When it was first on, I could see how good and admirable an effort they were making in blending the onstage and private lives of a comic, but basically I didn't care that much about it. But it's gotten better and better. By this year it's the one network comedy show that consistently impresses me and that I keep watching just for enjoyment. [19 Mar 1992]

Besides the fine acting, writing and an attention to period detail that borders on the obsessive, what makes this show so ambiguous and pleasantly iridescent is narrative tension

No doubt ABC has a hit here. The show's funny, and this is something you rarely get to say about a sitcom. [16 Oct 1988]

A smart, sophisticated and often hysterically funny adult cartoon. [17 Mar 1994]

The producers' storytelling bravura grabs your guts from the first tense second and doesn't let go. [29 Oct 2002]

Tales From the Crypt scared the living bejesus out of me...We are talking major league fright time here, folks. [9 June 1989, p.5]

"The Critic" is still not for everybody. That's what I love about it. [5 Mar 1995]

Layering such unnatural proceedings into the family-drama format only intensifies both story angles when you do it right. And Cassidy has, with strong casting, solid structure and a fine feel for what's most frightening.

Much better than the second season, happily. [12 Jun 1995]

It is a brilliantly written and played comedy with sharp repartee and genuine laughs. [31 Aug 1995]

It's one of those prehistoric kind of shows that is heartwarming and wholesome, that made me chuckle with the family and even cry. [26 Aug 1996]

The best new drama of the season, the only one of the 44 new shows that could join "Law & Order," "Homicide," "NYPD Blue," "Murder One" in the pantheon of quality shows. [11 Oct 1996]

He's rude, sarcastic, bitter, brilliant and, delightfully, the most compelling character of the fall TV season. [14 Nov 2004, p.11]

There is an engaging sleaziness about "The Practice" that makes it special. [7 Apr 1997]

This version is a triumph.

In short, "Sweet Tooth" exemplifies the best of what fantasy storytelling can be, creating a whole world without ever forgetting that the most important one of all is our own.

If all this seems heavy and difficult, then so be it. “Ramy” is also moving and smart and genuine. The trade-off seems reasonable to me.

Beautiful production, first-rate performances, notably the one that counts most — Erivo's.

Cerebral, engrossing.

till fun, frothy, engaging — but there's a missing element.

"Coyote" doesn't talk about the border but goes beyond it, to see people — their lives, dreams, and tragedies — up close. Politics (ours) thus become inverted and it's left to Ben to make sense of this inversion. By proxy, it's up to us as well. Binge-bait, and compelling binge-bait at that.

It was energetic (de rigeur), secular (usually is), handsomely staged (or scaffolded) and sonic (the louder the better). ... As Christ, John Legend was out-sung by Brandon Victor Dixon (Aaron Burr, “Hamilton”) who was Judas Iscariot, Norm Lewis (Caiaphas), Ben Daniels (Pontius Pilate) and Sara Bareilles (Mary Magdalene). But they out-sing everyone. Not a fair fight.

It's unclassifiable and unpredictable, in the best possible ways.

Steady start to the final season of a TV treasure.

Well-crafted thriller, and a reminder of just how good an actor — and director — Bateman is.

A viewing of the first two episodes of "Silo" shows that it exemplifies the best of what the genre can be.

It all remains hilarious and mad. One of TV’s funniest shows, and gifted stars, returns.

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