Yes, "black-ish" can be fiercely funny, sharply observed, and unfailingly good-humored about the racial divide. But just beyond that glossy surface is a serious and even compelling undercurrent.

The "Funny or Die" duo makes this zesty, single-camera comedy speak to adults by letting their lead be one.

The spirit of Gaiman’s classic has been captured, but not yet the vision.

Good re-start and better than the real start last season.

The new detectives seem so young, eager and fresh-faced that you almost think the Hardy Boys are on the case. Molina's Morales has a bit of that nice New York edge; Howard 's Dekker (in next week's episode) is a little stuffier, duller; he'd probably be better suited to "Law & Order: D.C."

The show's an enjoyable diversion.

Housewives fans will enjoy the show but might tire of seeing yet another cast of wealthy, self-indulgent women. It might be time to change it up.

Tough, occasionally oppressive, and--against all odds--still funny when least expected.

Future episodes aren't as snappy or scenic. But Shahi & Show deliver win-win, anyway.

The Jamie and Claire show moves to Paris--and in a sense, Frank and Jack do as well. A nice change of locale, and tone.

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.

Based on the first three episodes, this looks like another finely crafted season. Also intense, uncompromising and demanding.

A great concept, mostly divorced from reality, with superb execution, just might extend forever.

There are, in fact, too many plates. At worse, they induce vertigo, or prevent close inspection for logical consistency (and there is some). But at its best, they promise something unique, even smart.

The cast is phenomenal, the writing inventive and genuinely funny, and you could pick just about any character--Andy or Ann, or Ron or Tom (Aziz Ansari) and almost mistake them for the show lead instead of Poehler. But still not quite in the same league as the show that precedes or the one that follows.

The Bridge is highly absorbing.

At least the opener indicates this remains an intelligent series in search of complex answers to complicated questions.

This is a gentle, good-hearted series and Scott was pretty much born to play Precious. But LDA can also be willfully, stubbornly languid.

With a visual sensibility that mimics a video game, Web browser and iPhone, as well as a hearty online presence with a social-networking bent, the new Electric Company seems to deliver.

The premiere hour balances perspectives pretty well--no loopy hippies, no redneck cops, no (apparently) cutthroat gangsters.

One thing you can say for USA: It knows what it's doing. It's got its shtick, and it's sticking to it.

The new show is very violent, in bursts, in between all the poetry and music. I don't know why, but violence bothers me less when its mixed with lyrical scripts like in "A Man Called Hawk." It's like Shakespeare on TV. ... Any script becomes Shakespeare when Brooks gets his vocal cords around it; pearly words float out of the TV. [27 Jan 1989]

Corden clearly appears to have the goods.... Most importantly, he has an obvious ability to perform bits that'll hold up in the cold light of dawn, or more specifically on the Internet.

He's sincere; he rings true. And that is why, in the wasteland of reality and makeover shows, Gunn shines.

Like a series of one-act two-handers--stage plays where just a pair of actors face off--this sneaky little gem steadily strips away its therapy patients' emotional defenses and excuses, exposing the raw fears and paralyzing reactions beneath.

We're talking major-league adult content here - from unblinking strip searches, to human branding, to brutal violence and language that the broadcast networks have never even thought about airing. But that's only an alert, not a warning, because this drama series from tube auteur Tom Fontana ("Homicide," "St. Elsewhere") packs a dramatic wallop as potent as its frankness. [11 July 1997, p.B47]

As well as New Yorkers know these three characters, it's amazing how quickly the real faces fade and the three actors here become their own "strong-willed people."

"Dr. Katz" is a very funny show. [4 Dec 1995]