With all this time spent checking off genre boxes, there’s scant space for the narrative to breathe beyond them.

The show has sneaky depth. The leads are pretty without being "pretty," refreshingly down-to-earth likable, and able to flesh out their youthful stereotypes with this weird thing called personality.

With only the first two episodes as guide — admittedly not much, or nearly enough — Odenkirk's post-"Saul '' second act is a perfectly pleasant letdown.

The first five episodes are best, with their show-within-a-show structure, specifically those San-Ti virtual reality headsets that Mark Zuckerberg would give half his kingdom for. They're a portal into a whole other world, with its own set of narrative rules, and even the occasional flash of humor. Mostly they're just fun. “3 Body” noticeably sags when the San-Ti no longer deploy them (although one does reappear in a closing scene of this first season).

This "A League of Their Own" does what any successful remake must: it finds its own voice, standing apart from its predecessor while also honoring its legacy.

Forgive the pun, but this brass needs polishing. The Green/Burgess team is one of TV's best and we hope they'll make this show as sharp and compelling as it should be.

James is good in this; otherwise dumb … and dumber.

24, in other words, is still thankfully 24.

A relentlessly grim and deeply depressing viewing experience.

Even for sitcoms, "Sunny" is often a vile, twisted beast that crosses the line of acceptable taste. But it can also be highly amusing, and the addition of DeVito and Archer does nothing to diminish that. [29 Jun 2006]

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

Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.

Funny, tragic, scary, creepy, wild, insane. Hey, what's not to like?

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.

At first engaging, then slowly, inexorably, Succession turns into work.

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]

While the middle episodes slump, "Life & Beth" starts strong, ends strong, and features a lead with genuine dramatic chops.

The Path is a grim unburdening, all right, but also that what-if series in search of deeper moorings, and a deeper meaning.

It's too sitcommy ... But I still love the concept of "NewsRadio." ... And most importantly for the future, "NewsRadio" has some strong people in the supporting cast. [20 Mar 1995]

Hilarious implausibility, overheated dialogue and enough soap to do several loads of laundry are part of its appeal.

Mostly lame, but also good-natured, with an amusing finale.

Fun, congenial and lighthearted but also smart and--when least expected--a little bit profound.

"Mrs. Harris" unfolds with a basic playfulness that keeps the mood light even as the story becomes dark indeed.

Get beyond that preposterous premise outlined above, and you've got a solid piece of prime-time entertainment. This show knows what it is, and knows exactly what the core audience expects.

The writers have great ears for "real" dialogue, and, in fact, not a single line here feels like a dead ball. The characters, too, arrive fully formed and believable. First impressions are absolutely vital in TV, and The Middle makes an excellent one.

Every screen shot locks you comfortably into the familiar "Star Wars" canon, but somehow it all feels fresh and new. ... "The Mandalorian" feels like a trip worth taking with them.

Aside from the snappier editing and Sisco's greater sexual aggressiveness - like "Sex and the City's" Samantha, she gets the men on her most-wanted list - this could almost be a "Police Woman" episode from 30 years ago. [1 Oct 2003, p.B23]

I've watched tonight's show, the pilot, three times already - and not because I'm searching for the clues that Affleck and Bailey have embedded in the film. I love hearing nerdy IRS agent Jim Prufrock's improbably forceful declaration of why he loathes tax cheats. I love the way the Push residents talk about their local "slow-dance bar" as if it were as commonplace as a KFC outlet. I'm curious why all the couples in Push make love every other night at precisely the same time. I admire the creative visual presentation, which rivals that of a good commercial or music video. [17 Sept 2002, p.B03]