Queen Sugar is deliberately paced--almost annoyingly so at times--and the opening scenes of Tuesday's pilot episode have a disjointed feel to them. But the show eventually finds its footing and packs an emotional wallop as you get to know and care for its characters.

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]

It's a scattershot approach that ultimately undermines what is admirable about Luck, including some gorgeous photography.

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]

The characters are intelligent, complex people you quickly care about, even if -- this being a show about television -- they can be egotistical and self-centered.

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.

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]

But as good as it is, it doesn't quite have the originality, unique perspective and subversive sense of humor that mark HBO's "The Sopranos'' (clearly something of a model), "Deadwood'' and "The Wire.''

Despite all the implausibilities and irritations, Switched manages to make a positive impression, thanks to some sturdy writing and solid performances that adequately sell the premise.

Once you get used to the surroundings, it's still the same "As You Like It"--utterly charming and completely winning.

Supergirl pretty much hits the beats you expect it to hit. There are rollicking battles enhanced by lots of digital trickery. There are hints of sinister threats to come, and some plot twists probably aren't as surprising as the writers think. Still, Supergirl is made with style and assurance, and it does enough to keep things interesting.

Through it all, Bloodline sucks you in and keeps your nerves in a vise.

The series takes its horror seriously. There are genuine jolts, along with lots of intense, turbocharged action sequences, and fountains of blood that give the story visceral oomph. The faint of heart may want to sit this one out. On the other hand, there's also enough comedic energy to keep things from feeling excruciatingly brutal.

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]

Although the show features strong performances and is piercing in its emotional honesty, it also get bogged down in its own existential angst.

At times, the storytelling is hopelessly and irritatingly convoluted. But you have to admire the ambition of the filmmakers in tackling both tough subjects and complex themes, a cast that rises to the occasion and the "24"-like kinetic energy. [26 Jan 2004]

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

It's familiar sci-fi territory, of course, but the show tackles it in intriguing style while delivering some suspenseful touches.

Still, "Chronicles" is worth an early sampling, particularly given the current TV landscape where scripted drama and comedy is at a premium. Certainly, there is some promise to the opening episodes.

Yes, this highly addictive -- and often painfully funny -- soap can trample all over your comfort zone, but that can be a good thing if you give it some slack. It is rough and visceral and intense and defiantly alive -- commendable qualities, considering how so many banal (and derivative) TV dramas these days carry the mind-numbing effect of pre-op anesthesia. [22 June 2004, p.D01]

If you've ever wondered how television screws up so many promising projects, check out Episodes, a new Showtime series with Matt LeBlanc that provides the answers in deliciously hilarious detail.

Occasionally, something will pop up to remind us of just how good television can be when smart writers come up with an intriguing concept and execute it well. A case in point is Breaking Bad, an edgy, challenging new series.

Torchwood is grand fun and great adult entertainment.

A smart, sophisticated spoof.

With all this going for it, the real question about The Beat may be whether a smart audience will ever find it buried on the testosterone-driven UPN schedule. The series has some kinks to work out but it's definitely worth tracking down. [21 March 2000, p.1E]

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

"Sleeper Cell" is a compelling, kinetic ride that matches "24" in its power and is far more realistic and topical.

Saturday's opening episode has a frustratingly deliberate pace. But "Outlander" eventually gains traction and becomes good escapist fun with doses of intrigue, suspense and, of course, steamy romance.