As a new year begins, viewers will be hard-pressed to find a more sumptuous, engaging drama than the "Masterpiece Classic" miniseries Downton Abbey.

Deliberately paced but never dull, The Night Of offers a serialized criminal story that’s more interested in the characters and the criminal justice system’s process than in the crime itself.

Atlanta provides an interesting slice of life and a slice that's not often seen on TV.

Clearly this show is not for the easily offended. Not everyone will appreciate this kind of humor, but anyone who values smart, provocative comedy that's about truth telling will be intrigued.

Somewhat shockingly, this 10-part, limited series quickly proves itself deeply engrossing and surprisingly entertaining, even though many viewers will know almost every beat of the story. Credit a strong cast--especially “American Horror Story” veteran Sarah Paulson as prosecutor Marcia Clark--and writers Scott Alexander and Larry Karaszewski, working from Jeffrey Toobin’s book “The Run of His Life: The People v. O.J. Simpson,” for turning this “trial of the century” into what could be the limited series of the year.

GOT is easily television's most ambitious drama for expansive storytelling, but it doesn't shirk its duty to tell smaller stories about individual characters. That the series manages to excel at both is rewarding and breathtaking in its achievement.

It’s a mammoth, epic undertaking that starts with a smart opening episode. “Déjà Vu,” beautifully written by Geoffrey C. Ward, manages to both deliver the expected (images of Vietnam, first-person accounts of fear and heroism in combat) and the unexpected (a history of the conflict that drills down beyond the immediate run-up all the way back to the beginning of French colonialism in 1858).

Just as in TV’s first flashback-heavy, multi-character drama “Lost,” it’s the flashbacks that deepen and humanize the characters, and that makes Orange a unique and outstanding series. Piper’s story may draw viewers to the show, but it’s her fellow inmates who make time spent inside this women’s prison worthwhile.

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.

Fans of sophisticated drama may feel there's a dearth of smart new shows on the broadcast networks but The Good Wife continues to be broadcast's best answer to the scripted dramas on cable.

Bad challenges anxious viewers, but it remains one of TV's best hours, thanks to strong performances from the entire cast and the steady, guiding hand of executive producer Vince Gilligan, who proves in tonight's episode that he values realistic, risk-taking storytelling over the more convenient status quo.

HBO shows aside, visceral Boomtown is the new exemplar of quality TV dramas on Sunday night... Boomtown engrosses. It's the season's strongest new drama, not just because it takes a chance on a novel format, but because it manages to tell stand-alone stories even as it develops the characters in its large ensemble. [27 Sept 2002, p.40]

It’s a somewhat slower build--and there’s a seemingly non-sequitur prologue to wade through at the start--but eventually this Fargo premiere suggests reason for excitement for the new season. But then episode two comes along and also fails to ignite the addictive interest of past installments, so this year’s Fargo will require a wait-and-see approach.

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.

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]

It's the most thrilling premiere hour of "24" yet.

With its depiction of a warped, absurd family, Arrested Development is worth watching for fans of out-there comedy. [2 Nov 2003, p.TV-5]

As season two begins, creators/executive producers Robert and Michelle King show no signs of standing pat. They're allowing the series and its characters to evolve while reminding viewers of the show's original premise.

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).

The psychological cat-and-mouse games the characters play are more interesting and a welcome respite from the intense, horrifying serial killer stories.

FX's The Americans does the near-impossible of making viewers cheer for Russian spies in America and at the same time for the American FBI agents who are trying to unmask those Russians living in suburbia. It's an incredibly deft balancing act that's accomplished through strong character development all around.

For some viewers, even fans of smart, high-quality TV, there may come a point when too many dark, layered television series become just as tiresome as too many look-alike procedurals. We haven't yet reached that point with Boardwalk Empire, but some episodes are more admirable than enjoyable.

t's an entertaining episode that doesn't fall into the pacing trap so often seen in "Sherlock" where there's not enough story to hold the show up through its 90-minute running time. (Episode two fares worse in this regard, although it's still an entertaining outing.)

"Longford" dives head-long into some of the most complex questions of human morality, and it's a pleasure to watch an actor of Broadbent's caliber tackle the notion of forgiveness with dignity and solemnity in what is easily one of the best TV movies you're likely to see this year.

An uncommon comedy. Its rhythm is less jokey and requires a little more effort on the part of viewers, but the comedic payoff is better, too...I begged viewers to watch this series last year, and I'm not averse to doing it again: Please watch. If not for yourself, do it for me; if the ratings are low, Fox might replace it with yet another edition of "The Simple Life," and that's not good for anybody. [5 Nov 2004, p.WE-41]

I'm not a huge fan of Mafia stories, but after watching several episodes of The Sopranos, I'm hooked. This is not the same old drama foisted on viewers by the networks. The Sopranos, created by David Chase ("I'll Fly Away"), has depth, dark humor and even a latent charm. The characters, unavoidably stereotypical at times, are believable and honest. [10 Jan 1999, p.G-5]

It's mysterious and exciting, a suspenseful and tense action-drama. [6 Nov 2001]

The best new show of the season...It's less sentimental than "The Wonder Years" and not as concerned with its period setting. Unlike "My So-Called Life," which was real in a gloomy-doesn't-life-stink way, Freaks and Geeks finds abundant humor in the absurdity of the situations the characters face. [22 Sept 1999, p.C-1]