Because it’s so true to its roots, the new Roseanne does feel somewhat dated at times with longer, talkier scenes than many of today’s comedies. But the writing is crisp, smart and, most importantly, funny.

Through its first three episodes, Castle Rock builds out its world and character relationships thoughtfully and deliberately. Whether it holds up through the entire 10-episode first season remains to be seen, but Castle Rock gets off to a strong, engrossing start.

It’s an engaging (and, perhaps to some defenders of Joe Paterno, it will be an enraging) film that explores character, the politics of college athletics and the value of local journalism in a style that’s more process piece thriller than it is anything like a biopic given how “Paterno” concentrates on a short period in the coach’s life.

The first episode of “One Dollar” wallows in the struggles of several sad sack characters and jumps around a confusing amount as it introduces the unwieldy, large cast, but the show becomes more engrossing in episodes two and three. “One Dollar” hits its stride by episode six, proving it’s a worthy addition to the Peak TV era.

[“The Violet Hour”] takes some unexpected and some predictable turns along the way, but it’s ultimately an enjoyable, charming story. ... “The Royal We” is less involving than “The Violet Hour.” Shelly’s story proves more compelling than Michael’s and the Romanoff theme is more pronounced and bizarre. ... [The third episode is] the second best of the first three episodes made available for review.

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

It's not even groundbreaking in the way "Will & Grace" was when it first appeared in 1998. But, boy, this Will & Grace is fun to watch. It's entertaining to spend time with the characters again and since 11 years have passed since I last watched an episode, it doesn't feel as tired as it did once upon a time.

[Discovery season premiere] offers a mix of resetting characters and action sequences. But it also embraces Pike’s mandate for a lighter tone thanks largely to the Pike character--a warmer, more likable leader than season one’s cold, aloof Capt. Lorca (Jason Isaacs)--and a new character played by comedy actress Tig Notaro. ... So far, so good, but what any of this signals for the rest of the show’s second season is unknown.

This everything-but-the-kitchen-sink approach to storytelling does not help Black Box to be taken seriously.

It’s been a while since basic cable has delivered a guilty pleasure as enticing and entertaining as Lifetime’s stalker drama You.

Fall’s funniest new comedy.

Tonight's season premiere does a fairly good job of wrapping up the sixth season finale and setting the stage to move forward but there's still a fair amount of cleanup to be done.

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

Consistently funny pilot.

Consistently funny but also sweet-natured, “Harts” quickly proves itself a blessed addition to Fox’s Sunday animation lineup.

Its first hour intrigues with quiet promise.

It feels authentic, save for one calculated-to-take-advantage-of-premium-cable scene in the premiere (characters on TV seem more prone to engage in grief-fueled sex at funeral receptions than people do in real life).

If you can see past the Walt Disney hagiography, it’s well made and includes some rarely seen footage and new interviews with ride designers who occasionally take viewers behind the scenes.

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.

Showrunner Dan Futterman (writer of “Gracepoint” and “Foxcatcher,” once a co-star on “Judging Amy”) keeps the tension high and the pace generally relentless. “The Looming Tower” only falters in an embarrassingly trite early scene of O’Neill with one of his many women. But when the focus is on the work, “Looming Tower” looms large as a well-made story of human and systemic failings.

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.

In these new episodes, The Good Fight is at its best when the characters get honest about race within the majority black law firm in ways that feel startlingly real and, frankly, unique for a TV show.

Filled with clips from the original series, “A Very Brady Renovation” offers nostalgia galore — “The Brady Bunch” celebrates its 50th anniversary on Sept. 26 — but it’s also a surprisingly satisfying home makeover show.

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

Showrunners Kelly Souders and Brian Peterson, veterans of “Under the Dome” and “Smallville,” sprinkle in enough science to balance the crazier elements of “The Hot Zone,” Peak TV’s version of a summer disaster flick.

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

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.

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]