Should appeal to fans of Rock and to viewers who long for a family comedy reminiscent of "The Cosby Show" (albeit with a sharper edge).

Taken altogether--the determined detective, the drug lord, the kooky encampment, the mystery of Tui's disappearance--Top of the Lake makes for a compelling mix of moody, character-driven drama.

CBS's The Good Wife is both a well-written legal drama and a terrific showcase for actress Julianna Margulies, who elevates the already-good material with her perceptive, open performance.

The series offers strong, striking cop stories to accompany the intense thrills of the Luther-Alice cat-and-mouse game. But it is that back-and-forth and the sexual tension that develops between the pair that makes Luther stand apart.

The A Word is at its most affecting when the focus is on Joe and his parents.

Cute but not cloying, funny but not overflowing with gratuitous sex jokes, "The Class" earns a B+, which easily puts it in contention for valedictorian among fall 2006's freshman comedies.

The first three hours have all the edge-of-your-seat thrills that marked the show's first season. [9 Jan 2005]

In its early episodes, Tyrant is as engaging when it focuses on family drama as when it veers more in the direction of taut, serialized, political thriller.

Created and written by Emmy winner Lena Waithe (“Master of None”), The Chi isn’t always an easy show to watch, but it imbues its characters with a humanity and complexity that makes the series commendable.

"Doctor Who" fans may get a little more out of "An Adventure in Space and Time" than non-Whovians. However, even for those who don't watch "Doctor Who" regularly, it's a terrifically entertaining period piece with a lot of heart and appreciation for TV history.

Catastrophe has its sweet moments but balances them against more outrageous comedy--including a hilariously ugly, profane discussion of childbirth in the series premiere--resulting in a thoroughly entertaining series.

While no one would put his new show in the 'Frasier' class just yet, it's certainly a cut above the other sitcoms coming your way this week. [4 Mar 1997]

The episode just dives back into the fast-moving plot, which may take some forgetful viewers a little time to catch up. Molly Parker plays Frank's hand-picked replacement, and at first her character seems like a convenient, controllable choice. But episode by episode, she begins to emerge as a power broker in her own right who might someday be capable of turning on Frank.

Like "Project Runway," there's creativity involved in this competition. And the fact that it's a competition, and therefore orchestrated and produced by necessity, makes it seem less fake-real.

Alternately goofy and smartly satirical, ["Freak Show"] may be the best companion to "South Park" Comedy Central has come up with yet.

If the first two installments are any indication, Spoils of Babylon will be a short-lived but entertaining hoot, an ideal addition to the IFC "Always On. Slightly Off" comedy brand that includes "Portlandia," "The Birthday Boys" and "Maron."

Bosch is by no means a revolutionary show like Amazon's "Transparent," but it offers smarter than usual cop drama fare, and it's certainly better than any cop show currently on a broadcast network.

There are several good "Twelfth Nights" on film and even more "Midsummer Night's Dreams," but we've never before had a good "As You Like It." This one is welcome.

Written and executive produced by “Good Wife” creators Michelle King and Robert King, The Good Fight marks a pretty seamless transition from “The Good Wife” that feels similar enough for viewer comfort, but also different enough to avoid being a total rehash.

If you have the patience and good humor to let the back stories and mysteries unfold in the 109 minutes of the first episode, you'll enjoy spending time with Mma Ramotswe and getting to know the landscape of her beloved Botswana, a peaceful nation in southern Africa.

Depending on the subjects mocked and viewers' personal sacred cows, Root of All Evil won't appeal to everyone on a weekly basis (future episodes include Donald Trump vs. Viagra, Paris Hilton vs. Dick Cheney and Las Vegas vs. the human body), but it is a successful attempt to re-package stand-up comedy for prime time.

The Good Place offers a clever high-concept premise that’s complemented with intelligent, sometimes absurdist humor.

It's an interesting and damning film but not as engrossing as HBO's recent "The Jinx" series.

A wonderfully entertaining program, Bright Lights shows just how close the mother and daughter had become in recent years, living as neighbors on the same Beverly Hills compound that vaguely brings to mind “Grey Gardens” without the fallen-from-grace squalor.

Orphan Black begins with a solid, well-constructed, one-hour pilot that breezily introduces the characters and the show's conceit. It does allow some questions to linger, but it won't leave viewers scratching their heads in confusion, an important distinction and a balance not all genre shows are capable of getting right.

Fans of “Six Feet Under” are likely to enjoy Transparent while those who find characters who make consistently poor choices frustrating and may be less enamored. “Transparent” isn’t funny all that often, but at its heart it does tell a relatively new, original story in a way that’s grounded and heartfelt without being at all saccharine.

It’s a small adventure befitting the 30-minute running time but it’s also clever in the way it ultimately puts the “Toy Story” characters in a recognizable situation, which is similar to the big-screen movies.

NBC's "Heroes" is the best pilot of fall 2006. Whether it continues to soar in future episodes remains to be seen.

Executive producers Todd Slavkin and Darren Swimmer ("Smallville") tie the show's tangle of plots and relationships together with an agile skill that makes this new Melrose Place more appealing than the show's concept suggests should be possible.

What makes "Desperate Housewives" so much fun is that as ridiculous as some of the scenarios are ... these scenes are also rooted in truth. Sure, the show offers a heightened reality, but it's not too far-fetched. [30 Sep 2004]

The series maintains its sense of creating a believable universe. Yes, a few characters are explained away without making an appearance (BBQ owner we hardly knew ye) but the show tries hard to reward long-time fans.

It's amusing and knowing and will make some viewers smile, but it probably won't provoke gales of laughter. And that's fine. It's still more clever than most single-camera comedies ABC has put on the air in recent years.

It's too soon to declare Worst Week the fall's best new sitcom, but if the show's writers can find a way to sustain its seemingly unsustainable premise, it may overcome all doubts. It's certainly off to a strong start.

If you're looking for a smart, brain-massaging sitcom, watch NBC's Thursday night lineup. If you're just seeking a few (sometimes cheap) laughs, Sherri provides.

Rescue Me is not a show for the easily offended. Profanity is rampant along with sexual innuendo and references to sex acts. It can be profane in the extreme, however, and it rings true to the characters and their situations. [19 June 2005, p.TV-5]

Much is written today about the products that come out of Hollywood, but rarely do we glimpse the drudgery that's involved in bringing movies to life. Project Greenlight offers a rare and unvarnished glimpse at the friction-filled cogs and gears that drive the Hollywood machine. [2 Dec 2001, p.TV-5]

Netflix’s Daredevil makes the case that not all superhero shows are created equal and this one improves markedly on both the previous “Daredevil” movie and the other, current Marvel universe TV series.

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]

There's nothing gritty or particularly realistic about ABC's Women's Murder Club, but that's OK. The show is an entertaining, estrogen-powered hour regardless.

Dexter will probably never reach the dramatic, creative heights it did in season one, but with this new season the show's producers found a way to sustain the premise by concentrating on the show's characters and, in particular, looking at how Dexter lives with his desire-to-kill rather than dwelling on the myriad ways he might get caught.

Even as the show deals with serious issues--immigration, euthanasia--Weeds feels lighter and funnier in the new season.

There are times the whole affair feels little to similar to season one, but by the end of the second episode a new character has entered the series, promising to shake things up in a necessary way.

It’s dark, bloody and occasionally sexy, as it usually is, and Thrones fans wouldn’t want it any other way.

Fans of Mr. King's Bill Hodges Trilogy might wonder how a mostly internal cat-and-mouse game between Brady and Bill, a retired police detective with too much time (and drink) on his hands, is played out over 10 episodes. Very well, as it happens, and to chilling effect.

The premiere episode of Deutschland 83 delivers an excellent mix of coming of age character drama and espionage derring-do. For viewers not allergic to subtitles, it's well worth watching.

Funny enough and real enough, The Real O’Neals fits in well with ABC’s established Wednesday night comedies.

The pace is deliberate in “Homecoming,” but the show is rarely boring thanks to the visuals and an investment in the characters. (After episode eight, when a major reveal happens, “Homecoming” gets a little draggy, but by then invested viewers will carry through to the end.)

The body count is high in early episodes and Philip gets pulled back into spying, just not in the exact way as before. This new avenue threatens to upend his family, which, of course, lays the groundwork for one of the show’s psychologically intense Philip-Elizabeth relationship-defining scenes early in the season’s third episode.

Don't Trust the B---- in Apt. 23 gets off to a strong comedic start with a quick-witted, fast-paced premiere episode.

The new Roots offers a strong dose of drama--too strong, perhaps, for some viewers who will shy away from scenes of brutality--and compelling character stories.

Essentially a prime-time soap, Bomb Girls is a well-plotted, smartly written soap that doesn't shy away from, shocking, even gruesome, plot turns in showing the dangers of working in a bomb-making factory.

It’s not homage as much as it is a recreation of a classic 1980s’ film stretched into eight episodes, a deeply satisfying series that’s all the more entertaining for anyone who grew up in the 1980s.

With a witty script by series creator Michelle Lovretta, Lost Girl mixes mystery-of-the-week plots and character stories with an overarching mythology in a way that's palatable for fans of serialized and procedural dramas.

Producers Barney Rosenzweig and Ken Wales have graced their show with beautiful locations, poetic scripts and very good actors, particularly among the women. [3 Apr 1994]

A smart, deliberately paced, closed-ended miniseries.

Zombies are coming on strong, particularly in the well-made, engrossing (and gross) premiere episode of AMC's The Walking Dead.

Against all odds, this week's premiere turns out to be a competent, highly watchable hour of television, the most promising broadcast network premiere since "Southland."

The season premiere, written by Mr. Gould, serves as a warm-up act for the season’s more gripping second episode that features at least two remarkable scenes with bravura performances: Jimmy self-sabotaging and Kim, in a searing performance by Ms. Seehorn, ripping into Howard Hamlin (Patrick Fabian).

The pilot looks great, offers an intriguing plot and effortlessly introduces the show's characters and premise.

Filled with pulse-pounding, thriller-style music, Game Change is a thoroughly engrossing film made all the more compelling by Ms. Moore's performance.

The new American version moves a little faster, which may sacrifice some of the subtlety of the original, but overall this first episode is a faithful adaptation.

The show is too smart to be so easily dismissed, but whether its depiction of Vatican politics--and especially its title character’s abrasive personality--warrant devotion will be in the eye of the beholder. Lenny’s not a likable character, but The Young Pope offers addictive stories of unpredictable political maneuvering.

An unexpectedly amusing comedy meal.

Timeless is not serious, thoughtful TV. But it is well-produced, escapist fun that gives each of the lead characters some story engine baggage, especially the show’s lead, Lucy.

While some plots on Downton Abbey may be more meaningful than others, nothing in season three rings as false a note as the Patrick-has-amnesia story in season two.

Created and written by Dan Fogelman, This is Us manages the tricky task of telling emotional stories without getting too saccharine. And in each story, the characters are quite relatable.

GCB offers surprisingly clever dialogue and winning comedic performances.

It takes some time to sink into the story--Olive (Frances McDormand, “Fargo”) herself is cold and aloof--but by Monday’s second part of the miniseries as viewers see the characters age through a 25-year period, there’s a relatability that starts to sink in as viewers come to recognize the damage one generation can inflict on the next.

There's no question that "Extras" is a hoot, especially for anyone who spends much time observing the ins and outs of fame and the media, but Gervais is correct that less is more.

The characters are engaging in their varying degrees of awfulness, and there appears to be plenty of story fodder for years to come.

Gleefully absurd and filled with terrific comic performances--Wiig and Rudolph are stand-outs in the first two episodes--The Spoils Before Dying marks another winning offbeat comedy from IFC.

Many viewers probably come to True Blood for the thrills and the romance but it's the humor that allows the show to rise a step above similar TV fare even as it falls short of HBO's loftier efforts.

Whether Empire can sustain these running plots remains to be seen.... But the pilot suggests Empire could become [an] addictive, juicy prime-time soap.

Its frequent, gleeful skewering of NBC is just icing on the cake--and tonight's episode has a lot of icing.

At times, it’s still tough to watch. But Mr. Cumberbatch brings wit and flashes of wicked humor to a story of childhood trauma and its impact on one man’s life via substance abuse and mental illness.

While “Everything’s Gonna Be Okay” addresses myriad issues, it does so with good humor, warmth and fresh approaches to an orphaned family, Nicholas’ sexuality and a child on the spectrum. Yes, this newly formed-by-circumstance family faces crises but they’re realistic with an equal mix of drama and comedy, just like real life.

In a sort of oral history style, a moderator leads them through the show's tumultuous birth, its low ratings, demise and resurrection as the 2005 motion picture "Serenity." But what's most interesting about Browncoats Unite is learning how what was going on behind the camera impacted what viewers saw on TV.

The humor in Friday Night Dinner is often as surprising as it is rude. But there's a spirit of good-natured goofball charm evident in this family whose members clearly love one another, quirks and all.

It's obvious from the start that a familiar hand is at work in the storytelling, and 27-year-old Mr. Smith is as game as his predecessors in committing whole-hog to the crazy and delivering the drama.

Consistently funny and with surprisingly engaging twists for a comedy, Trial & Error commits few errors through its first three episodes.

Chalk up Lights Out as another creative success for FX, the basic cable network that specializes in series with male-skewing milieus.

It’s a strange, sometimes confusing and always visually arresting program.

Having watched the first two episodes, I'm pleasantly surprised to say: It worked.

Fans of The Riches can expect even more double-crossing, shady business deals, intimidation and moral compromise in the gated community of Eden Falls. It's the same game, only more of it.

Glee does the teen years with some edge, but we've seen that before on Glee executive producer Ryan Murphy's previous series, The WB's "Popular." Still, Glee is delightful enough to qualify as a fall favorite.

Light with no pretensions of loftiness, White Collar offers pleasant enough entertainment.

FX's Sons of Anarchy returns to form in its fourth season premiere this week with the action set squarely back in the motorcycle club's hometown of Charming, Calif. Even better, the show's wannabe hero, Jax (Charlie Hunnam), is fighting again, putting forth a plan to get out of his current situation.

The character-based stories grow more effective over time as viewers come to care about the characters’ love lives and hardships.

It's an intriguing drama with an enjoyably creepy vibe. [2 Jan 2005]

The L Word is a better written series than "Queer as Folk" and seems less exploitative. Sex is a predominant theme, but relationships are presented as more important. Where the "Queer" boys often couple only for pleasure, most of the L Word characters are equally, if not more, interested in love. [16 Jan 2004, p.W-37]

[A] fascinating, challenging series.

It's a little aloof, a spy show without the usual espionage theatrics. That may take some getting accustomed to, but in these early episodes, Rubicon makes a strong case that it's a series that's worth the effort.

GLOW is not a laugh-out-loud comedy, but it is often funny, from its pitch-perfect opening scene to the potential for back stories on all the women who make the cut for GLOW and the relationships among them that are sure to develop.

Gritty and occasionally violent, Sons was created by Kurt Sutter, an executive producer on "The Shield." As "The Shield" prepares to bow out, Sons should capably fill the smart, testosterone-fueled void.

No one will confuse The L.A. Complex with "Mad Men" or "The Good Wife," but for the type of show it sets out to be, this Complex is surprisingly, well, complex.

These are fantastic characters with socio-economic backgrounds we rarely see in TV dramas, and that's one of the many things that makes FNL unique. Whether you can watch the show now or won't have access to it until 2010, FNL continues to be TV worth watching.

"Housewives" appears to have gotten its humorous groove back. [22 Sep 2006]

The Marvelous Mrs. Maisel is a delightful, well cast hourlong comedic drama that occasionally detours into darkness but then quickly bobs back into the light.