Prepare to reattach those jaws once again. Spectacular. What else?

How could you possibly go wrong with these two? You couldn't.

Whether it's Brent's starry-eyed foppishness, Dawn's artistic daydreams or Gareth's organizational stiffness, these are characters we don't see on American TV. They're not accomplished, clever or distinctive. But they're so well-observed, and so subtly personified, that it's as if we're finding amusement in people we know. [21 Oct 2004]

Here's to a long and fruitful run in the new home. Tuesday night proves exactly why Southland deserves one.

It's homage of the highest form, but comedy of the highest form, too. Cos quite obviously is far from finished.

Based on six episodes for review, Kimmy remains Kimmy, which is about as good as the news can get for fans.

Marry Me is the rarest of commercial TV sitcoms in that it's actually funny, has two standout leads and a superb supporting cast (especially Meadows and Bucatinsky).

[The] tightly crafted pilot abjures the urge to make its own judgments on good/evil, sanity/delusion, isolation/connection, conscience/capitulation.

Baskets builds into a character-study treasure, much like FX precursor “Louie.”

This teacher can be loquacious--oh yeah--but he's got a big heart, too. Danza, Northeast and A&E deserve credit for this series.

Bracing and tasty.

Nice to finally see a show nailing what it wants to be and say, in continually discerning work from Passmore, Szostak and series creator Sean Jablonski.

If all this sounds heady, pretentious or derivative, then Westworld may eventually turn out to be guilty as charged. But from at least from the first two episodes sampled, Westworld is also a genuinely different new series that offers something even better than that: It’s genuinely engaging.

Sincere host, unguarded participants, sensitive treatment. And more cool stuff!

From the setup to the incidentals, People of Earth is packed with humor and heart forever revealed in clever ways.

But the best stuff easily reminded true blue fans--and only true blue fans--why they loved this so deeply to begin with.

A head-spinning, yet deeply humane, thrill ride.

Smart, engaging second season (so far). The ensemble cast gets better and better.

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

Like Seinfeld, Carmichael’s humor is sometimes about locating what’s funny in our narcissism, or his. But this episode wouldn’t work as well as it does if there wasn’t a moral, wrapped in a truth.

It's less the Plot Events that ring true here than the well-played little side moments and background squabbles, the simmering resentments and recriminations, the emotional tugs-of-war.

Of course there are dozens of loose ends in need of tying, but you do get the sense that some will actually get tied, and in a satisfying way.

Yes, it can be mean, and yes, superficial, and yes, a little draggy (almost a whole episode about a kids’ party, really?). But the cast is fabulous, and the script by Kelley sparkles. A winner.

No matter where you stand on the death-penalty debate, this is must-watch revelation--and, thanks to Herzog, tense and suspenseful drama.

Based on the first six episodes of the 4th season, OITNB remains fresh, funny/sad, smart, inventive, well-written, and particularly well-acted.

The Gus Vant Sant-directed pilot of what is easily the most important project in Starz history pulses with the sort of corruption that absolute power sires.

You can see Neverland as sly philosophical discourse, or you can see it as fantastically produced adventure. Just make sure you see it.