A relentless, ambitious perpetual motion machine that may go down as the most exciting thriller in TV history. [27 Oct 2002]

If you enjoy seeing wealthy, petty people get their deserved comeuppance, this is the show for you. If you enjoy laughing, this is definitely the show for you - the funniest new comedy of the season by a wide margin...For a show about dumb, unfocused people, Arrested Development is wickedly smart and quick, willing to go anywhere for a good gag. [31 Oct 2003, p.49]

As with the best of these broad canvas series, the players and their allegiances become clear within an episode or two. And from that point on, Boardwalk Empire becomes everything that HBO (and I) had hoped for it.

What makes these episodes feel extra-special is the sense of purpose to them. There's a big story being told here--not one that requires you to watch every episode (though your funny bone will thank you if you do), but one that seems to raise the stakes for everyone involved, and which makes the jokes funnier, the characters richer, in the process.

They know how great the show looks, they know how much their actors can give them, and they know just how much they can get away with.

As the follow-up to an incredibly strong debut season, it's even more fun.

Normal is overrated. Give me whimsy, dreams and Evil Troy and Evil Abed any day. Give me extraordinary. Give me Community.

The premiere suggests that the only other show that belongs with it in the discussion for the best drama on television is the same one we were talking about last season. At the top level, there is "Breaking Bad," and there is also--finally, thankfully, exceptionally--Mad Men, and then there is everything else.

It definitely has a voice, and it's a great one: witty and wise and warm and not exactly like anything you've heard before.

Louie viewers don't know exactly what they're getting in any given week, but the show is so elastic that nothing it tries feels like something it shouldn't.

Even with Walt's apparent victory over all who would seek to deny him, his genius and his strength, Breaking Bad is still a perfect model of filmed suspense.

It continues to be one of the most satisfying dramas in the history of the medium.

This doesn't feel like a factory product, but a work of individual, beautiful craftsmanship.

Silly or sober, Louie is one of the best shows on television.

While there are many extraordinary moments in the new season, there's still enough inconsistency that I'm still waiting for it to become the classic drama it so clearly has the tools to be.

Homeland functions terrifically as both a thriller and a commentary on our post-post-9/11 world, where the War on Terror and the concept of being constantly under surveillance are both facts of life.

Because the bond between them is so strong, all the show's disparate pieces - the filthy comedy and the desperation, the joy and the depression - hold together just as well.

It's clear and engaging and moving to this novice.

The sheer number of colorful characters maneuvering keeps things lively.

It's still Homeland, and it's good.

Over the 10 episodes of the new season, Tremé remains outstanding at what it sets out to do.

It's a treat to be back in this world again, and perhaps by the end of this season I'll feel happier about the crime arc than I did about the spy stuff.

By forcing Raylan to retrace his father's decades-old steps, Yost is reinventing his show yet again, but he's also going deeper into the heart and mind of the man with the big hat and gun.

Based on the admittedly small sample size of two episodes, The Americans feels like it could very comfortably slot in with the upper tier of FX dramas. That's about as good as it gets.

Fuller and company do an impressive job of balancing Lecter's machinations, Graham's emotional problems, and the other killers that Graham and Crawford have to stop, in a way that never descends into formula.

This is an absolute: Top of the Lake is great.

For some, the six hours of Rectify will feel like a very slow sentence indeed. For others, the performances, the very clear sense of time and place, the beautiful images and the thoughtful things the series has to say about life, death and spirituality will feel like no time at all.

Whedon tries to blend comedy, horror and action, a very combustible mixture - as evidenced by the wildly uneven "Buffy" movie - but he seems close to perfecting the formula here. [10 Mar 1997, p.31]