This version is a triumph.

Unadulterated rubbish, and exactly what fans expect. Bravo, Starz.

This entire series will rise (or tumble to oblivion) on the shoulders of their characters, and on whatever chemistry they create. First impressions are that it will indeed rise.

Monday Mornings is Kelleyesque in all the best and admittedly worst--melodramatic, manipulative, shocking--ways. But it's also intelligent, particularly well-written and acted, and above all interested in matters other than what's directly mounted on the screen before your eyes, most notably ethics, human nature and human fallibility.

Over the first three episodes, I Feel Bad has largely erased that which (theoretically) made it stand out the most among fall newcomers--a comedy about culture as much as one about motherhood. The result is homogeneous and bland.

Imperfect, often entertaining, unrecognizable from book or movie.

The first two parts of "Tell Me Your Secrets" are certainly engaging in a potboiler sense, but it's not at all clear that its makers can keep it up for 10 episodes.

19 feels exactly like a Shondaland show, but far more like a crossover than a spinoff. There’s perhaps a bigger problem: NBC’s “Chicago Fire” already does this show and does it well.

[Bakula and Pounder] should make the process of watching--or chore of watching, depending on your appetite for more of this formula--just a little more agreeable.

I laughed. Not often, or perhaps not often enough, but there was also enough McFarlane-esque gross-out sophomoric tomfoolery to keep even me reasonably entertained for a half-hour. Plus, good ol' likable Cleveland works well as a leading man.

Yes, indeed, a love letter this is, but 41 is better than rank puffery because it also takes the full measure of Bush.

All dark shadows and gloom, there's a comic-book vigor to the series, and the narrative contortion of a soap.

This one is stylish, smartly produced and has a very appealing cast.

Faithful, intelligent adaptation, and an overstuffed one too.

Overall, "The Irrational" is decently acted, competently written, and adequately directed.

Lizzie Borden takes an ax to many assumptions--including the one that Lifetime movies aren't worth watching.

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

You've probably already heard Executioner is slow to get into. That's true. But (I think) the setup works, and (also think) it promises a satisfying series.

As usual, the production is immaculate, and Bernthal--who never disappoints--is his usual self. You may, however, wish (I did) that his Punisher wasn’t such a humorless, unmitigated jerk.

It's as if we've all passed this way (many times) before and could write the dialogue, act the scenes, predict the outcome all in our sleep.

Jersey Shore is appalling, which is mostly its appeal, but it can also be funny, irreverent and breezily dimwitted--which is the rest of the appeal.

The series has to update to 2021, or try to anyway. To that end, there are prominent Black characters here for pretty much the first time in series history — better late than never but about as awkward an attempt to redress its unbearable whiteness of being as you might imagine.

Grimm has real promise if NBC has real patience.

While neither dialogue nor sitcom tropes could be called fresh, the pilot plays solid, relying on able actors to score under tight direction (James Widdoes).

Tonight's opening episode of The Guardian is as well-crafted as any of this fall's series pilots. The hour plays like a tidy little TV movie. And therein lies its potential problem. Where the series can go from here-go, that is, without losing credibility and the dramatic tensions that make it distinctive-is difficult to fathom. [25 Sept 2001, p.B27]

SPOOKY stuff happens in The Others. Windows open by themselves, ghosts spring out of walls, eerie sounds wail. Yes, indeed, it's spooky. It's spooky how script writers think this sort of stuff is actually effective after so many years of seeing these cues so many times in so many "horror" movies. [4 Feb 2000]

Sure, it's summer and the viewing is easy--and Zoo is about as easy as it gets. There is some fun here, or potentially some fun.

Manifest wants to be "This Is Us" with a taste of "Lost." Over the first episode, it manages the feat with considerable skill. A good cast sells the improbable hook by at least making it emotionally probable.