The show crackles with witty (and jargony) banter and mostly succeeds at making its tech world fun and engaging -- something Randi Zuckerberg's "Start-Up: Silicon Valley" reality series too often failed to do. But the problem with Betas is that it's an uneven endeavor that's just good enough to make you wish it were better.

The show isn't exactly laugh-out-loud funny, but it's smartly written and the cast jells from the start.

Every AHS series has now featured at least one [rape scene]. Isn't it time to move on? At least he and his collaborators, as usual, do their best to soften the blows with healthy doses of camp and humor.

More than usual, you feel the emotional weight our survivors lug around. But at the same time, he [writer-producer Scott Gimple] apparently wants to assure us that the show isn't about to back away from turbocharged action sequences and gruesome gore.

And as far as the plots are concerned, don't sweat it. Tonight's engaging season-opener is easily accessible. Spend some time with these characters and soon you'll find yourself developing a strong emotional connection to them. [5 Oct 2007]

Deadwood may not offer the vision of the Old West Americans have had for years, but it is a stunning, intelligent, almost poetic view of how we came to be a nation. [5 Mar 2005, p.1E]

This series is about the bonds of family and heated power struggles--with a big dose of vampiric hedonism mixed in. Sounds like the makings of something pretty fang-tastic.

What Deadwood becomes within its first four episodes is a complex, neo-Shakespearean take on social and institutional corruption, racism, environmental barbarism, and the nature of good and evil. It not only provides a different view of how the West was won but also muses on how the taming of the frontier mirrors modern times. [21 Mar 2004, p.3E]

A warm, harmless, family-friendly show that offers a few sweetly amusing moments mixed in with the predictable twists. The kids are quite adorable, too.

The Michael J. Fox Show tries really hard to be as warm as a cup of cocoa yet hilariously irreverent. Maybe too hard.... On the plus side, Fox still oozes self-deprecating charm, and I love the sweet and playful chemistry he has with Brandt. Also, Pierce is a hoot as the smooth con man of a boss. More of that, please.

They [Robin Williams and James Wolk] seem to be having a blast playing off one another, and their comedic energy is infectious.

Judging by the pilot, George Lopez is no laugh riot, but it definitely has its moments, and it's refreshing to find a touch of Mexican-American flavor on TV somewhere other than Showtime and Nickelodeon. [27 Mar 2002, p.D01]

Powerful stuff. [16 Apr 2000]

It's an extraordinary achievement, particularly since the miniseries ended up involving seven directors, including Hanks, and six writers. There is an inevitable difference in tone between the episodes, but "Band" never wavers from its vision of re-creating the experience of war through the eyes of average soldiers. [9 Sept 2001, p.3E]

The writing is clever with sly references to the Man of Steel myths. In Welling and Kristin Kreuk, who plays Lana Lang, they have actors who are not only good but will be on the cover of every teen magazine within weeks. And Michael Rosenbaum manages to make Lex sympathetic even when you know he will end up being Superman's greatest enemy. [16 Oct 2001, p.1E]

Until "Carnivale" fulfills more of its promise, my enthusiasm is restrained. [3 Jan 2005]

The writing... is sharp and rich. The production -- from the design of the carnival to the evocative cinematography -- is dazzling. The direction from the likes of "Sopranos" veteran Rodrigo Garcia is first-rate. And the acting is sensational. [14 Sep 2003]

The special stays true to the tone and searing wit of the original series and makes for a spectacularly funny coda to "The Office." [18 Oct 2004]

"The Sopranos" has renewed and refreshed its ability to surprise. [4 Mar 2001]

Jammed with characters and story lines, it has a Dickensian quality in its ability to capture time and place with precision. It is almost never predictable, avoiding the cliches of the Mafia genre even while it revels in them. Just when you think a story line is going in a particular direction, the show will suddenly shift gears and veer off into unfamiliar terrain without stretching plausibility to the breaking point. [16 Jan 2000]

As good as some other cop shows are -- "The Shield," for example -- no other comes this close to a true-to-life portrayal of life on the mean streets. [29 May 2003]

It is a relentlessly grim (and rather gruesome) episode with none of the bits of humor that mark the other "CSI" shows. [22 Sep 2004]

There is more tension to the interaction between the characters and more emotions in play. [23 Sep 2002]

It can be downright uproarious at times. [27 Jun 2006]

An underlying warmth and a certain charm to the characters mitigate some of the childish jokes and give the series real appeal. [5 Aug 2005]

The bottom line on Season 2 of The Newsroom is that it's unlikely to sway viewers one way or another. Devotees will continue to embrace it, and the haters will continue to hate.... As for this critic, let's just say that I'd rather watch an energetic, well-acted, provocative show that aims high and sometimes falls short, than one that doesn't aim high at all.

While Botwin's crime world is the engine that drives "Weeds," there is much more to the show than that. At its core, it's a subtle satire of suburban life, politics, social mores and race. [13 Aug 2007]

'Weeds' stumbles at times during its first few episodes. It makes some of its points with too little humor and subtlety. But for the most part, this is a nuanced comedy with interesting characters performed by a first-rate cast. [5 Aug 2005]

In its early episodes, "American Dad" not only follows the lead of "Family Guy" but also throws in digs at U.S. political institutions. [1 May 2005]

A veritable treasure trove of frat-house humor. [1 May 2005]

Bristling with promise. [17 Sep 1994]

Superb. [17 Sep 1994]

Johnson is such a multi-layered character, and Sedgwick plays her so beautifully that you can forgive the weaknesses of the opening episode and hope they get smoothed out in what could be a very long run for this show. [13 Jun 2005]

The stars (Trista Sutter, John O'Hurley and Joey McIntyre, et al.) are strictly marginal. The host (Tom Bergeron) is excruciatingly lame. And the dancing is only sporadically scintillating. [26 Jun 2005]

The comedy is so darkly cynical that it's off-putting. If you're a glass-half-full kind of guy like me, it's hard to make the show part of your regular TV menu. [13 Sep 2002]

There will be those who will find true comic insight in the sharp comments and ugly little moments of truth. And there will be those who will flee "Curb Your Enthusiasm," seeking something just a bit less off-putting. [14 Oct 2000]

The show appears to be a perfect fit with "CSI" in that it similarly places more emphasis on procedural puzzles than personality.... But whereas "CSI" is all about the physical evidence, "Trace" is about psychological profiles. [26 Sep 2002]

Orange is teeming with humor, heart and poignancy--all the elements needed to qualify it as one of the summer's must-see shows.

This is by no means a lousy show. The performances are solid and the brothers-working-together dynamic is intriguing. But the pilot lacked dramatic oomph, and it did a poor job of actually taking viewers inside the math and explaining how it works. Consequently, "Numb3rs" just doesn't add up. [22 Jan 2005]

FX may have struck dramatic gold again. This series is mesmerizing. It sucks you in like a good book and has you yearning for more.

The story, penned by executive producer Andy Breckman ("Rat Race") gets predictable at times, but it deftly manages to mix drama and humor while bringing new twists to a shop-worn genre. [11 July 2002, p.D1]

It's a muscular, instantly riveting series that features sensational performances by Liev Schreiber and Jon Voight. Based on the early episodes, we could be looking at television's next great character-based drama.

It's this sense of wonder that sets "Enterprise" apart from the more stodgy Star Trek offerings and injects some much-needed fresh energy into the 35-year-old franchise. [26 Sep 2001]

Addictive. [1 Dec 2004]

The best new series of the season, it's a drama that deftly blends familiar elements of "The Stepford Wives" and "American Beauty" with a dash of "Twin Peaks," while still managing to feel strikingly new. [3 Oct 2004]

Jillian... was so obnoxious and smugly hostile in the opener that I found myself practically rooting for one of the big-bellied contestants to squash her like a common household bug. [26 Oct 2004]

We've seen plenty of these high-concept TV conceits start well and then sadly unravel. For now, though, there's no place like Dome.

An ambitious and wildly paced around-the-globe journey... "The Amazing Race" appears to have what it takes to become reality TV's next big thing. [5 Sep 2001]

Moliere it's not, but somehow it works as a sort of energized hybrid of "The Beverly Hillbillies," "Mork & Mindy" and those "Coneheads" sketches Curtin spent so much time in while she was with SNL. [7 Jan 1996]

At its very best, '24' creates an almost tactile sense of tension that no show can match. From one harrowing moment to the next, your pulse races and your skin prickles with apprehension. On the other hand, the show's gimmicky structure forces its writers to keep the plates perpetually spinning, and they often aren't up to the task. [5 Jan 2005]

The first hour... is as kinetic as any episode the show has done. [26 Oct 2003]

The format of '24' still works beautifully. [27 Oct 2002]

One of the most fully realized, innovative and flat-out exciting television debuts ever. [4 Nov 2001]

It has enough kooky class warfare, sexual shenanigans and whodunit intrigue to make for some escapist summer fun.

The trick for Midler's writers will be to make sure the show is at least somewhat grounded in real-life situations while keeping the inside-Hollywood stuff from being too inside. It's funny, for example, when she expresses vengeful bitterness over losing the 1979 Oscar to Sally Field ("Norma Rae"), but it might not be so funny to hear references to her 1982 celluloid stink bomb "Jinxed." (Remember that one?) [11 Oct 2000, p.D01]

One of the best-written and well-acted pilots of the fall, this spunky dramedy is full of small surprises. [29 Sept 2000, p.T034]

The show probably wouldn't fly for a minute, though, if it weren't for the ineffably engaging Cavanagh, who looks a lot like sardonic comedian Jon Stewart, yet has the laid-back affability of a young Jimmy Stewart. All bright eyes and dimples, he absolutely sparkles in the role. [7 Oct 2000, p.D01]

Gilmore Girls is brimming with fine performances all around, but the keys, of course, are its two leads. The appealing Graham has endured her share of TV flops ("Townies," "MYOB" and "Conrad Bloom"), but now she appears to have the kind of material that will allow her comic talents to shine. Meanwhile, Bledel is a promising newcomer with an intriguing round face, expressive eyes and a gift for deadpan retorts. [5 Oct 2000, p.D01]

[There are] moments of pure brilliance--and moments that had me doubled over in mirth.... Unfortunately, there are stretches in this new batch of episodes that feel more flabby than snappy, and there are some lulls that leave you downright fatigued.

The good news is that it's still got game. [7 Nov 2004, p.C09]

The one truly original new show this season and certainly the funniest comedy. It is outrageous. It is odd. It is fresh. It is smart. And, given the track record of such refreshingly sophisticated comedies on network TV, it will be lucky to last three episodes. [31 Oct 2003, p.9E]

The good news is that it doesn't stink. The even better news is that it's clever and sophisticated and immediately outclasses most of the comedies currently on network television -- not that the bar is set to breathtaking heights. [24 Mar 2005, p.D01]

Brody's portrayal of the wise but nerdy Seth energizes The O.C. He's comical without being cartoonish, and the humorous touches he brings to the story help to lighten up a show that at times feels overly heavy. Here's hoping the script writers don't leave his character in the dust in favor of chasing more glamorous story lines. [5 Aug 2003, p.D01]

But the feeling here is that Simon may have dipped into his Baltimore crime well one too many times. Tonight's pilot episode, while intriguing in spots, is hampered by a convoluted tangle of multiple plot threads and numerous characters, most of whom seem to have no interesting wrinkles. Worse yet, the story moves at an annoyingly sluggish pace. [1 June 2002, p.4]

[Sorkin's] premier episode for West Wing is a fine piece of work, relying heavily on a presumption that viewers have brains and can absorb a lot in a short period...Rarely has a writer fleshed out so many characters with so few words in such a short period of time. [22 Sept 1999, p.14E]

A surreal, visually striking, insightful comedy-drama about the American way of death and a troubled middle-class family that deals with mortality every day. [3 June 2001, p.6E]

Season 6 jumps ahead in time and launches with a beautifully written, contemplative two-hour opener called "The Doorway."

The rather trite concept is freshened up by some colorful writing that actually happens to be funny, and by engaging "Odd Couple"-like performances from Sheen and Cryer, who play well off each other. The series is also a prime-time rarity - a sweet domestic comedy that isn't overly sappy. [22 Sept 2003, p.D01]

Hannibal is a sturdy offering, one that keeps viewers guessing and tensions simmering. Most TV crime shows have a tendency to quickly fade from memory. This one just might haunt your dreams.

Rogue does a nice job of methodically building an unsettling mood.

Those who make the investment are richly rewarded. There's enough tension, betrayal, treachery, greed and sex, after all, to fill eight seasons of "Scandal."

From Spector's verbal bluster, to all the chatter about ballistics and forensics, it's a very talkie 90 minutes, occasionally punctuated by a haunting soundtrack. But the high-caliber performers, as well as Mamet's sparkling dialogue, keep things compelling.

Fortunately, the series has enough edge and action and compelling conflict to keep it from getting mired in sap. Berlanti, in fact, has humorously referred to Everwood as "'Our Town' on crack" and he may have something there. [16 Sept 2002, p.D1]

For five decades, the cop drama -- the good guys vs. the bad guys on the streets of our cities -- has been one of the cornerstones of network television, from the days of "Dragnet" to newer shows such as "Hill Street Blues" and "NYPD Blue" that altered TV. But never, ever has there been a cop drama quite like The Shield, and it could have an impact on pop culture that rivals the best of the police shows that came before it. [12 Mar 2002, p.AE 1]

The good news is that the folks behind "Buffy" -- notably writer-creator Joss Whedon -- have come along for this new chapter in a vampire's life and, at least for the first episode, have brought their wit, style and keen sense of pop culture with them. [4 Oct 1999, p.1C]

Boomtown offers hope that it could be one of those rare shows that looks sharp, is sharp and actually has something to say...In lesser hands, it could have been hackneyed or pretentious. But creator Graham Yost is a skilled writer who handles the shifting perspectives and the time jumps with aplomb and without sacrificing characterization. [27 Sept 2002, p.SE1]

This is a TV drama of quality, masterfully written and lovingly produced, which probably reflects what may be the most important new trend in network television: The increasing willingness of feature film talents to work in the medium. [28 Sept 1998]

One of the best pilots from a new show this season -- a wild, stylish ride through Sydney Bristow's unraveling life. You have to suspend disbelief, but this series promises to be one nifty piece of entertainment. [28 Sept 2001, p.5E]

A compelling thriller.

House is a rarity for TV: a true anti-hero, someone who's hard to embrace but easy to accept. [15 Nov 2004, p.2C]

All the weird, impulsive jokes are as outrageously funny as they aspire to be. [22 Sept 1994, p.1C]

Has a solid premise and a lavish look. The show's signature visual gimmick features characters morphing into their younger selves. Then there's the appealing Rush, who makes a very strong first impression. [27 Sept 2003, p.D01]

A pretty lively and entertaining show, maybe the fledgling WB network's first real shot at a breakaway hit. [10 Mar 1997, p.10E]

Right now, it's a comedy in search of real laughs. [20 Sept 2002, p.1]

Could prove to be a hit without being very good. [20 Sept 2002, p.1]

Certainly, Dominic Purcell creates quite a presence as this man of mystery. [20 Sept 2002, p.1]

Based on tonight's premiere, this mix of "Star Wars" and "Stagecoach" could prove to be visually ambitious, thematically provocative and full of crackling dialogue. [20 Sept 2002, p.1]

There are lots of problems with the Special Victims premiere, chief among them being the focus on Olivia Benson, the female detective played by Mariska Hargitay. In a misguided rush to establish the character's background story and motivation as a cop, the episode's key moment is a revelation about an intimate detail of her life. It comes way before we have enough reason to care about her. [20 Sept 1999, p.7C]

Community can be too consciously zany at times and occasionally misses more than it hits. But from the early looks of things, it seems to be holding up just fine.

Season 3 gets off to a fine and frothy start.

Crossfire Hurricane deftly blends vintage concert footage, TV broadcasts, pieces of key songs and clips from other documentaries in with voiced-over highlights from 80 hours of fresh interviews with current and past band members--all conducted off-screen.

Malibu Country is so old school, in fact, that it feels like a leftover from ABC's TGIF days, complete with a studio audience, an irritating laugh track and a sitcomy march-time pace.

The show is at its best when the confrontational tension among the humans is palpable.

An irresistible blend of soapy shenanigans, domestic tension, political intrigue and catchy tunes.

Arrow does what a solid pilot should: Suck us in, make us anxious to see what's next and set up several intriguing possibilities.

Fortunately, the new Steel Magnolias turns out to be a full 90 minutes of wonderful.

Last Resort [is] another epic, ambitious and distinctive new show that is cause for excitement.

The good news is that Kaling and her writers have crafted a character who is competent at her job, not a goofball in scrubs. And they've offset the show's dreamy sweetness with plenty of snarky bite.