The series never quite convincingly establishes what could have been a powerful undercurrent-- whether Naz and by association the rest of New York’s Muslim community had been tried and convicted based on their Muslim faith alone. That’s OK. Everything else--and everyone else--cclicks just about perfectly.

Still smart, still good, still fun, Human Target remains one of TV's best comic books.

She’s a terrific and effortlessly funny actress who establishes vivid characters with vivid lives. But Sam Fox obviously required a bigger reach, and Adlon accomplishes that here.

The Millers shows what a thing of glory hear-the-laughs sitcomedy can be in the hands of masters.

Complaining about the show's pre-fab structure is like shootin' fish in a barrel--no point to ask what's-the-point, no fair to ponder whether it's fair, because you end up with dinner anyhow, and folks gonna gobble it. Duck Dynasty is tasty enough.

Community can be fresh, funny, smart and extremely aware of its own cleverness; it also can be terrifically odd--odd good, or odd bad, or sometimes odd-good-bad-strange all at once.

What worked especially well last season also gets better in the second.

GLOW is terrific. ... GLOW is about female empowerment, and couldn’t be otherwise, but there’s a little more going on--female relationships, and the unique ties that bind, even when frayed by a patriarchy that profits from fraying them.

Still excellent, still hard to love.

Garcia's single-camera editing amplifies the comedy inherent, rather than being a crutch to create it. And the casting here is as good as "Earl," which is saying something--even if Leachman goes a bit off the rails as wacked-out "mamaw."

Amid all those speeches, there's beauty, passion, heart and brains in The Newsroom. There's also humor, even more than ever in Sunday's opener.

Good, crackling start that--as the old saying goes--changes everything and may even point to the end.

Yup, the story can be downbeat, the pace at times languid. But this is a show with a brain and a heart.

It's like "M*A*S*H" with just the helicopters showing up and no laughs. "E.R." is all trauma; you never get to know enough about the patients or get involved with them. It's just treat, release and move on. [18 Sep 1994]

[Bill Lawrence] scores again here, with an instantly appealing ensemble, from Astin's "soulless upstairs tool" to Rory Scovel as the downstairs dude from "a very competitive community college.

Still defiantly Community, still good and still uninterested in adding new viewers.

Black Box creates compelling people while smartly pondering identity, relationships, connection--it doesn't need the amped-up atmosphere.

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.

The cast succeeds, and in the end, so does Heart.

Strong personalities evoke the hold of the old, the tug of the new, and that intersection's human fireworks.

Mad Men, as ever, remains a solid and beautifully produced TV program. Best of all, this episode promises a compelling third season. Fans will find much to savor.

With [Mike O'Malley's] fluid scripts, these sharp actors hit not just three-pointers but also free throws.

Pleasurable, amusing, well conceived and written, though perhaps just a little shy on character development (New York excepted). Give this one time - these guys feel like they're worth getting to know, and the show as well.

This is a singular vision throughout, written and directed by the team of Lodge Kerrigan and Amy Seimetz. (She also plays Christine’s older sister.) Their intense focus draws a disquieting portrait of a peculiar personality.

The characters in "Hope" are slightly more interesting [than those in "ER"]. Even though they are working in a high-powered hospital and have God-like powers, you can see what's going on behind their masks beyond their eyes. [18 Sep 1994]

[A] strongly acted thriller, which seems to add another intense dimension weekly.

Monday Mornings is Kelleyesque in all the best and admittedly worst--melodramatic, manipulative, shocking--ways. But it's also intelligent, particularly well-written and acted, and above all interested in matters other than what's directly mounted on the screen before your eyes, most notably ethics, human nature and human fallibility.

[These women make] instant impact, of course, with their stories but also through sheer personality.