The behind-the-scenes access to “Homecoming” is important. ... However, those scenes interrupt the momentum building in the powerful concert.

Not quite on the level of last season's best, like "Woods," "FUBU" or "Teddy Perkins," these openers are nonetheless pure, unfiltered "Atlanta." Take that as the praise intended.

It is even better - if that is possible, and it is. Take my word. We are talking true comedic masterpieces here. [20 Jun 1994]

"Succession" is going out with a bang, but — at least in the early episodes — a resigned one.

As always, excellent.

True-blue fans will swoon. Everything they - you - love about this classic is laid out, banquet-like, Sunday night - the fashions, style, elegance, writing, characters, precision, beauty and most of all, the humor.

Wallops don't get more walloping than the one that arrives at the end of the premiere of FX's adult cop show The Shield. Won't tell you what it is, and don't you dare read other reviews in case they blab it. This is one of those punch-in-the-stomach moments of TV you'll want to remember being stunned by. Although The Shield looks pretty dang good to that point - or pretty %@$#! good, as its characters would swear - the show suddenly becomes flat-out brilliant. [12 Mar 2002, p.B27]

The best show on TV remains — emphatically — the best.

"The Underground Railroad" is often difficult to watch, at times impossible to watch, but at least there's beauty, power, and some first-rate performances, as compensation.

With "Succession" now over, "The Bear" makes a compelling case for being the best show on TV.

The best show of 2025 also happens to be the best show of 2026.

This remains a superior TV drama.

Douglass comes to life, or those words vividly do.

All the performances are outstanding — O'Reilly has played Mothma in various movies and series for two decades — but the ones that'll knock your socks off are by Kyle Soller and Denise Gough.

Showtime lets them take their time to spin serpentine story lines, gradually pulling us deep into one very sticky, scary web of intrigue.

Cox's performance is staggering but then so is the performance of everyone else. Prepare to be staggered. Triumphant return of TV's best.

"Driving" is cool, methodical and comprehensive, but does leave open that one question: How would you feel? ... Essential viewing.

Beautiful, immersive and joyless, Tale can be tough to watch, but “rewarding” trumps “tough.”

This indisputably is Amazon Prime's “Orange Is the New Black.” That--believe me--is praise enough.

Besides the scenery, what's best here are the characters, and their lives--or unlives--of quiet desperation.

Holzman's writing is brilliant. [25 Aug 1994]

Tragedy is hard, comedy harder, while mixing both together seamlessly is just about impossible week after week. That Louie usually succeeds is a minor miracle. That it doesn't always is inevitable. Thursday's opener, "Potluck," has a funny twist but ends up in a strange, bitter place--even by Louie standards.

The show also feels more nuanced. If season 4 was like a giant exhaled breath, then season 5 is an inhaled one. The story beats are more deliberate. There's also a sharpened sense of building anticipation--or impending doom.

As you would expect, very (very) funny.

Great start to the much-anticipated second season.

A remarkable tour of a terrible part of our history that makes the case--a compelling one--that this history isn’t entirely in the past at all.

The complex impact of the crime--and of its investigation, news coverage and town reaction--is the real story here, laid out in the decidedly ordinary faces and raw silent spaces that British drama delivers so well.

Stunning, beautiful, hypnotic, engrossing, spectacular... That oughta do it here as well, except Frozen Planet unexpectedly adds another word: Unprecedented.