We have fifth-season banquet of delights spread before us.... With each season, that load is spread out more and more, with young players coming into their own and crafty veterans added to the cast. The storytelling also gets stronger and more assured, pushing Game of Thrones to greater and grander heights.

Writer David Farr updated le Carre's novel with expert care, and his script is stunningly realized by a sensational cast guided by the unerring direction of Susanne Bier. Indeed, just about everything goes right in this sexy, riveting and suspenseful miniseries.

Anyone who doesn't think this is the best drama on television should have his head examined. [16 Jan 2000]

Time and again, over a span of more than 35 years, we find Burns constructing bridges that insightfully and profoundly link Americans with their history. Nowhere has that been more powerfully true than in the 18 hours of his stunningly realized, intricately detailed 10-part film, The Vietnam War.

Still standing magnificently tall in its fifth season, Justified more than justifies its place as one of television's best dramas. That's a crowded field, of course, but, in this critic's opinion, it is not just one of the best. It is THE best.

[The first five episodes of this fifth season] provide overwhelming proof that “Better Call Saul” remains one of the best shows of any kind anywhere on television. And Odenkirk hardly is the only compelling reason to follow this series. All of the characters are intriguing.

HBO made four of the 13 new episodes available for review. Taken as a whole, they stand as compelling proof that the series' creator and executive producer, David Chase, still is in complete control of the brilliantly constructed crime saga. [4 Mar 2001]

Ambitious, imaginative, provocative and engrossing. ... A triumph of style and substance, it never sacrifices pace for preaching or pontificating. At least in the first six episodes made available to critics, it remains every bit as entertaining as it is intriguing.

An intense, intriguing and exciting mix of action and horror. [22 Sept 2004, p.E1]

From the first frame, it's clear that Jackie Robinson is a genuine labor of love. The warmly crafted two-part, four-hour PBS documentary from filmmaker Ken Burns positively glows with its admiration for the man and his accomplishments. ... Another mighty home run for PBS.

The ever-audacious comedy continues to surprise viewers in all sorts of unpredictable ways. As bold and daring as ever, producer-writer-star Donald Glover's cable series picks right up where the first season left off--fiercely funny and marvelously mercurial.

It's where quirky meets quixotic, and the mix is enchanting - equal parts wit and whimsy. [8 Oct 2000, p.11]

No drama mixes the profoundly painful with the profanely funny more expertly than Rescue Me, Denis Leary's FX series about New York City firefighters. As laughter wraps itself around anguish on this Manhattan landscape, you wonder if what's unfolding is an epic American tragedy or a raunchy workplace comedy. [12 June 2007, p.E1]

Generous with the laughs. A wonderfully quirky and stylish series from a creative team headed by director-producer Ron Howard, this isn't merely the best new comedy of the season. It's the best new show of any kind.[2 Nov 2003, p.J1]

Patience and attention to detail are rewarded handsomely, however, as Legion serves up a an instantly compelling narrative laced with an intriguing sense of mystery and wonder. It makes for a riveting adventure packed with razor-sharp dialogue, clever visual touches, surrealistic flourishes and wonderfully winning performances.

The highest compliment you can pay “Deadwood: The Movie” is that it is the continuation and the conclusion that both the series and its fans deserved. It’s just that good. It’s powerful, at times profound, at times bittersweet.

The hallmarks of a Hawley show are wonderfully offbeat yet endlessly intriguing characters, boldly innovative visual flourishes, a somewhat antic sense of humor, marvelously textured universes, compelling performances and whip-smart writing. Are all of these elements to be found in the immediately riveting third-season opener of Fargo? Oh heck yah, youbetcha.

A four-alarm run of fiery performances laced with hurt and hilarity. It means writing that swerves brilliantly from racy humor to lacerating pain, from steamy encounters to brutal insights. And it means spending quality time with some of the most human, street-level, flesh-and-blood characters you're likely to encounter anywhere in the television realm. [30 May 2006, p.E1]

Part of the intoxicating magic of Feud is the fierce relish with which Sarandon and Lange circle each other warily, clash, back off, then clash again. It is a mesmerizing, perfectly executed dance--a bitter tango staged somewhere near the intersection of "Sunset Boulevard" and the "Boulevard of Broken Dreams." The brittle dialogue rips along with waspish intensity, and adding to the storytelling wizardry is an outstanding supporting cast.

Amber Tamblyn (yes, she's the daughter of "Twin Peaks" star Russ Tamblyn) shines in the title role. Her Joan is a delightful adolescent mix of hope, doubt, joy, anger, anxiety, yearning and skepticism...Viewers searching for a promising new drama will do no better this season than Joan of Arcadia, which walks that tricky line of being spiritual without becoming preachy, touching without turning treacly, humorous without going for the cheap jokes. [26 Sept 2003, p.E1]

The Americans stands tall in a crowded field of quality dramas. It keeps getting stronger and stronger, a realization underscored by the arrival of the fourth season.

Russell brings great subtlety and appeal to the role, in an engaging show that captures the exhilarating and sometimes scary possibilities of a time of life when everything feels new. [29 Sept 1998, p.1E]

Better Call Saul just keeps on getting better and better. That's an easy call, particularly after seeing the gripping first three episodes of the "Breaking Bad" prequel's fourth season. ... One constant in Better Call Saul is that, as riveting as Odenkirk is as Jimmy, this hardly is a one-actor showcase.

"Justified" and Game of Thrones, each in its own way, has done its share to raise that bar to dizzying heights.

A rich, risky and satisfying adult drama that could be the next "Wiseguy" - and there isn't much higher praise. [26 Oct 1996]

Murder One is shrewdly constructed, quickly absorbing and absolutely first-rate - the best new show of fall...Terrifically scripted and perfectly cast, the show gets its biggest lift from the shaven-headed Benzali, whose brilliant performance as the principled, supremely confident Hoffman could be the best advertisement for defense attorneys since Clarence Darrow. [19 Sept 1995, p.9E]

His character is brought low often enough, but no comedy soars higher.

Fear of the future informs every scene and every performance in “Years and Years,” a deeply disturbing yet absolutely riveting six-part British miniseries. ... Along the harrowing way, Davies is swerving ferociously from horror to humor to heartbreak to heartwarming, without ever losing his balance. And the magnificent cast goes right along with him, with particularly strong contributions by Kinnear, Reid and Thompson.

AMC's best current show? Not even close. By a big stretch, it's the "Breaking Bad" spinoff (and prequel series) Better Call Saul, which launches its third season in grand style. ... It feels like some kind of brilliant first cousin.

Like "Freaks and Geeks," however, Undeclared is considerably smarter, sharper and slicker than your average network series. If at times the comedy strays below the belt, it justifies these moments by appealing to our hearts and minds. [25 Sept 2001, p.E1]

Under the guise of fantasy, Roswell manages to be insightful, profound, romantic, eerie, mysterious and funny. It artfully uses the alien characters as engaging stand-ins for countless teenagers who, rebelling against pressures to conform, feel like beings from another planet. [6 Oct 1999, p.1E]

The cast is first rate, delivering sympathetic and believable performances. The writing is intelligent, providing intellectual grist to the grisly moments. And the direction is as crisp as it is clever. [20 Sept 1999, p.1E]

If the first three episodes of this second season are any indication, what’s waiting is another exceedingly wicked, exceedingly adult ride through riveting territory.

The remarkable thing is that, even with a bigger cast, Kohan never sacrifices a whit of clarity or energy. Orange Is the New Black is as fresh and as vital as ever, and you don't always see that in a fourth season.

Although the promising drama has its self-conscious moments when the offbeat stuff seems a trifle forced, Laurie delivers a consistently fascinating performance as the abrasive diagnostician. Even with the labored interludes, the series stands as, to borrow an old rock lyric, “a very, very, very fine” House. [16 Nov 2004, p.E4]

Perhaps the most astonishing thing about this stylish, wonderfully atmospheric British production is how fresh it seems. It's not as if this is a tale rarely told.

Although some liberties have been taken with the characters and plot, it is an immediately intriguing, wonderfully textured realization of Dick's challenging book.

If you have a strong enough stomach to get through the yuck-and-yikes surgical procedures, the dramatic rewards are great. If you prefer shows with an edge and an attitude, make your appointment with Miami partners Sean McNamara (Dylan Walsh) and Christian Troy (Julian McMahon)...And if you like your television served up with wit, intelligence and a bit of daring, you won't have much to say if someone asks, "Tell me what you don't like about Nip/Tuck. "[22 June 2004, p.E1]

The writers do take the occasional misstep along the trail. The series has it didactic moments, to be sure, as well as the occasional cartoonish character (usually among those chasing the runaways). But these drawbacks are more than offset by the riveting narrative, the outstanding lead cast and a seamless weaving of the greater historical context into the ongoing story.

It stands as King's best and most effective TV project to date. Best of all is the human dimension of the drama. Where some King minis have built to fantastic payoffs so preposterous as to be laughable, this one uses his bag of tricks and special effects to pose a moral dilemma. The absorbing climax finds its ultimate horror not in a monster, but in the ethical choices of average people. [13 Feb 1999, p.1E]

The Walking Dead still has a strong grip on our imagination as it continues to aim at all three levels--brain, heart and stomach--with deadly accuracy.

So funny that you might not notice it doesn't have a laugh track. [8 Jan 2000]

Stylish and briskly paced, Boomtown clearly shows the impact of "Pulp Fiction" in its quirky dialogue. The impact of "Rashomon," Kurosawa's film about a murder recounted in different ways, is most obviously seen in the program's structure. [29 Sept 2002, p.J1]

Every bit as intriguing as it is intelligent. [13 Jun 2005]

The brilliantly dark five-part limited series starring Benedict Cumberbatch is a compelling journey laced with pain and overflowing with absolutely riveting performances.

A spoof that works for people who love vampire films and people who don’t. Even the obvious and sophomoric stuff is served up with a wicked twist. Humor and horror tend to be flip sides of the same coin (metaphoric means of dealing with painful subjects), and you find them twisting around each other in ferociously funny ways throughout these episodes.

It’s raucously funny in its own right and in its own way. If the first season’s remaining nine episodes are anywhere near as laugh-out-loud hilarious as tonight’s opener, Barbershop: The Series will be nothing less than Showtime’s strongest entry yet in the comedy field. [14 Aug 2005, p.J1]

Already TV's most literate and stylish horror drama, "Penny Dreadful" is adding new and intriguing elements to the ambitious structure as the third season begins.

It’s difficult enough staying on track having seen the previous two seasons. If you want to make up your loss, go back to the beginning and work your way toward the third season. And be prepared to be challenged. ... What hasn’t changed is that “Legion” remains an intoxicating experience laced with a grand sense of wonder. The humorous touches are every bit as clever as the visual treats. The performances are every bit as compelling as the production team’s command of the narrative.

It's a sentimental journey, to be sure, but it never gives in to sentimentality. And while Tyson leads the way on this trip of a Lifetime, she is surrounded by co-stars adding illumination at every turn.

Meticulously detailed and seamlessly crafted, it has the look of a feature film and a sense of behind-the-scenes authenticity, and it could be the season's best new drama. [22 Sept 1999, p.6E]

Director Michael Apted and writer Michelle Ashford masterfully guide you back into the Masters of Sex story, providing a beautifully textured framework for these wonderfully nuanced performances.

Although technically listed as a drama, make no mistake, it's one of the funniest programs on TV this season.

An intoxicating mix of wicked comedy and "Lear"-like tragedy. ... There's nothing all that likable about the Roys. They are a vain, petty and avaricious lot. But they are incredibly fascinating, thanks to the riveting performances and the razor-sharp writing.

The show has lost none of its expert knack for building suspense and tossing surprises.

There are moments (like the aforementioned withdrawal episode) where you think about giving up on it. But those thoughts disappear once the show's surprise is revealed and Elliot recognizes his true purpose. That leads to Season 2's premiere being a thrill ride. ... Mr. Robot has the potential to be [as good as "Breaking Bad."]

So relentlessly watchable it's likely to be habit-forming after two doses, City of Angels is more than a promising midseason addition. It makes an immediate case for itself as the best drama on CBS. [16 Jan 2000, p.6I]

In some ways, the show recalls the early days of "Beverly Hills, 90210." With its exceptional writing and sensitivity, however, it resembles nothing so much as a "teensomething" version of "thirtysomething." [25 Aug 1994, p.1F]

A smart, stylish, sexy romp full of sizzling patter and clever chatter. Behind the glitz and glamour of Sin City are solid performances by Caan and his immediately likable co-stars. [22 Sept 2003, p.D7]

This is hardly a one-character show. Ray is at the center of the movie-land maelstrom, to be sure, but everything around him is intriguing. And everything speaks to danger.

Great fun. Leave your brain in neutral and enjoy the zany ride. When the twisting and turning are over, the briskly paced and visually intriguing Alias glides home as solid escapist fare. Don't ask questions. If logic gets in the way, this material will start unraveling like the proverbial cheap suit. Yet, while comic-bookish and derivative, Alias emerges as a winner because it shrewdly assembles bits and pieces of "La Femme Nikita" and other espionage thrillers. There's even a little "X-Files" trust-no-one paranoia thrown in for good measure. [29 Sept 2001, p.6]

Sarcastic yet engaging, edgy yet heartfelt. [2 Oct 2001, p.E1]

The show wins points for innovation, intelligence and solid production values. [6 Nov 2001]

Weaving the lives of these three towering Roosevelts into one triumphant 14-hour film, Burns has found another ideal prism for examining the American character and the American story.

Bouncing between bloody good and bloody brilliant. [12 July 2006, p.D1]

Drenched in whom-do-you-trust paranoia and dripping with suspense, "Invasion" grabs you by the throat in the opening seconds and never lets go.

A wild joyride of cultural and generational dissonance, Dharma & Greg captures lightning in a bottle and looks like a hit. [24 Sept 1997, p.6F]

Stark and disturbing, The Wire, like HBO's "Oz" and "The Sopranos," is not for those of tender sensibilities. It is often violent and vulgar. But, make no mistake, it is often brilliant. [1 June 2002, p.E6]

Jauntily paced and cleverly written, the wonderfully engaging Mrs. Maisel is packed with winning regulars (none more so than Brosnahan's Midge), witty banter (a Sherman-Palladino specialty), sensational supporting players (including Kevin Pollak and David Paymer) and an exuberant sense of optimism (despite the obvious and incredibly daunting obstacles a female comedian faced in the late '50s).

This trio of tales uses plot elements from the original stories in wonderfully inventive and deliciously brilliant ways. In other words, knock the dust off of 221B Baker Street.

It easily lives up to its advance billing as the best new show of the fall season.

Travolta's cartoonish Shapiro is the exception, after all, and even most of the peripheral performances court favorable verdicts.

'24' seems to have smartly reinvented the intriguing formula, getting itself back on track for what could be the best season to date. [9 Jan 2005]

The marvelously textured performances and addictive narrative remain the most compelling reasons to watch Outlander.

Matching last year's blistering pace is a dizzying challenge for Netflix, but this is the team that can get them off to a flying start.

Like its characters, Sharp Objects is not without obvious flaws, it's also not without impressive strengths. The cast, led by five-time Oscar nominee Amy Adams, is exceptional, making the deep pain and overwhelming angst of these characters both vividly real and incredibly fascinating.

If issues don't get in the way, CBS' The District is a good show - may be one of the TV season's most watchable new dramas. [7 Oct 2000, p.1E]

A lovingly crafted tribute offering many laughs, a few tears, some intriguing insights and just a constant swarm of warm memories.

It's grittily atmospheric, sharply scripted and acted with a depth that becomes more apparent as the series goes on. It will leave you on the edge of your seat. [4 Apr 2000]

Checking in means checking out what's in store for the second season, and the tantalizing possibilities are gleaming like the surface of a highly-polished knife blade.

Mr. Selfridge has some enticing items to tempt those shopping for a quality viewing experience. At the top of this list is the gift that keeps on giving: Jeremy Piven's wonderfully textured portrayal of Harry Gordon Selfridge.

A low-key, deadpan program that is very amusing and unusually engaging. [27 May 1995]

An extremely smart, wildly eccentric and very adult comedy. And if Bacon is bringing the heat, then Hahn is the aching, searching heart of this series.

Like "The X-Files," a series it resembles in both look and tone, "Threshold" is as much a horror show as it is a science-fiction program.

Murder in the First is an immediately engaging crime drama boasting a deep cast and crisp direction.

A darker shade of "Green"? Yes, at times, grim realities are made a trifle more real. Does that work? Yes, often wonderfully well.

If some plot elements in the third season seemed forced (and they did), then Fellowes seems to have completely regained his balance in the fourth season. And that balance means expertly bouncing between the upstairs and downstairs worlds of Downton, letting the plot turns flow naturally, carrying us along joyously for the posh ride.

While Pugh, Skarsgard and Shannon hit vastly different emotional notes, each finds the shadings and conflicts that make these characters more and more compelling as the plot gets thicker, the players dig deeper and the stakes get higher. It is, Pugh, however, who makes the grandest impression in what is both a star and star-making turn. You might find yourself quibbling with some of Park’s direction, but never with Pugh’s performance.

There is a razor-sharp focus, as well as a renewed sense of purpose, in the six new episodes Netflix made available to critics in advance of the fourth-season premiere.

Not all of the plots work at a high level. Still, even when things go wrong, you know the grand performances will save the Downton day. You're always in good company with this series.

Frasier is also that rare supporting character who appears able to support his own series. Tonight's pilot gets Frasier off to a smartly written and deftly acted start that is especially lifted by the effortless pairing of Grammer and Pierce, who was a standout from the short-lived political sitcom "The Powers That Be." [16 Sept 1993, p.1F]

Sharply scripted, well acted and crisply directed by James Burrows, it makes comedy its main agenda, and reaches it with an authentic, matter-of-fact tone. [21 Sep 1998]

Visually arresting, epic in ambition and impressively acted by a splendid cast, The Stand" looks like King's close encounter with "The Andromeda Strain" crossing "Wild Palms, building its suspense around a deadly epidemic that wipes out most of the world's population and leaves the survivors seeking a new beginning for good or evil. [8 May 1994, p.1J]

It all comes together spookily well, with Lore resembling nothing more than six late-night trips to the campfire for some splendidly spun creep-out stories.

Aspects of Battle Creek seem familiar, to be sure, yet it registers high on the giddy scale thanks to energetic direction, clever writing and the comic chemistry generated by Duhamel and Winters.

Beneath all of the insanity, BrainDead again and again demonstrates it has a brain in its head. It's goofy-good-time stuff, all right, yet it has a point.

Part prime-time soap opera, part wicked social satire, this unpredictable newcomer has a blast poking around at the dark edges of a sunny and seemingly perfect suburban neighborhood. [3 Oct 2004]

Much of this sounds grim, but Breakthrough is anything but depressing in its overall tone. After putting towering problems into chilling perspective, the series humanizes the issues, keeping the focus on individual stories.