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.