Gossip Girl actually isn't bad by the standards of the medium--with "The Hills" pretty much being the standard--and it's even surprisingly competent.

But what makes this show different is Jerry Stiller. George Costanza's father is now Doug Heffernan's father-in-law. And what a riot he is. [21 Sept 1998, p.B23]

The opening episode sometimes feels like a "Mad TV" sketch that's going on too long, and that doesn't bode well for the long haul. But that's not to say there's not plenty to laugh at - and even admire - in Wednesday's deadpan debut. [20 Jul 2003]

The writing is pointed, the direction tight. But what really makes it work is Tori herself, light, bright and vulnerably likable.

I would say give them a chance. What else are you going to do for a half-hour after "Frasier"? [2 Oct 2001, p.B27]

Despite the predictable conclusion, "Stargate SG-1," leaves many character threads dangling tantalizingly. If you aren't careful, this series could definitely hook you. [27 Jul 1997]

"Sleeper Cell" is nicely acted, produced, written, directed, but is still so deeply rooted in the conventions of the medium, that no matter how hard it tries, or how hard it wants to be something else, this still ends up Just TV.

Congenial.

The pilot still is often clever and engaging, but confusing too.

A sentimental new series whose flaws are fairly easy to forgive. [26 Sept 2003, p.B03]

I was resistant to "life as we know it" at first, but it won me over (or wore me down). What seems prurience for prurience's sake turns out to be a good bit richer, kind of like "My So- Called Sex Life." [7 Oct 2004]

"The Nine" may well be the best of the crop - smart, clever and especially wise to the ways of this genre - but the challenge remains the same. This is work - admittedly often pleasurable work, but come 10 p.m. next Wednesday, we've got to do it all over again.

The overall production--good, mostly efficient, and certainly not perfect.

Good actors can get away with glib, and Woods is one of the best, persuasive enough to have you spotting freshness in the familiar and wisdom in cliches.

Series star Treat Williams ("Hair," "Prince of the City") is such a fine actor, with so much natural gravity, that he can transcend all but the hokiest writing. And as the opener develops, the writing actually starts to meet him halfway. [16 Sept 2002, p.B18]

Dream On is almost there. It still needs some work, though. [6 July 1990, p.43]

There are minor flaws in the comedy. But by the second episode on Monday if you don't love Blossom Russo you're a confirmed teenagerophobe. Mayim Bialik is adorable and a winner. Even a curmudgeon like myself likes "Blossom." [3 Jan 1991]

An effective and well-wrought drama, with enough cinematic flair and energy to paper over some of its more obvious faults.

Just about everything worked, and worked well, from the opening credits to the final ones. The energy and beauty of New York City was incorporated in a way that exceeded even my expectations--happily exceeded them. Meanwhile, The host: A bit nervous, understandably, he nonetheless reminded fans and people who have never heard of him why he's here.

It's a romp and a half.

Disney's HSM2 delivers precisely what's required. And America is all ears.

Yes, "The Loop's" a winner, although let us be the first to admit that the usual attributes associated with "winning" are probably stretched beyond all recognition in this context.

It's not insulting to the intelligence. The first episode is promising and mildly, if not wildly, amusing. What it has going for it more than the laugh track is good writing and performances. [21 Sep 1995]

A flawed if promising start for a tough old veteran that proved it's still got some fight--and talk--left.

What Canterbury has powerfully going for it, besides the magnetic/vulnerable Margulies, is a cast surrounding her with equal strength, from principled second Ben Shenkman to Terry Kinney as their sneaky prosecutorial adversary, plus an array of effective guest stars from the rich East Coast acting pool.

Rick Berman and Brannon Braga have assembled an attractive cast and found a tone -colloquial, humorous, slyly sexy -that probably will make questions about the science in this fiction moot. [26 Sep 2001]

The emotional reality is so true here that not only do they get away with an assortment of gags about condoms, massage parlors and other juvenile fixations, but they make them resonate endearingly.

Grease: Live was maybe not a slam dunk, but nevertheless was the crowd pleaser it deserves to be and so often has been.