Sure it’s sudsy drama. But great characters make for great fun in season 3.

As the mystery unspools, Darcy withdraws from Elizabeth, and their relationship falters. Suspicions are raised, and Elizabeth must sort out the truth. Expect a dramatic trial and a surprising new suspect before it's all over. Of course, the joy isn't in reaching an answer. It's in the journey.

Will delight those who know a bit about the star-making machinery. It will tickle sports fans and entertain anyone in search of a decent adult comedy. [7 Aug 1996, p.G01]

Creator-executive producer Mitch Glazer draws a loving and critical portrait of the awesome and awful fantasyland that actually existed in that time and place.

Outrageous. ... Thanks to inspired editing, it all hangs together. [14 Jul 2003]

The second season looks to be equally incisive [as the first]. With heart.

The 13 episodes are fun, not groundbreaking, but slickly produced and accented with musical comedy. Like the two stars, the series is endearing, loud and desperate for attention, but ultimately a love letter to comedy and comedy history.

Not only is it creepy, suspenseful and full of splendid special effects, veteran actors and fresh young faces, but it's laced with big thoughts about environmentalism and the future of the planet.

The thrill of rock 'n' roll as it took a turn toward modern punk, discovered disco and made way for hip-hop in 1970s Manhattan is captured in a fresh way in Vinyl, a tough-minded series.

A medically sound, educational effort.

The Girl, directed by Julian Jarrold, impeccably re-creates the film technology of the time. It also delivers a psychologically astute reading of one of Hollywood's more bizarre entanglements.

That uncomfortable flash of shame even as we smile at his antics is what makes Life's Too Short so oddly engaging.

Two sweet, funny, even poignant dramedies ["About a Boy" and "Growing up Fisher"] launch on NBC this weekend, both helping midseason feel richer than the meager offerings of the network's fall slate.

Overall, The Knick is a sublimely addictive ride for which viewers will want to scrub up.

Two sweet, funny, even poignant dramedies ["About a Boy" and "Growing up Fisher"] launch on NBC this weekend, both helping midseason feel richer than the meager offerings of the network's fall slate.

Oliver is terrific at mining humor from the most popular topics of the day, that is, the idiocy of the media and politicians. He's funny when he's knocking our intelligence. But he's best when he sticks to a barrage of short bits, enhanced with clips or photographs, as in his first week's efforts.

Luckily the addition of a few big-name guest stars helps the series regain "the big mo," as they say in politics. Judging by the six episodes I've screened, HoC remains an addictive if not credible political potboiler, elevated by new actors.

This reprise won’t eclipse memories of the film, but it shouldn’t be automatically discounted. It’s a longer, slower study, suited to a different medium and hitting the same gruesome and all-too-human notes.

Yes, they [Amanda Peet and David Walton] throw sparks, but it's more than that. The quick reparte and the presence of great secondary players is also a crucial part of the appeal.

[Empire is] still addicting and with a number of hot guest stars.

[Elf: Buddy's Musical Christmas is] clever enough for adults, sweet enough for young kids and musically inventive enough to please the worst Scrooge.

Season 2 of Manhattan gets off to a slow start and may require catch-up work. But the high-minded story about the creators of the atom bomb soon picks up the pace.

Clearly, writer-creator Julian Fellowes knows how to keep fans hooked, cleverly playing out credible character traits across time, and knowing the breathless pace of change resonates with our current passage into another modern age.

Last Tango in Halifax is an absorbing, sometimes surprising tale of late-in-life romance marked by stunning performances.

The prettiest soap opera on TV continues to offer a refuge from the present while mirroring contemporary attitudes and evolutions.

The goal is not an academic history but a backstage, groupie-eye view. While it's familiar territory for longtime Stones fans, it works.

Scripture and subtle wit are sprinkled through the outrageous violence and a particularly lovely vocal accompanies a grotesquely violent massacre aboard an airplane. This one will delight a certain narrow audience.

What a wonderful, funny, poignant origin tale for fans of “Doctor Who” and newcomers alike: An Adventure in Space and Time, airing Nov. 22, features a terrific performance by David Bradley as William Hartnell, the first Doctor. And a pleasing bit at the very end that will make you gasp.

The direction and writing are subtle but intriguing, like Highmore's innocent grin.

Push Girls is a hybrid nonfiction series and, ultimately, an inspiring work.

With Louis-Dreyfus inhabiting the central role, the writing shines.

You may have read the transcripts over the years, but to hear the dialog, now on the eve of the 40th anniversary of his Aug. 9, 1974 resignation, is newly eye-opening.

Set in 1870s London, the tightly focused story of manipulative men, trapped women, an inappropriate, even abusive doctor, plus diary entries containing dreams of escape adds up to an inviting, rather highbrow wallow.

An engaging work of strong storytelling.

Better than a haunted house story, 666 Park has the potential to seduce audiences with a mix of grandeur, drama and horror and an underlying message on what's truly valuable in life.

For those of us who thrilled to “The Jewel in the Crown,” the latest PBS “Masterpiece” saga, Indian Summers, will scratch the same itch. As the Brits enjoy high tea on the subcontinent, the colors are so vivid, the characters so rich, the period piece so faithfully depicted, you can practically smell the Punjabi spices.

The first film is well constructed to be unnerving; the second offers the sight of "Grey's" Dr. Yang toting a revolver. Both make for creepy-rich summer viewing.

Think of Doll & Em as a collection of short stories rather than half-hour comedies and it’s quite absorbing.

The humor is often obscure. The flavor ranges from silly to heartbreaking, crazy to profound. The Emmy-winning show's unpredictability is part of the charm.

All in all, its assured storytelling and fine performances give a worthy contemporary spin to a classic.

Even if zombies aren’t your cup of TV, there is plenty to appreciate about the construction of Fear the Walking Dead.

It may be preposterous. It may lack the political finesse of "The Americans" or "Homeland." But with tight shots of nervous eyes and cinematic displays of Jack's heroics, 24 still excels at high anxiety.

As was the case with the controversial "In Treatment," those with no patience for self-analysis or a psychologically minded view of relationships may find The Affair slow going. But the mystery element should keep even impatient viewers guessing.

What "Nashville" on ABC and Arrow on the CW have in common, is appealing characters in well-plotted stories.

A fun, intriguing new drama...Inspiration is allowed to take all sorts of liberties. Fortunately, the production values of the show are high and no attempts are made to portray aliens on screen, for instance. The director wisely lets us imagine an unexplained power source with a whirl of wind rather than cheap-looking spaceships or funny-looking men with antennae heads. [8 Sept 1993, p.1F]

Well told, well acted, The Strain might be just the thing for fans of “The Walking Dead” feeling a little too calm this summer.

What Nashville on ABC and "Arrow" on the CW have in common, is appealing characters in well-plotted stories.

A little bit screechy, a little bit preachy, NBC's The New Normal is nonetheless the best comedy of the season--a season short on innovative comedies.

Flockhart... is a compelling presence, and the tone of the writing is both fun and thoughtful. [7 Sep 1997]

Tremendous footage of mountain treks and river running make the spectacle compelling while the sometimes clunky dialogue gets the message across.

The level of comedy is again superlative, with Appleby and Zimmer carrying the cynicism and viciousness to new levels.

Dreyfuss is sensational as Madoff, a twinkle in his eye as he explains his "magic."

Maximum Bob evokes a little of that quirky show ("Northern Exposure"), with a talented ensemble cast, rich characters, and a script that doesn't write down to viewers. [4 Aug 1998, p.E-01]

The plotting is intricate, the entire acting ensemble is first-rate.

Purists will miss the trappings of 221B Baker Street. But Elementary is appealing on several counts. Count No. 1 is Miller.

The series successfully blends super-heroics with women’s post-war fight against sexism in a fun, winking way.

[A] well-researched film.

The cinematography is stunning, the music and atmospherics are immersive. With occasional hiccups the acting is mostly subtle. Suspension of disbelief will be required (how else can Bassam/Barry slip out of his father's palace in the middle of the night to rendez-vous with an old journalist buddy?) But Tyrant is worth the effort.

G&O feels less serious of intent, less urban or urbane than “Broad City.” But fun.

Togetherness is very L.A., and very of the moment. For some it may feel too true.

Although it's less than exciting and not at all a comic respite, Saul has me along for the ride.

While the hour is entertaining and moves briskly, it lacks the subtlety (not to mention violence, great opening credits and bad wigs) of The Americans.

Duchovny is eminently watchable.... At times the music is more involving than the acting, and appears a useful cover for some lame dialogue. But creator John McNamara ("In Plain Sight") successfully layers sociology, crime story and period music in an involving semi-historical drama.

Promising aspects of opening night were the interactions with Jon Batiste and the Stay Human band, the Oreo cookie binge as a metaphor for indulging in Donald Trump jokes, the nods to both Letterman and Jimmy Fallon, and the peek at what Colbert will be without his Comedy Central blowhard conservative mask. The George Clooney “interview,” not so much.

It's easy to get hooked on the drama's fast-paced, international intrigue and tony visuals (shot in London, Scotland and Morocco). It's almost enough to keep you from contemplating some of the more outrageous turns.

This experimental extended series takes its time before making any sense. Dive in, and marvel at the fact that at least it’s different.

The tone ranges from fun to scholarly as colorful drawings enliven the film.

Matthew Lillard, Emily Rios, Thomas M. Wright, Ted Levine and Annabeth Gish are well cast and their characters are fully sketched. Having seen two hours of season 2, I’m not ready to give up yet, but I’m starting to prioritize TV’s darkest hours and wonder if The Bridge will make the cut.

Judging by the first handful of episodes, Battle Creek is a tad more eccentric than the usual CBS drama, a refreshing step beyond the procedural format. Not a challenging series, but a watchable one.

Trump's narrative skills are as grating as his accent, but the hook is undeniable: With peeks into The Donald's penthouse, boardroom, helicopter, limo and his taste in hiring and firing, this debut has solid entertainment value. [8 Jan 2004]

There seems to have been a conscious decision to add a dose of not just violence but horrific suspense and shocking violence. The first hour in particular feels like a disappointing departure. The character remains the same, even if he encounters accentuated gore and mental illness in the criminals. He even grows a bit.

Think of it as a def Dallas, an African-American Dynasty for 2003, a blend of MTV and BET that finds itself on UPN. ... Sex, violence, music and some eye-catching casting make this effort worth a look. [13 Apr 2003]

The debut is cinematically beautiful, the cast is top-notch, the story is compelling, the characters distinct, the music stirring. The question is, why now? [30 Dec 1997]

Grand special effects, impressive acting by the young Sequoyah and an enduring interest in all things supernatural may help Believe to catch on.

The documentary, narrated by Benjamin Bratt (son of a Peruvian mother), is rather dry in spite of the rich subject matter. It's particularly slow-going at the start (the pre-Alamo section is a slog), but it picks up steam as the chronology moves toward the modern age with notables contributing first-person accounts.

Confirmation is not nearly as nuanced as the recent O.J. Simpson trial docudrama on FX. It’s also much shorter and more reliant on news footage. But it similarly revives memories of a wild media/cultural/political flashpoint.

The CIA office politics are getting old, but the topical references remain gripping.

Truthfully, a little bit of this fun farce may go a long way.

Like most docu- reality TV mashups, the need for drama on-screen trumped detailed explanations. Choppy editing comes standard. Still, the tension between the impulse to search and the need for privacy is clear. Emotions run high and the conflict makes for good television.

The Michael J. Fox Show is not only an enjoyable TV comedy about a likeable guy in a likeable family, it’s not only a step toward wider recognition of a specific disease and of disabilities in general, it’s the return of a primetime icon after years away battling Parkinson’s.

It has the feel of a quirky cable comedy.

Executive producers Haskins and Emily Halpern are sharp and the lines are funny and maybe, just maybe, there’s a show here.

If the tone of this miniseries lays it on thick, the subject is universal, the information is solid, the photography brilliant and the whole effort a sumptuous departure for NatGeo.

Heavy dysfunction gets a backup laugh track, and it can turn mean. But Lorre knows how to wring dark humor from tragic circumstances.

Thanks to Sedgwick, the hour is a distinguished contribution to the cop genre, delving further into a character's personal life than the "Law & Order" procedurals, and avoiding the showy visual effects that are high points of the "CSI" brand. [13 Jun 2005]

For better and worse, it feels like an extended version of a "Curb Your Enthusiasm" episode.

It’s goofy, but fun.

Cultural commentary mixed with the mystery, along with lavish production values, gives Irving’s tale a clever twist. The hour is trying to cover a lot of bases, but it may find its focus.

The resulting Scorsese film is just like its subject: often frustrating but always compelling. [25 Sep 2005, p.F1]

The first four episodes supplied to critics are engaging, but especially in the aftermath of his passing, the shadow of James Gandolfini is, sadly, everywhere.

The obsession with appearances and materialism - from cars to houses to Botox to breast implants - makes "Housewives" a case study for everything that is shallow and pathetic about our society. Of course, that's also what makes it so entertaining. [20 Mar 2006]

A good concept in need of nurturing. [20 Mar 1995]

The casting and direction are solid. We'll stick with it for now to see if there's growth in the character relationships, too.

The film glosses over the turbulent aspects of Brown's personal life (domestic-abuse charges and an arrest record are mentioned in passing), and it isn't comprehensive (there's nothing about his four wives, six children, drug addiction or his death in 2006). But the tuneful feature-length film is packed with great vintage clips.

Of course it's formulaic, but the cast is inviting and the formula works.

Wayward Pines is eerie, atmospheric and compelling. The new series on Fox is addictive--until it takes a turn toward the metaphysical.

The series sometimes meanders, but only because Grohl's goals are lofty.

The Scotts have held onto enough of the memorable 1978 movie adaptation of Robin Cook's novel to pay tribute, but added enough to make it feel contemporary.