Modern Family is good. Better than good. Really good. O'Neil--dry and wonderful as ever--and Vergara (considerably less dry) are a winning combination.

As twisted, and twistedly funny, as ever.

Lavisly illustrated with archival footage, much of it rare, The March makes it almost easy to forget that words--not to mention the one man who said them--were the real stars that day.... Excellent, exhaustive.

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.

On top of the stars' subtlety and Fuller's verbal wit, Sonnenfeld's pilot direction ladles layers of flashy frosting--theatrical camera angles, emphatic zooms, intensified color and those heavyhanded moments when the narration can't quite straddle the sap line.

Richly documented, but tends to become long-winded--or just plain winded--by the end.

The most intriguing thing, actually, is that Lost may not even need the hoodoo voodoo. Abrams and script creator Damon Lindelof ("Crossing Jordan") have already set up a pretty compelling cross- section of earthlings as a study of simply human behavior. [19 Sept 2004, p.11]

Yet, for all its jam-packed insanity, Crazy Ex-Girlfriend can be one of the tube’s most perceptive and moving shows.

Humor is also key in the capacious pilot hour directed by John Madden ("Shakespeare in Love"). Subsequent episodes echo its deft balance of epic scope and whimsical humanity.

Funny, smart, entertaining, excellent acting and writing. What's not to like?

Another fine Hawke performance — and entertaining series — but the character he's created never quite gets a backstory, at least over the first five episodes.

First-rate and must-watch.

It all remains hilarious and mad. One of TV’s funniest shows, and gifted stars, returns.

The film's essential weirdness felt real. The TV series' weirdness is more often just comical (or disgusting. One word: Spiders.)

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

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.

Mostly entertaining late-summer thrill ride, decent horror too.

The huge cast is excellent. ... There’s no driving narrative until at least the fifth episode. That’s an awfully long time to wait for something big to happen in an eight-episode season. At least The Deuce makes a case that it’s worth the wait.

The best parts of Show Me a Hero are the sharply drawn mini-portraits of people who will ultimately move into the new public housing. Spread throughout the first five hours, you hope you will find a hero there, but in vain. They're just normal people looking for a better life, and ultimately find one.

Tonight's episode is superb, and barrels--relentlessly--toward the answers.

The second season of Saul establishes what should have been obvious all along--this is basically just a continuation of “Breaking Bad.” Same themes. Same setting. Same preoccupations. Even same humor. But best of all, same deep, abiding intelligence.

Africa convincingly, emphatically, establishes that you ain't seen nothing yet.

It's extraordinarily familiar territory, as well-trod as any moment of pop cultural history. And yet "The Beatles Anthology" still feels as fresh and as relevant as ever today in the way it presents the dizzying whirlwind of this sort of fame from the front lines.

Yes, "Deadwood" was incomprehensible last season. It is incomprehensible this season. Fans will be delighted.

Beautifully done, but ultimately overdone. The book is better.

The Shield (this season and every season) is an intoxicating head-gamer of a show that grabs you by the throat.

The hype is justified. Nashville's terrific.

Hall is still doing something extraordinary here. Better yet, something original.