“David Makes Man” offers haunting themes as serialized drama, some familiar (drug dealing) and other less so, particularly the impact of abuse and trauma, which is shown through David’s dreams, waking reveries and imagination. While the latter is the most challenging aspect of the series, it’s also what makes “David Makes Man” distinct.

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.

Did the new network screw up the show? Not that I could tell from the incomplete first episode sent for review (no judge's remarks or eliminations).

Reminiscent of "Seinfeld" but not as funny.

On screen the show has a soaked-in mood, courtesy of pilot director Michael Dinner, and terrific performances that mark Justified as the best new series premiere so far in 2010.

An engrossing, detailed military character drama, Generation Kill is a modern-day "Band of Brothers," a warts-and-all account that hits closer to home because it depicts such recent events.

It's a true character piece with top-notch acting all around. [21 Mar 2004, p.TV-5]

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.

“I’ll Be Gone in the Dark” opens some doors and then never fully explores the implications of McNamara walking through them.

It's not the best cop show ever but it's certainly an above-average effort for fans entertained by quality TV drama.

Torchwood gets off to a lighter, more rousing start in its second season premiere.

The Jane pilot whips through story quickly while setting up all kinds of potential entanglements for the characters. Whether subsequent episodes can maintain that breakneck pace, which helps accentuate the comic absurdity of the show’s premise, remains to be seen, but Jane certainly gets off to a strong, entertaining creative start.

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.

Circus offers equal treatment to performers, stage crew and management, showing how a circus operates and the conflicts that inevitably erupt when 150 people share such close quarters, living out of trailers for months at a time.

This Project Greenlight lacks the visual flair and polish of "The Chair" but it's people-talking-about-making-a-movie-in-drab-offices vibe is similar.... Project Greenlight is more focused and that streamlined approach continues to make it the superior movie-making docuseries.

A splendid cast, headed by Shelley Long, a college-educated cocktail waitress, and bar owner Ted Danson, make Cheers something to cheer about. [19 Oct 1982, p.34]

The show creates tension--through atmosphere and characters the audience cares about--and offers so many make-you-jump scares that by the end of an episode, you're left breathless.

For this one half-hour, Frasier is high-class entertainment. Grammer does scowling exasperation as well as any actor in America (it's hard to imagine an actor who could get more laughs trading looks with a dog), the fraternal relationship is wonderful, and the work-place material works perfectly (thanks to another fine supporting performance from Peri Gilpin). [16 Sept 1993, p.C7]

A grand soap opera of epic proportions, Game of Thrones can be a bit talky in some episodes, but the series draws a viewer in with well-defined characters and a multitude of simultaneous stories whose plot turns are generally unpredictable.

It plays more like a science thriller than a biopic, with Feynman receiving clues scribbled on pieces of paper by NASA engineers.

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.