov 2001, p.E11]

Clever, slightly twisted and occasionally very funny. [30 Jan 1999]

An engaging and promising debut, despite some overcooked acting and the fact that legal complexities sometimes take a back seat to emotional stand-offs. [4 Mar 1997]

Eventually, though, the series will need to get past some growing pains and mature into a drama that fully embraces the comic-book elements. You may have doubts about Heller reaching that destination, but, with this blazing a start, you'll want to be along for the thrill ride as he sets out to solve that riddle.

Why does this murky version of Christie’s 1936 novel occasionally hit wearisome and plodding stretches? It’s never because of Malkovich’s portrayal. It’s the directing and writing that comes up short. ... Despite the erratic nature of the direction, “The ABC Murders” often is gripping fare, with each installment serving up more than its share of fiercely memorable moments.

The first hour of FX's The Bastard Executioner is a bit of a slog.... Just when you're thinking the battle is lost, Sutter goes all medieval on us and pulls everything together in a fiercely compelling manner. Patience is rewarded, and The Bastard Executioner suddenly becomes every bit as addictive as it is intriguing.

Thornton is sensational as the shattered Billy McBride, a one-time star litigator who took the ruins of his life and crawled into a whiskey bottle. When he's not on screen, you grow impatient for his return.

Comrade Detective does is not overstay its welcome. There's just enough here to sustain six episodes. That works. Anything more would have been a crime.

"Just Shoot Me" has some heart and smartness, and it shows a solid sense of how to build a series. [4 Mar 1997]

Both different and diverting, when the self-conscious style doesn't intrude on the storytelling. [8 Sep 1997]

Fresher and more intelligent than most youth-oriented comedies. [24 Sept 1993, p.12C]

American Dreams will need to change and develop if it has any hope of mimicking the success of American Bandstand. But tonight's opener has a nice beat and is easy to dance to. [29 Sep 2002, p.2]

It's energetic, good-looking and kind of scary - just don't try to make sense of it. [6 Oct 2000, p.5E]

The Strain continues to rely too much on action and not enough on compelling character development. The uneven results are entertaining but hardly infectious.

A terrific vehicle for commenting on the state of the world? It should be. God, the Devil and Bob, however, is rarely as funny or as insightful as it should be. [9 March 2000, p.4E]

The closer The Bomb gets to the present, the more frenetic and less effective it becomes. You can't expect a two-hour study to be in any way comprehensive, but some surprisingly big swaths of the historical territory get little or no mention.