You've seen everything 'ER' has to offer in other medical shows, but you've never seen so much of it crammed into one episode. [17 Sep 1994]

It's so funny and so well-done on so many levels, the Conchords definitely deserve to be discovered by a wide TV audience.

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.

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.

When “WWDITS” hits a comedy vein, it can be extremely funny. It would be improved if viewers had the opportunity to dine out on the humor of its continuing storylines with greater frequency.

It's a particular kind of wry, quiet, slightly depressing in its self-deprecation style of humor that won't be to every viewer's liking.

No reservations, just a ringing endorsement for Comedy Central’s The Other Two, a smart half-hour comedy.

The animated comedy returns in stronger comedic shape in its fourth season.

Orange is the New Black proves to be a smart, solid, entertaining effort for the online streaming service.

Through the first four episodes of the new season, Orphan Black maintains the terrific mix introduced in season one.

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]

Speechless has its funny moments, but they are interspersed with So. Much. Yelling.

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

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.

But most importantly, Scrubs has heart. Not the forced, icky sentimentality so often found in sitcoms, but earned moments that feel genuinely poignant. [2 Oct 2001, p.D-1]

The show, although plenty entertaining, also feels like it's grasping to keep the drama of Tara's situation at a suitably heightened level while other character story arcs, most notably Marshall's, feel more believable.

The movie--as Jane Austen might have described it--is an amiable entertainment.

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.

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.

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.

"24" still maintains some of its trademark intensity, but too often in these first four hours, the show is smack-your-forehead laughable.

“Pose” remains an above-average character-driven cable drama, but it all feels a little more forced this year as the writers attempt to invent new stories for this collection of generally likable, striving LGBTQ characters.

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

The Wire gives so little, it almost begs to be abandoned; then a scene or a smidgen of character development offers a hook that might keep viewers interested. But TV shows, no matter how complex or thought-provoking, shouldn't require that much work. [1 June 2002, p.B-6]

An entertaining drama that sucks you in and gets your toes tapping during several musical numbers.

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.

The radio show is so much about voice and language and storytelling, I worried that the TV folks would mess it up. Luckily, the radio show's host, Ira Glass, hasn't allowed that to happen.

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

Funny and thoughtful with surprising plot twists, Being Human offers an inviting mix for fans of supernatural stories.

There’s a lot of dark humor in Spotless--another “Breaking Bad” hallmark--and while the twists may not be quite as twisty, many are still surprising enough to make Spotless one of TV’s better thrillers.

Big Love succeeds in entertaining through the nuance of its characters, especially perpetually seething Nicki (Chloe Sevigny, queen of the slow burn), one of the three wives of Salt Lake City businessman Bill Henrickson (Bill Paxton).

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

The Mr. Robot pilot is too long--one montage drags on interminably--but it begins and ends on intriguing notes. It’s completely unclear what the show will be on a weekly basis, which makes jumping in a risky proposition.

An intriguing behind-the-scenes drama with moments of dewy-eyed idealism. [22 Sept 1999, p.E-3]

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.

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.

Home Fires offers British drama that’s as satisfying as a warm cup of tea.

If you like family dramas ...If you like cop shows ...If you like fantasy series ...If you like quality programs with complex characters, intelligent dialogue and a unique point of view, then you need to get acquainted with Joan of Arcadia, the best new broadcast series of the season. [26 Sept 2003, p.41]

What Mindhunter lacks in energy it makes up for in better attention to character details. Mindhunter grows significantly more interesting in its second hour once Holden gets paired with veteran FBI agent Bill Tench (Holt McCallany, “Lights Out”) and starts interviewing co-ed killer Ed Kemper (Cameron Britton, who nails a so-serene-it’s-creepy vibe).

[The] fall’s most unusual series concept and easily the new season’s most promising pilot.

A smart, realistic drama with believable characters brought to life by dynamic performances, particularly from Ms. Arquette and co-stars Paul Dano and Bonnie Hunt.

Archer may be crude but it's far more clever than last fall's disappointing "Testees," and "Archer" wins points with its observational humor about modern life and in its mocking of mundane workplace minutiae, such as computer passwords and the lack of security at a spy agency.

TV viewers who watch Boss probably won't be disappointed and even those who are wary of latching onto a new series have reason to give the show a chance.

It's a typically funny Office episode that makes good use of most of the cast.

But when Braugher's Dr. Ben Gideon disappears, Gideon's Crossing becomes a long, languidly-paced trip through a Boston teaching hospital. [10 Oct 2000, p.D-8]

The Vampire Diaries is no "Buffy the Vampire Slayer"--it doesn't have that series' depth--but it's plotted well enough to mix supernatural action with the occasional game of Kiss Me or Kill Me and some surprising cliffhangers, too.

Saul isn’t a failure at all. Instead, Saul feels like a series with many of the hallmarks of classic “Breaking Bad” episodes that’s set in the familiar “Bad” universe, emphasizing a similar vibe that mixes personal drama with dark comedy.

The first hour is a little slow, somewhat pacey at times--it clocks in at 56 minutes, not the usual 42 minutes, and will run one hour and 10 minutes with commercials--but it does a fine job of setting up the story and introducing the characters.

The series remains an intense, engrossing crime procedural with strong moments of character development, but Mr. Cross gets a bit sloppy in his plotting.

Push Girls is at its best when the women tell their stories and depict the challenges they face in everyday life. But when the show's stars convene for gabfests, it feels as inauthentic as other docu-series.

It's still a hugely entertaining show thanks to its charismatic lead actor and the tension that builds in its twisty-turny plots. But when a lead character is a murderous anti-hero, there's a fine line to walk between cheering a righteous vigilante and offering sympathy for the devil.

The season premiere makes a gentle effort to re-establish the show’s shrinking original cast.

The show’s contestant characters are the expected mix of types found in a reality show, although Unreal tries to ground them in specificity that defies TV stereotypes, which works better with some of the women than with others.

The first two Sharp Objects episodes take a slow-burn approach--too slow--but the pace picks up in episode three as Sharp Objects delves deeper into Camille’s back story and as Camille begins to connect with suspects in the case. That’s probably OK for fans of the novel, but for the rest of us, it’s a tough early slog in an era of myriad TV series choices.

Credit for building drama goes to screenwriter Kirk Ellis ("Into the West") and actor Paul Giamatti ("Sideways"). His intellectual, vain Adams is a reluctant rebel, tentative in his support of an American revolution, wary of insurgency and mob rule and defender of the tenets of American democracy.

As has always been the case, Damages remains a mystery-thriller whose characters and their psychological quirks are more intriguing than the plot.

They're all skilled enough to play both the drama and comedy of the situations their characters confront, and, what's more, viewers are prepared to know and like them.

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]

As "Thrones"-aping series go, The Last Kingdom is a better bet than plenty of others. It's easier to follow than "Bastard Executioner" and less battle-crazy than "Vikings," occupying a gentler middle ground.

Entertaining and warm in appropriate 1980s fashion, “Stranger Things 2,” now streaming, fills its nine episodes better than season one filled its eight episodes.

A charming comedy-drama about finding new love late in life and all the complications that come with any coupling.

The episode is a fast-moving two hours that answers enough questions to satisfy fans and raises still more questions in an effort to further the intrigue.

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

One of the fall's brightest new dramas.

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.

If there's a downside to the Americans pilot, it's that it has some pace problems. The premiere runs long--an hour and six minutes--and spends time on flashbacks to Elizabeth in training 20 years earlier and the pair's first meeting.

It’s a smart, funny series, and it’s a relief to know Netflix saved it from what was sure to be terminal neglect had it aired on NBC.

Rescue Me needs rescusing from itself and deliverance will soon come. Until then, fans of the series can enjoy the ride--even if it sometimes feels like a rerun.

The eight-episode first season of American Gods takes about four episodes to cohere, especially for any viewers unfamiliar with the novel. ... Mostly it is Mr. McShane’s performance that carries the early episodes. His Mr. Wednesday is self-assured, charming and cutthroat all at once.

Though the characters are quite different, "Earl" somehow brings to mind NBC's "Ed," perhaps because both shows feature a cast of oddballs and are ultimately uplifting, heartwarming portraits of people trying to do good by making a fresh start.

A gripping tale of police investigation and a criminal's mischief-making.

It must be said that viewing Grey Gardens without prior knowledge of the Beales' story would make it easier to like the HBO version....Michael Sucsy directs an HBO version that takes a little of this, a little of that, in building toward a (sort-of) happy ending that's hard to swallow.

It’s the conversation about race and African-American culture in the pilot that gives Black-ish a little bit of edge. Whether that will be maintained in future episodes or dulled into familiar family sitcom pabulum remains to be seen.

It’s entertaining enough, filled with battles and occasionally interesting character turns and cultural twists (particularly when the priest joins a raid on a church), but it’s not essential quality TV viewing along the lines of “Mad Men,” “The Good Wife,” “Game of Thrones,” etc.

Enjoyably challenging TV.

The Durrells in Corfu is as warm and pleasant as its picturesque setting.

The Bridge becomes more intriguing as it gets deeper into the pilot's 90-minute run time.The characters are not as immediately winning as those on FX's "The Americans," but the plot of the pilot raises plenty of questions that should bring viewers back.

"I'm living like there is no tomorrow because there isn't one." Not a pretty sentiment, to be sure, but it makes for an intriguing character in what's likely to be the best new summer series of 2007.

Documentary Now! offers clever, frequently funny parodies of a different style of documentary each week.

[Jennifer Lopez and Steven Tyler] debuted this week on what seems to be a kinder, gentler and certainly much hairier version of American Idol.

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.

"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.

As creator Marc Cherry explained this summer, he wanted to re-set the series and get the stories back to something more closely resembling reality. Sunday's season premiere does that pretty well with some of the women's stories, especially Lynette (Felicty Huffman), whose twins are now terrible teens.

That quest to crown a new king at Lyon’s Empire Music gave the show a goal to drive toward, something that’s lacking through the first three episodes of season two now that Lucious’ condition turned out to be a misdiagnosis.

Kelley has a great gift for establishing his plots quickly, and for bringing them to powerful conclusions. Like '[L.A.] Law' and '[Picket] Fences,' however, 'Hope' is an oddly self-contained universe -- despite the show's reliance on social issues, it's hard to imagine any of these people actually functioning in the real world. [17 Sep 1994]

There's a cool, no-nonsense attitude about Southland that may make it more challenging for viewers to embrace than some other shows, but this cop drama has so many strong performances and enough nuanced writing that it remains one of the better dramas currently in prime time.

The immigration angle is new and does add an element that wasn’t there before but the rest of “Party of Five,” while admirable and certainly watchable, doesn’t demand to be seen.

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.

The Man in the High Castle is a show that walks a fine line; it’s just intriguing enough to keep me coming back, but it doesn’t make me yearn to watch the next episode.

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

It's a timely look at cultural differences and a timeless depiction of young friendship. It's that rare TV comedy with both humor and heart.

The two-hour premiere ends with a big question mark, which may lead me to tune in again but I just wish The Expanse was a little less murky. I'm prone to liking complex TV but The Expanse is borderline impenetrable at times.

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.

It's a generally strong episode as House attempts to annoy his doctors so much that they'll sign off on his departure.

“On Becoming a God…” entertains even as it observes the unfortunate circumstances Krystal finds herself in.

A smart, astute political thriller/soap worthy of comparison to the shows that air on HBO and Showtime.

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.

Forward momentum--for the plot, creature action and character development--finally kicks in during episode three but it’s a big ask for AMC to expect viewers will return after the first two episodes.