It's never easy to say goodbye to a drama as mind-blowingly magnificent as Breaking Bad, but savvy creator Vince Gilligan has picked the right time to put his end game into motion

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]

If you stick with it, you will be rewarded with some of the most compelling, provocative drama ever produced for television.

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]

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

The overall result is something rare--a film that sucks you in as a riveting thriller would, but also one that will make you pause to ponder issues of race, domestic abuse and our obsession with celebrity.

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]

One of TV's most invigorating and intellectually stimulating series.... provocative television that transcends its genre.

Clearly rooted in life experience, Transparent continues to be a series that understands both love and pain.

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]

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]

Sunday night's opening episode, Public Relations, delivers some jaw-dropping moments.

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 Australian actor is again in Emmy-caliber form, delivering a gripping character study of a man who isn't comfortable in his own skin.

Homeland has a chance to be a much tighter--and smarter--endeavor with more nuance than "24" ever had. But if a cougar suddenly appears, and/or if someone comes back from the dead, all bets are off.

An emotionally powerful dramedy.

Stick with it, and this Sherlock proves to be a fun and exhilarating TV experience.

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."

This adaptation of a BBC series differentiates itself in enough ways to keep things fresh and riveting.

Though the show contains laugh-out-loud moments, it occasionally proves to be more melancholy than mirthful. Along the way, it has some sharp things to say about race, gender, the absurdity of celebrity and the nagging fear of failure. Glover's Atlanta, it turns out, has all the right beats.

Powerful stuff. [16 Apr 2000]

That Thrones remains so utterly unpredictable makes it even more mesmerizing.

Audacious plot lines help to keep Orange Is the New Black so unusual and refreshing. It's the one prison show that you may never want to escape.

So far. so good.

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]

Marin-based screenwriter Jane Anderson and director Lisa Cholodenko keep the timeline but ditch some of the stories, while proceeding in a leisurely fashion that allows us to really get to know the key characters.

Put together, all these elements make Rescue Me one of the television's top dramas, on a par with the likes of "Deadwood" and "The Shield." It is that rare TV series that offers insight, generates heartfelt emotion and challenges the viewer to consider the darker corners of the soul. [21 June 2005, p.2D]

The engrossing series is loaded with surprisingly strong stuff, including provocative takes on terrorism and the politics of genocide. The special effects are unexpectedly good. And the acting -- from the likes of Edward James Olmos as Commander Adama, Mary McDonnell as President Roslin and Katee Sackhoff as Starbuck -- is light-years better than in the original. [10 Jan 2005, p.2C]

This season's opening four hours are as good as anything the series has ever done.

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 top-notch acting is still intact, as is the attention to aesthetic detail.

In the end, The Wire is extraordinary television. It has a richness, a depth and an intelligence that transcend the medium and makes it the kind of superb literature that A.O. Scott found lacking in the world of books.

[It has] a rich mix of sharp observant humor and a sure feel for the family dynamic.

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]

The Cold War may be over, but this addictive spy thriller is just heating up.

By the end of the opener, a web of intriguing plot lines (and their treacherous overtones) are firmly in place. As ensuing episodes unfold, the story finds its beating heart as the characters substantially deepen.

They could have made for some deadly passages, but thanks to Morgan's writing and a superior cast, these discourses on the nature of evil, and whether the truly evil ever can be restored to humanity, are mesmerizing.

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

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

Treme, probably more than any piece of cinematic fiction set in New Orleans, feels like an authentic experience. As you watch it--and slowly savor it--you can practically taste the red beans and rice.

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

The [first two] installments--titled "The Beginning of the End" and "Confirmed Dead"--are gripping, vivid, beautifully executed and loaded with answers to the little mysteries of Lost life.

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]

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]

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]

As its lofty production price tag suggests, The Pacific is bursting with epic sprawl and extravagance. But like any effective film of its kind, it also contains a brand of intimacy that will have you bonding with its characters and caring deeply about their fates.

The lively script by Geoffrey Ward covers a lot of ground and offers keen insights via interviews, not only with experts but regular folk who lived through the era.

It all adds up to a trip that's well worth taking.

Daisies is something you shouldn't miss, particularly if you're looking for something different on TV.

It's captivating, and also poignant.

There is no question Rescue Me walks a very thin artistic line. The miracle, in television terms, is how brilliantly it works. While heart-wrenching at times, it is also a very funny series. [21 July 2004, p.6E]

The show is brimming with salty humor, cynical rants and plenty of raunch. But for all its bleak irreverence, You're the Worst also can be surprisingly sweet, tender and even poignant.

The series returns with its creative six-shooters blazing, its florid language and baroque manner of storytelling still gloriously riveting.

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

The Missing, an eight-hour thriller coming to Starz on Saturday, is so tantalizing and haunting that it qualifies as a must-see, even for viewers who might be suffering from serial crime fatigue.

Some of the characters are so simplistically drawn that it's laughable. On the other hand, we love these characters so much and we're having such a jolly good time that we just can't resist Downton Abbey.

What [director Ryan Murphy] delivers is a film with piercing emotional honesty that feels rough, and real, and intimate, and truly full of heart.

Mad Men can still keep us spellbound.

It is smart, challenging television that is respectful of its audience's minds and delves into a corner of our world where no series has gone before. [28 March 2000]

Scenes unfold at a leisurely pace and are punctuated with visual flourishes that allow us to soak up moods and emotions. On the other hand, the show suffers from stretches of starchy dialogue, and the uneven pilot episode doesn't adequately deliver on the promise of what's to come.

Fearless, relatable, goofy and charmingly awkward, she’s just a joy to watch. She has a strong voice, too.

Season 3 gets off to a fine and frothy start.

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

Told with style and assurance, this "Roots" revival is packed with credible performances, including Anika Noni Rose's terrific portrayal of Kunta's daughter, Kizzy in her older years, and Rege-Jean Page's charismatic turn as her son, Chicken George.

The show is a tour de farce for Warburton, who has the commanding gusto of a superhero and the deadpan style so appropriate for the material. [8 Nov 2001, p.D01]

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]

Whereas most entries in the musty genre are simply inclined to go for cheap shrieks and lofty body counts, this saga defies expectations with a more humanistic approach.

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

The way these characters interact and relate in the first hour is dazzling and involving without being self-consciously clever.

"Extras'' doesn't quite rise to the same level [as "The Office"], but it is very funny and Gervais plays another memorable character

It is a great performance [by Mirren], strong enough that it overcomes the flaws of "Elizabeth I."

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 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]

To be sure, the show is like any other crime drama in that it contains darkness and violence--some of it erupting in unexpected ways. But there are enough new wrinkles here to make anyone who takes a chance on it feel thoroughly justified.

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

Torchwood-- the "Doctor Who" spinoff that was a breakout sci-fi hit last year--is back Saturday with new episodes that are as smart, sassy and sexy as ever.

This BBC-produced series has some of the best writing and acting you're likely to see this season.

What ensues is a dizzying, turbocharged confrontation designed to keep your nerves in a vise (or your stomach in knots). Of course, it's all punctuated with the violent reverie of an all-out zombie splat-fest. So, basically, it's The Walking Dead on crank.

Based on the first two installments of a 13-episode season, it will continue to have viewers perched on the edge of their sofas.

Superb. [17 Sep 1994]

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

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]

At least early on, Nip/Tuck manages to hit the right notes and reclaim a spot as one of television's most watchable and entertaining series.

Initially, these and other fresh characters make Season 3 feel overcrowded--and we pity any new fan trying to make sense of it all. But by the middle of the second episode, the show begins to gain traction and sucks you in with its new set of tantalizing mysteries.

This year, as in the past, there are all kinds of problems with "24" if you think too hard about what you're watching.

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]

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]

So far so good. ... A show that exudes a distinctive vibe and carries some social relevance.

If anything, season 2--also just eight hours long--is even better as Tyler's world in 1973 becomes even more complicated.

[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 show that, while ponderous at times, ultimately adds up to some very absorbing television. [10 Oct 2000, p.D01]

From an advance look at the season opener, this season's cast is a particularly lively mix with a multimedia artist, a "Beach Blanket Babylon" costume designer, a model-turned-designer and an ex-biker among those competing.

There's a depth, a richness to the series now that was only suggested [in the first season].

After watching the show's first three episodes, I'm intrigued, if not totally wowed. But I want to see more.

It manages to be a rousing piece of filmmaking, a fascinating character study and a largely accurate presentation of the time when America was born.

The early episodes of Project Greenlight do a great job of demonstrating just how important access is in Hollywood. [2 Dec 2001, p.C04]

A finely detailed exploration of high school life and small-city dynamics.