Fascinating, disjointed, moving, tiresome, elegant, tacky, fast, slow. There’s a little something for everyone here.

For Mel Brooks lovers everywhere (you know who you are), but it's on the light side.

The Long Road can be tough to watch--I saw the first three episodes--but it does seem like it’s essential to. Excellent and unflinching.

As bizarre as things can get, Torchwood still feels more like sci than fi, and more ego/id than alien vs. human. The Gwen character in particular radiates intelligence, and empathy, and curiosity, about what's out there and what lies inside Jack. We can't help but share her, um, enthusiasm.

"From the Earth to the Moon" is a series of one-hour movies about different aspects of the space program ... And they are masterpieces, at least the four I've seen so far. [5 Apr 1998, p.D39]

Entertaining, but the book is better.

That the whole pilot doesn't collapse into a pile of rubble is due to Rodriguez--or maybe because Jane is so confoundedly odd you want to see what happens next.

Solid opener, compelling premise, good cast and one major hole.

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

Even film school snobs like me can learn a thing or 10 from Moguls & Movie Stars. The breadth and depth of information rushing through each hour is astonishing.

A pleasant but routine sitcom that uses that decade of significant social change as a hook...The Wonder Years handles its period details - clothing, hairstyles - well. The look of the '60s is rendered with an authentic, evocative feel. Like virtually every sitcom, it has its banal moments, and here and there the gags fizzle. [30 Jan 1988, p.11]

Dream On is almost there. It still needs some work, though. [6 July 1990, p.43]

Warm, genial portrait of a great editor, but not much else.

So yes, "Abbott" is familiar but the early episodes also have charm, potentially meme-able moments and what ultimately may matter most — heart. The year is new but we may have an early winner.

Six million zombiephiles watched the finale of the first season and those 6 million will not want to miss Sunday's opener, which is excellent and appropriately disgusting.

Unlike "Daddy Dearest," it's a warm, compassionate, story about a human problem the baby boomer generation sooner or later will be dealing with: what to do with geriatric TV set as they get on in years. It's not a big busy ensemble sitcom like "Cheers," more a one-man show for Grammer. But it's cozy, involving, socially relevant and marvelously amusing. [16 Sept 1993, p.93]

I mostly loved Game of Thrones, but occasionally grew a little weary of it as well. (And just to answer the obvious question, this is not a small-screen "Lord of the Rings.")

Funny and sharp, with some welcome (also inescapable) inflections of "30 Rock."

My fear is that the show may be too Alaska. TV is not ready yet for Nanook of the North, even if he has a New York accent. [10 July 1990, p.9]

Quiet, intelligent, worth checking out.

Nicely crafted, but still Hillerman-lite.

"Maisel" is still that charming, or irritating (your call) embrace of ethnic stereotypes, and filled with that dazzling, or grating, patter of quips, wisecracks, put-downs and zingers. It remains more about presentation, less about plot or character development.

The 10 episodes that dropped late Wednesday pretty much say there's nothing to worry about here. In fact, a few of these do gently temporize, and at least one treads water, but there are also four which are flat-out great (more on those in a bit). A pleasure as always if hardly perfect, this balance seems about right for a series that explores the gulf separating craftsmanship from genuine artistry, and whether perfection can bridge it.

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]

There's pleasure in every frame here--from terrific new cast additions (Molly Parker, David Glennon) to richer D.C. subplots. It all works, and it is all addictive.

Mrs. Maisel can--yup--be chatty to the point of exhaustion, and a little can go a long way. But what’s here is worth savoring and, if you can get past the verbal gymnastics, worth the trip.

Like Seinfeld, Carmichael’s humor is sometimes about locating what’s funny in our narcissism, or his. But this episode wouldn’t work as well as it does if there wasn’t a moral, wrapped in a truth.

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.