Still sweet and sad, but often dour and slow, too.

Engrossing history (and with an eyebrow-raising omission).

Unless your name is Stephen King or Steven Spielberg, there’s only so much new anyone can bring to this potluck supper. The Duffers don’t bring much new. They do bring a large degree of enthusiasm, however.

A few new faces from last season are back, but the formula remains ironclad, right down to the soaring courtroom rhetoric and McCoy's somewhat suspect ethical calculus. This comfort food remains comfortable, indeed.

Mostly--and occasionally despite itself--Maniac is just fun, at points raucously funny. ... Dive in, don't think, enjoy. You most likely will, by the way.

Can a bad person become a good president? The answer may be self-evident--or maybe not. Nevertheless, therein lies a compelling new season. We may still have a lot more to learn about Frank Underwood after all.

Good setup pilot on Sunday that doesn’t quite carry over into subsequent episodes.

Girls is as Girls always was--sharply observed, intensely self-aware and very funny.

The writing is intelligent, wittily playing off our knowledge of the Superman lore, and the production values are on par with top-quality fantasy / sci-fi shows like "The X-Files."...Smallville is the most purely enjoyable dramatic series of the new season. Like Clark, this baby's destined to fly. [16 Oct 2001, p.B27]

Monday's pilot can't quite close the sale, but there's promise here. The Chicago Code deserves another look.

This fall's most satisfying series delight.

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."

No relaxing allowed with Boss. Sorry about that, and sorry for this series, which remains smart, absorbing and particularly well done.

Angel upholds Whedon's spellbinding "Buffy" mantle and expands it, taking his surprisingly mature and witty view of life among the supernatural into an adult realm. [5 Oct 1999, p.B27]

Richness of detail permeates this modern tube-noir. The more damage done, the more juicy fun for us to savor.

It's homage of the highest form, but comedy of the highest form, too. Cos quite obviously is far from finished.

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

Soderbergh has created a vibrant, dark and above all alluring Gotham. Owen's Thackery is its bracing human counterpart.

Uneven pilot which at least promises something much better.

It's lackadaisical, weary, bland and off-center.

"The Terror: Infamy" is so good and so cleanly told that it really doesn't require much of a primer before diving in, but a little background couldn't hurt.

Disgusting--but in a good way.

Good newcomer, good cast and star showrunner. What’s missing, at least in the early episodes, is a propulsive story and pace to match.

This certainly isn't bad TV--Murphy isn't about to leave his longtime home with a turkey--but it's often bland TV, and oddly enough, stock TV.

There are many enjoyable performances by many wonderful actors, including Baranski, Panjabi and, the nicest surprise of all, David Paymer, who plays a judge. But you've seen much of this before.

"Nine-Nine" goes out on a semi-serious note, and for the most part, effectively.

Good start to the third season, and from what I sampled, it builds from there.

Mike Tyson Mysteries is highbrow lowbrow lampoon, alternately smart and stupid, dizzy and disgusting.