A fast and furious romp through the first six episodes that should keep bingers--and fans--happy.

Probably the best comedy series on television. ... "The Larry Sanders Show" offers the sharpest of television's multitudinous media jokes while always remaining grounded as a comedy rooted in character. [16 Jul 1995]

The best show of 2025 also happens to be the best show of 2026.

Uniformly excellent - although some additional reporting devoted to the treatment of PTSD would have made this a more complete package.

Great start to the much-anticipated second season.

"Driving" is cool, methodical and comprehensive, but does leave open that one question: How would you feel? ... Essential viewing.

Like the first season, there’s a “Crash”-like flavor to the storytelling, but it feels more organic this time around.... Excellent, all around.

A critic for this paper once declared "The Wire" "the greatest dramatic series ever produced for television" and as the fourth season gets under way Sunday night, there's no reason to quibble with that assessment.

It's what we do with our character that matters. This season— magnificently—reveals what Elizabeth has done with her's. You will be blown away. At least I was.

Four immensely enjoyable hours. Alas, I can't speak to what happens during the remaining 20.

Veep is the single most improved series on television.

Six million zombiephiles watched the finale of the first season and those 6 million will not want to miss Sunday's opener, which is excellent and appropriately disgusting.

Remarkable film.... Based on a look at the first two episodes, this particularly well-produced film insists that even in death, Kalief Browder can still change a broken system--and must.

As with his earlier shows, "Hopkins 24/7" (2000) and "Hopkins" (2008), Wrong has structured these stories masterfully. Nothing seems wasted, nothing is superfluous. As a result, the hugely important work these people do is honored in every shot.

Lotsa fast banter and stylish direction will make some viewers dimly recall--as they are doubtlessly meant to--William Powell and Myrna Loy's late, great "Thin Man" movie series.

The Housewives evolve. Yes, watch what happens, if only for the richer plot lines, smarter dialogue and more pressing matters of the day.

It was last year, and remains so this year--one of TV's very best.

What's here is pitch-perfect - the fear, loss, emotional devastation and, peculiar to this disease, silence.

Sunday is a blast. Heads will roll, and roll well. The gore quotient is through the roof. And finally this guarantee--there is one, maybe even two, spots where you will yell out at the screen, "Oh, my God, that just didn't happen." Yes, the new season is that good.

Fascinating and deeply troubling.

Stitched into every word, every gesture, is an implicit recognition of that brutal Fargo credo: People can be cruel, stupid, mean and unintentionally funny, even the nice ones. Another winner.

Best show of the season? Call me crazy, but it's a loopy-twisted-serpentine whodunit revolving around a whip-smart teenage girl...So let's recap. Engaging star, cool characterizations, witty scripts, meaty backstory. What's not to like? Only that networks always cancel deliciously offbeat gems like this. Let's hope UPN doesn't actually want to be a "real" network, after all. [22 Sept 2004, p.C01]

It's just as good as I remembered. Even better, if that's possible. [8 Apr 1991]

The fuss is justified. Sunday's return of the Steven Moffat and Mark Gatiss-created series is a triumphant one, and should easily establish Sherlock among TV's finest series.

"The Terror: Infamy" is so good and so cleanly told that it really doesn't require much of a primer before diving in, but a little background couldn't hurt.

L.D. is back, and - based on viewing the first three episodes - his genius remains intact. [7 Sep 2007]

"Doctor, Doctor" can be hysterically, outrageously funny. [13 Jun 1991]

Davies’ dialogue feels so organic to the characters it’s written for that it seems almost to bond to them, as naturally as if it was their skin or hair color. Actors in Davies’ production invariably rise to the level of the words placed before them. They certainly do here.