If this is the end for “The Gilded Age,” bravo to the series for delivering two near-perfect seasons. But I do hope we’ll get to spend more time with these fantastic characters.

How really pleasant it is to report that M*A*S*H turned up on Sunday night with the spirit of the original, if not all the blood and free-swinging language, intact. [18 Sep 1972, p.31]

A splendid cast, headed by Shelley Long, a college-educated cocktail waitress, and bar owner Ted Danson, make Cheers something to cheer about. [19 Oct 1982, p.34]

It's a remarkably talented group. [14 Sep 1978, p.26]

It's a slam-bang hour that also serves up some "Battlestar" touchstones -- religion, politics -- while advancing the story a half-step and introducing another Cylon threat to the Galactica crew.

The show looks slick, the attention to detail is painstaking and the music inspires toe tapping.

[Lansbury] made this show, which depended on smarts, instinct and the force of J.B.'s personality, not CSI evidence.

Meredith Baxter Birney and Michael Gross do a splendid job as modern-day parents with an attractive brood of convincingly "now" youngsters. [19 Oct 1982, p.34]

The guest performances were delightful and contributed greatly to the success--in my opinion--of the opener. [28 Sep 1977, p.49]

The first two episodes deliver a lot of setup as Alex’s world is ripped apart before he’s set on his path to becoming a spy. The plot mechanics are fairly predictable and it takes the show too long to get where it’s clearly going.

An easy, breezy binge, “Corona” puts a welcome, mostly upbeat spin on trying times.

Showtime’s “Love Fraud” is the year’s most engrossing true crime docu-series. ... There’s barely any flab in these four hours as the story takes progressively weirder, more surprising turns.

While there is an ongoing serialized story, the individual episode stories involving the lead characters represent “Lovecraft Country” at its best: a haunted house in episode three, a “National Treasure”-style quest in episode four, a metamorphosis in episode five. The episodes often upend expectations.

Lasso’s good-humored, unflinchingly honest and polite character appeals as a type we don’t often see in a single-camera comedy in the post-anti-hero TV series era.

As with plenty of reality competitions, one wonders if “Fridge Wars” might be stronger with one family at a half-hour rather than the one-hour running time, but for the most part “Fridge Wars” doesn’t feel padded.

This silly series deserves kudos for living up to its title. Each eviction is carried out in campy, horror style. ... If future episodes can effectively-yet-cheesily ape horror movie conventions with a different method of end-of-show murder each week, “Killer Camp” will prove itself an entertaining summer diversion.

“Brave New World” begins as mostly serious and dystopian, but by episode four there’s a shift in tone. Whether by showrunner David Weiner’s design or network notes, the show lightens up, allowing for more moments of dark humor but also some weird character turns.

“I’ll Be Gone in the Dark” opens some doors and then never fully explores the implications of McNamara walking through them.

A hilariously absurd sketch comedy that masquerades as a “Soul Train”-esque show.

“Love, Victor” is a pretty tame affair – perhaps too tame for Hulu. The show builds to a season finale cliffhanger that sets the stage for a potentially more interesting, less paint-by-numbers second season.

HBO’s remake of “Perry Mason” pulls together great elements, casting and period production design in particular, but it takes a full five episodes to get to the courtroom drama viewers familiar with the character expect.

To the credit of writer James Graham and director Stephen Frears (“A Very English Scandal”), “Quiz” rigorously offers both sides of the story and allows viewers to decide.

“Genetic Detective” is more cerebral than an Investigation Discovery show while it creatively — using visual graphics — explains the science and technological advancements that make these investigations possible.

“Love Life” lacks the HBO edge but it’s still the HBOiest of HBO Max’s early offerings, even as the characterization of Kendrick’s Darby is closer to Ally McBeal than Lena Dunham’s Hannah on “Girls.”

Just enough modern references so these new 10-minute episodes don’t feel like reruns.

The new season’s second episode picks up the story from season one, untangling confusing character turns and detailing how events came to pass in a brilliantly-executed bit of plot jujitsu that avoids retroactive continuity. ... The remaining five episodes then backfill character information, which fails to be as compelling as season one’s plot.

The relationship between Courtney and Pat forms the spine of the series and it’s a welcome change of pace from the network’s twentysomething heroes. Whether that's enough to justify yet another superhero show remains to be seen.

What “Snowpiercer” does best in early episodes is world-building. But it’s problematic for the show’s long-term prospects that the various train cars — cattle car, aquarium car, classroom car, night club car (with multiple levels and a surprising number of staircases for a train) — stir up more initial excitement than the characters or story.