The premiere hour is abysmal, and the women's cluelessness is profound.[2 Jun 2014, p.49]

Ned and just about everyone else erupts in violent arguments, denunciations, accusations, counteraccusations, diatribes--these are searing, electrifying moments, furiously articulate and delivered with escalating passion. [2 Jun 2014, p.45]

His delivery, which falls between Monty Python and Austin Powers, explodes with enjoyable little pips of indignation. [26 May 2014, p.42]

Petals doesn't have the same smothering intensity but it's compellingly crazy, the TV equivalent of outsider art. [26 May 2014, p.42]

As the season goes on, the narrative grip will (one hopes) tighten and grow as richly decadent as the surrounding production--or Eva Green. [26 May 2014, p.39]

In the show's best moments, this moral pickle (being a mole vs. being a cop) leaves Ryan scrambling to improvise ways to prevent gang crimes without really catching anyone. [26 May 2014, p.40]

This version, set in Paris, compensates with an atmosphere of chic rot--they have that over there--an increased body count and an excellent cast. [19 May 2014, p.44]

Louie remains a small miracle--a shaggy-dog story, hopping with fleas, maybe rescued froma pound, that outdazzles Lassie, Air Bud and the rest. [12 May 2014,]

Jack is back, and he's still a lot of fun. [12 May 2014]

The show is vaguely mystical, implausible and sappy, but if you're in the right mood it's very moving. [5 May 2014, p.46]

The show is light with sharp baby kicks of meanness. [5 May 2014, p.46]

The supernatural drama lacks in dramatic tension and suffers without the self-aware humor that made the similarly themed American Horror Story: Coven work so well. [28 Apr 2014]

The procedural elements of the medical drama hum along nicely, but it's Reilly's performance outside the operating room that makes this show worth watching. [28 Apr 2014]

The team behind Bad Teacher has successfully reconfigured the raunchy comedy into a heart warming sitcom starring Ari Graynor that is still bad in all the right ways. [28 Apr 2014]

Edie Falco makes the stakes scarily real. [21 Apr 2014, p.43]

A larger, wholly engrossing story about crime syndicates and hit men. [21 Apr 2014, p.43]

Mad Men has both the greatness of execution and inscrutability of artistic intent, and it won't be until the show actually ends that I'll know which one won out. [21 Apr 2014, p.41]

Valley starts well, with needling absurdities, but payoffs are few. [Apr 2014, p.50]

Bell is key, so plainly direct and unstudied that we see the past through his eyes. [14 Apr 2014, p.50]

[A] fast, funny political satire. [14 Apr 2014, p.49]

The first three episodes of season 4 grab the wide-flung stories of this epic and assemble them into a crackling narrative. [7 Apr 2014, p.41]

If even a few good performances lock into your vision, you perk up. In this new comedy about friends in various stages of relationship envy and regret, there are two: James Van Der Beek and Zoe Lister-Jones. [7 Apr 2014, p.45]

This is the best "family" reality series since Honey Boo Boo or even The Osbournes from several centuries ago. [31 Mar 2014]

Jack has an excellent cast.... Maybe the writing will catch up with them. [31 Mar 2014]

Lindsay pulls us into her space and makes us feel protective. [31 Mar 2014]

The 100 is imaginative, surprising and fun--Lost for kids. [24 Mar 2014, p.39]

This partly improvised comedy is closer to Girls than All About Eve: wistful yet stinging, silly yet wise about the instability of even the deepest friendships. [24 Mar 2014, p.37]

Crisis may not be great, but it works. [24 Mar 2014, p.35]