They're real people with real problems in an all-too-real world. "As We See It," in other words, is the perfect Katims show. Best TV newcomer of the new year so far.

The first three episodes totally nail it.

Byrne is brilliant and--for the most part--so is this fine and absorbing show.

A densely packed, well-paced gothic horror soap with surprisingly funny twists placed at the worst.

The Detour is ruthlessly adult stuff--surely too frank and out-there for some viewers--but it’s intrinsically honest, convulsively hilarious and oddly endearing.

Justified remains as good as ever--and as tautly written, acted and directed, and deeply, completely pleasurable as the fifth season, and the one before that and... all of the other seasons, too, now that I think of it.

The show is well-conceived, well-written and very funny. [16 Sep 1991]

The first two episodes promise a contemplative sixth as opposed to a shock-and-awe one.

Another brilliant, powerful, moving season of one of TV’s best.

Girls' moment is almost up, but this lovely, gossamer line ["I want to write stories that make people feel less alone than I did, to laugh about the things that are painful in life.”] reminds us why that moment was so special.

Hilarious, as always, and unexpectedly, maybe an instructional guide to the current political landscape.

Not a single minute seems superfluous. This is all-engrossing, and all-informative.

The producers ("Alias" alums Josh Appelbaum and Andre Nemec) have created a Dickensian (with a nod to L. Frank Baum) universe, draped in shadows, pastels and mystery, while aurally wrapped in chestnuts from the Sweet, Five Man Electrical Band and the Ramones. This new series has enormous promise.

Interesting, engaging, worthwhile.

They [directors John Dorsey and Andrew Stephan] know how much to say, and show, to viscerally deliver the sights, sounds and even smells, without scaring us away.

Brownstein and Armisen move so effortlessly between characters, then execute their riffs, tics, styles and voices with such skilled abandon that before long this doesn't seem like satire any longer but a fun house mirror reflection of intensely real people.

Louie very much remains Louie in the best sense.

A beauty finally returns, and the beauty very much remains.

About as good a Community restart as anyone could have possible hoped for.

This show--still TV's best--remains utterly true to itself.

"Men," of course, remains the King of the Emmys, while Empire nailed the equally prestigious Golden Globe for best drama last winter. But Sunday begins to build the case for Empire, and build it convincingly.

Brilliant, unsettling, entertaining.

This was the best comedy on TV last season.

It's a great show, the best new series of the year. It's so - dare I say it? - original. It catches you off guard. Basically, it's everything I'm always looking for in drama. It's beautifully written, authentic, without the plastic Los Angeles look. The acting is marvelous. It's funny in a darkly comedic way, involving as a soap opera, and quirky. I never quite know what's going to happen, even though the subject matter is by no means unprecedented for television. [10 Jan 1999, p.D35]

It's hilarious, and sad, and ironic, and rich.

Dark and thrilling, The Affair returns with a huge wallop--and glorious French star Irène Jacob is in the house.

Its tender moments register without feeling forced while the comedy comes in the form of a constant IV drip.

Still TV's best--dive in while the water's warm.