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

Gorgeous to look at. [25 Mar 1999]

The most thought-provoking new series of the year on TV. [6 Oct 1999, p.B39]

"Buffy" is the best show of the year about kids in high school, with the most refreshingly original dialogue and pop cultural references. [17 Nov 1997]

It veers, sometimes swerves, between a public service tone and made-for-primetime spectacle. That can be disorienting, too. But, for the moment, all viewers can do is take I Am Cait at its word, or the words of its star.... I Am Cait now has no choice BUT to get this right.

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.

As a law show, "McBeal" is not as good as "The Practice." It has a lot of unrealistic, implausible, even surrealistic law. What it does well is show the compassionate, human side of the law profession, outside the courtroom. [9 Feb 1998]

The season's premiere represents pig-in-the-python storytelling--there's so much to work through, so many details, stories, characters and time dimensions to attend to, that after a while this all starts to feel like a very full meal.

Fans who hated the fifth season should mostly love the sixth, which is a return to normal, or as "normal" as "OITNB" ever gets. But the end does feel a little bit closer.

Transparent is no longer as interested in trying to locate the comedy in these lives as the tragedy. The tonal shift is a huge one, and not necessarily a welcome one either.... Transparent is still sharply observed, and it’s still easy to admire the actors, especially Hoffmann and Tambor. Just harder to love the show.

The story feels recycled, but Idris Elba’s Luther certainly doesn’t. He continues to fully inhabit this groundbreaking--and star-making--role.

This is a cool weekly cartoon series from Lucasfilm Animation that finds a fresh new style for depicting the struggle of the Jedi and their army of genetically engineered clones against the seemingly indomitable droid army of evil Separatists.

Heaton nails the role because she's had so much practice at this, but "Carol's Second Act" does her — and the trope — one better, by ever-so-slightly inverting our Heaton expectations. ... Heaton is back in another "family" sitcom. As expected, a good one.

There are real pleasures with "The Hour," but the hour (actually, about an hour and 15 minutes Wednesday night) ticks by far too slowly.

Think of this as “Grey’s” in a courtroom, with a good New York cast, two legends (Gould and Bill Irwin, who plays a judge), a TV star and a TV pioneer.

The pilot's envelope-pushing is caustic and obvious, two things Mom seems better than. Faris is both gutsy and touching as the adult trying to get her act together, while Janney's crafty adolescence extends to a third generation around Faris' two kids.

If you're looking for groundbreaking high art, you won't find it at a golf comedy. If you're after a little bit of solace, a tiny measure of happiness and feel-good uplift when we could all use it, "Stick" has the goods.

Hoggers is more down-market than Beers' crab fishermen and ice road truckers.

Odd...make that very odd, and not for all tastes--probably very few. But there are some funny bits.

A lot of fun, especially for theater buffs.

Watching Seinfeld knock out the oldies-but-goldies is indeed watching someone do what they were born to do. He’s a master technician who cuts through the material at a high rate of speed, while using pantomime to fill in the blanks or give the punchline a steroid boost.

Two things are going for this latest adaptation--solid production values and a talented lead actor.

The Comeback" is strictly for Comeback connoisseurs--those who deeply missed this sad/funny mockumentary on the idiocy of show business.

Forever isn't betting the future on plot mechanics, however, but on chemistry and that obscure object of desire called "sex appeal." These leads have it--in spades.

Umbrella looks, feels and sounds different [from other comic book TV adaptations]--music does much of the heavy lifting, and effectively so. It's a gorgeous-looking production that evokes another world, with both feet still firmly planted in this one.

Cannavale's Cupid is at least funny and charming. He's good here and so is Paulson. The weak link--the "B" story, like tonight's tepid one with the Postie, which was as appetizing as week-old cod.

Good start with a pair of shockers. Beware.

Slow at first, with gratuitous violence, but Dunk and Egg should win hearts.