All charm and smarts, the best new NBC comedy in a long time. A winner.

McDormand will win an Emmy for this. Already, there's no contest.... Cholodenko's direction is masterful, and so is the bleakly funny script by Jane Anderson, but they clearly have a vision that is both part of--and separate from--the source material.

This is often a stirring and deeply felt portrait of people in an extended state of crisis.

Cumberbatch and star British producers Steven Moffat and Mark Gatiss ("Doctor Who") have performed quite a remarkable feat here--they've created something unique and pleasurable where so many have trod before.

Sharper, smarter, more richly layered, detailed (and acted), Girls has improved upon its first season.

Mad Men is back and back in all the right ways--the humor, the writing, the period details, and best of all, the flawless attention to these characters and their cluttered interior worlds.

Had something special about it from the start: the mood, the writing, the acting. All the great series establish a mis-en-scene, a special environment that you can cut with a knife. I felt I was in a different place watching "Wiseguy." [30 May 1988]

Yes, there are two big stories this season, but the one about Thatcher — Anderson, like Corrin, is brilliant, by the way — doesn't stand a chance opposite the other. Charles and Diana: Tragic characters straight out of Shakespeare, one whose blood runs cold, the other whose "passions are made of nothing but the finest part of pure love," to steal a line from another play. ... Best season yet.

True-blue fans will swoon. Everything they - you - love about this classic is laid out, banquet-like, Sunday night - the fashions, style, elegance, writing, characters, precision, beauty and most of all, the humor.

Whip-smart and skintight, Season 2 clicks like clockwork. You’re appalled, you’re LOL, you can’t wait to see next week.

Every character bursts with life here, in what may be the most fully realized show on TV. [13 Aug 2007]

With just eight episodes as evidence, this third season appears to be flawless.

Unbreakable Kimmy Schmidt has still got it. Kimmy mixes it up with #MeToo, with stellar results.

Full of joy, humor, brilliant writing and performances, and a deep unabiding love for what really makes Hollywood great--the women.

This indisputably is Amazon Prime's “Orange Is the New Black.” That--believe me--is praise enough.

This beautiful and often moving film resonates even more powerfully with Sandy in our rearview mirror, while Burns' favorite theme--the American character--is drawn here with great clarity.

Wolf Hall really is one of the great pleasures of the small screen this year, even if it doesn't initially make much of an effort (like Cromwell) to curry your favor. But stick with this one. The rewards are considerable.

"Thirtysomething" was the best new drama last season, and it gets better with every episode. [13 Dec 1988]

The most wonderful show this year. ... The writing is only one of the miracles taking place in "The Wonder Years." What is so great about the show, and so different, is the conception of the kid and the acting by Fred Savage. [25 Dec 1988]

The Long Road can be tough to watch--I saw the first three episodes--but it does seem like it’s essential to. Excellent and unflinching.

This is TV's best and brightest at the moment, and a wonderful tribute to New York's resurgent TV production industry.

Concise, thorough and lavishly if grimly illustrated, "Tulsa Burning" is really all about questions [What of those victims and their descendants? Will justice ever be served for them?].

This second season has been marvelous. Now it's absolutely brilliant. [27 Nov 1989]

The best show on TV remains — emphatically — the best.

Felicity is the best drama of the year, a quality show of substance and intelligence, something worth watching. [28 Sept 1998, p.B23]

It's stunning for a TV mystery. It's actually mysterious. The mood, the characters, the surreal quality of how the story is told, are something different. It has a slow hypnotic movement, a style like a boxer in slo-mo. It hit me with tremendous energy and made me abandon despair at the state of TV mysteries. [5 Apr 1990]

Even at six hours, this tends to be more impressionistic, and less bound to a strict historic timeline.

It's evocative, smartly structured, well acted and insists that the strange ride you are about to take will be worth every minute.