Like all love affairs, this one needs the time to develop and gets it.

Breaking Bad is extraordinary, and if the rest of the season matches Sunday, an Emmy nomination for best drama seems certain.

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

Party Down took awhile to jell, but it has hit its stride as one of TV's most finely observed comedies.

Leaving Neverland has justifiably drawn criticism for being one-sided. It notes Robson’s lawsuit only briefly and never mentions that Safechuck filed a suit of his own. Those are flaws, but the stories of these two men are too compelling to ignore. A riveting story of childhood sexual abuse and its devastating effects on survivors and families.

They've eliminated violence, or tamped it down, to get back to a kinder, gentler, "Murder, She Wrote" era — one abetted with a savage wit, and hard stop to each episode. Nice to be back there again. ... As always, Lyonne is great and her new show a winner.

In the third season, the song remains the same. Biblical themes of fathers and sons, fathers and daughters, honor and dishonor, Cain and Abel are all baked under that pitiless California sun. Brace yourselves.

Who is the real Issa? Neither... or more likely both. That’s the series, and also the wellspring of the humor, which tends to be fleeting, subtle or, in a few instances, flat-out funny.

This is TV's best comedy. And there's nothing in the first two episodes that would suggest otherwise.

The test for the picture, then, comes in whether it's possible to emerge from it with any new insight into the man himself and into why his work resonates as much as it does. And the filmmakers find plenty of material on both fronts.

Ok so Better Off Ted can be oxygen-deprived. This is still one of the funniest shows on TV, and the cast sparkles with vets like Harington, Barrett and de Rossi...Anders and Slavin, too.

While "No Direction Home" can't turn the American Mastery trick of telling us what makes a cultural titan tick, it probably gets deeper inside the Dylan mystery than any such portrait is likely to. [26 Sep 2005, p.B17]

[Producer John] Maggio has discovered the unfamiliar in something some of us thought was already familiar, and by doing so, does help dispel embedded stereotypes while enriching an already rich heritage.

In the three episodes Comedy Central offered for review, most of the sketches work, some don't. But the best of the lot is next week.... just might be that breakout season.

Judge has a keen eye for the absurdities of human behavior and speech, but he's not the kind of guy to waste that on subtle inside jokes or wordplay. He's not someone to waste it on farce, either: Silicon Valley also happens to be sly and smart.

Miller's series offers a chance to understand Martin Scorsese's movies in a new way. What a gift.

One of TV's bleakest shows is also one of TV's best comedies. What a marvel.

Beautiful and often moving.

Will this be a good season? Undoubtedly, yes, and blood will be spilled. But if this opener is any indication, there's not enough fake blood in Hollywood to sate the fifth.

Hard to watch, brilliantly told.

A lesser known, and unloved Shakespeare play (which, incidentally, had other co-authors) comes to life Sunday, but the better plays air over the next couple weeks.

The end begins--evocatively, dramatically.

Anyone who enters this fantastic and beautifully realized play-scape--which remains ever so slightly ghoulish--will stick around. This is a winner.

Falco, Eve Best (Ellie O'Hara) and Anna Deavere Smith (Gloria Akalitus) are flawless, and... very amusing.

If the first two episodes are indicative of the kind of inspired lunacy these guys will produce over the next 20 weeks, the Kids may well be the successors to Monty Python, SNL and SCTV. [21 July 1989, p.5]

The documentary cannily employs Goldberg's enthusiasm and some clever animations over Moms' audio routines to keep this lost legend's influence in the forefront.

Fans will be pleased, though they shouldn't be too surprised by the major plot development Sunday--it's obvious by half.

The cast is phenomenal, the writing inventive and genuinely funny, and you could pick just about any character--Andy or Ann, or Ron or Tom (Aziz Ansari) and almost mistake them for the show lead instead of Poehler. But still not quite in the same league as the show that precedes or the one that follows.