Well written, well produced and well acted. [02 Jan 1995, p.B41]

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.

There's greatness begging to be grasped here, and nobody has a handle on it.

It's as if Empire had too many antecedents, and--failing to decide upon one--embraced them all. The result is an interesting idea that can't quite figure out what that idea actually is--or where it should go from here.

What you will certainly see is how finely tuned both the marital observations and comic timing are.... This summer's must-see comedy smash.

Solid thriller, good twists, too violent.

Whom to vote for--Dot or Bette? Or will Paulson end up splitting the vote? The special effects are so seamless and Paulson's performance so memorable that it's not a completely incidental question. Then, of course, there's Lange.

The cast has major potential, but Life Unexpected still needs to find an original and compelling voice.

Few divorces are pleasant, but the sharp, nasty scenes between Abby and Jake are the only emotionally honest moments over the first two episodes. Not surprisingly, they're the best ones, too. A shame the antagonists are so unlikable.

Could... become a very pleasant surprise.

If only I were 12 again. The tween in me would have loved the scruff and the cute and the “wild” antics.

"Emergence" is a "Stranger Things" thing. There's nothing wrong, necessarily, with being a "Stranger Things" thing, because "Stranger Things" was itself once the thing of a half-dozen '80s landmarks, like "The Goonies." But the tangents, or less kindly appropriations, here are inescapable. ... What's best about "Emergence," however, is the cast, including Faison. ... Decent "Stranger Things"-loving pilot.

Knox is neither absolved nor condemned, and you'll end up with more questions that you began with. But pay close attention: There are many telling little details throughout.

These folks know how to hit a note, and hold it, which means "Burn Notice" doesn't wobble around wondering how serious/silly to be. Its pitch is perfect.

The Detour is ruthlessly adult stuff--surely too frank and out-there for some viewers--but it’s intrinsically honest, convulsively hilarious and oddly endearing.

Guirgis’s language is authentic and raw, and tethers Luhrman’s gauzy-romanticized world of the South Bronx to the ground. Best of all, the cast--mostly young and mostly newcomers--has figured out how to make this visual and stylistic gumbo gel.

Pitch is doggedly inspirational. And despite its hackneyed moments, the pilot introduces enough meaty stuff to warrant a wait-and-see response. It’s a fresh concept amid TV’s sea of cookie-cutter franchises.

The pursuit of answers feels both rewarding and enjoyable.

We ultimately get to spend time with Henson's judges hashing it out. That brings insight into what makes things work, into creature logic, proportions, movement, performance facilitation, and letting the creation "emote through its environment." We don't just watch art being made, we come to understand the process.

"House" often does work well as straight history. It's that fantasy part that's missing. Other than dragons, there's little magic or mystery in this corner of Westeros — or that epic sense of wonder that made "Thrones" so thrilling through the first seven seasons. At least those dragons are fun.

Something's amiss here. The new "CSI" is a little stilted, a little obvious. [23 Sep 2002]

Wilmore’s approach was pointed (as pointed as a sharp stick) and often funny. Most of all, he brought a perspective to late-night TV--as the basis for entire nightly comedy show--that's been missing from late-night TV for just about as long as late-night TV has been around.

This series boasts some reasonably high production values, certainly for Comedy Central, with lots of energy, and a sense that it knows where it's going and how to get there. But the tone is so relentlessly mean-spirited, the guys so unlikable, their predicament so pathetic that Big Time deflates before your very eyes.

For this series to wear well, the forces of evil have to locate some clear motivation. Revolutionary ideology, world domination, pure greed - almost anything would be better than the explanation offered by next week's chief villain, who clings to her missile launcher and declares, "This is what I am." [12 Jan 1997, p.03]

The Divine One's "Bette" is still good enough to win a Marvy for the best TV comedy of the year. [11 Oct 2000, p.B35]

Leverage's pilot is particularly entertaining. The cast is fine, direction is expert, writing above average, and Hutton's Ford is almost convincing. But the payoff feels laden with cheese of another sort.

Can be charming one moment, insufferable the next. [16 July 2004, p.C01]

Props for a diverse cast and first-rate performances, but "4" does sprawl, occasionally sag.