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

This still very much feels like a journey worth taking if only because--in the process--Hamm deftly continues to locate some heroic facet in TV's reigning anti-hero.

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.

Still TV's best--dive in while the water's warm.

This is a thoughtful, dutiful historic drama filled with all the requisite period details and British accents, too. But what's missing here, glaringly so, are passion and sweep .

If only the series works its way toward more effective show than tell, Las Vegas might find itself with a winning hand.

The cast feels solid, and likable, jelling swiftly.... Then comes that final distasteful sex gag. Let's pray it's just pilot-itis.

What's wrong here are some of the same elements that have made the 2013-14 network comedy crop one of the weakest in memory--not enough laughs, not enough of a show that feels like it has something interesting to say (and wants to say it).

We ultimately get to spend time with Henson's judges hashing it out. That brings insight into what makes things work, into creature logic, proportions, movement, performance facilitation, and letting the creation "emote through its environment." We don't just watch art being made, we come to understand the process.

[A] strongly acted thriller, which seems to add another intense dimension weekly.

Crisis ultimately gets its priorities straight by giving viewers a reason to care--about the characters, outcome and mystery.

Sly as "The Larry Sanders Show," keener than "Fat Actress," more sympathetic than "Curb Your Enthusiasm," this new half-hour comedy hits the bull's-eye in every direction. It's funny, sad, smart and immensely appealing. [5 June 2005, p.11]

Yes, this is all very familiar--Sundance's "The Returned" was better, by the way--but there are still solid hints of an engaging series.

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.

Basic yet beautiful, Cosmos appears to be a winner.

Overtones of "Rescue Me," absent the wit and bite.

There's no authentic life to Saint George beyond the setup/joke/laugh formula and its witless, gamy punchlines.

Disturbing. Magnetic. Hold your breath. Watch.

The Red Road demands patience, but from what I've seen, it strongly suggests that will be rewarded.

Some twisty situations, some unexpected heart, some nuanced acting. Some serious single-camera potential.

Still excellent, still hard to love.

It was... safe, reasonable, unembarrassing, uninspirational.

The show proceeds at gale force, demolishing logic, plot, meaning and (most of all) pleasure in its path.

Good-hearted and gentle, Fisher struggles on the "funny" front.

About a Boy yearns to be good. Yet it relishes being bad. And Katims--guiding hand to "Parenthood" and "Friday Night Lights"--doesn't fess up to that dichotomy.

Just about everything worked, and worked well, from the opening credits to the final ones. The energy and beauty of New York City was incorporated in a way that exceeded even my expectations--happily exceeded them. Meanwhile, The host: A bit nervous, understandably, he nonetheless reminded fans and people who have never heard of him why he's here.

Turgid dialogue obscures intriguing ideas, amid uneven echoes of civil rights and supremacist crusades.

There's pleasure in every frame here--from terrific new cast additions (Molly Parker, David Glennon) to richer D.C. subplots. It all works, and it is all addictive.