Unlike most serialized dramas of late... "24" continues to do everything right.

The language, the acting, the themes - everything in "Deadwood" is good as gold. In TV entertainment terms, maybe even better.

Fabulous in every respect.

In theme and execution, in caliber of performance and level of dramatic tension, "Sleeper Cell" is an impressive, relentlessly gripping drama.

One of this season's most tasty and twisted TV treats.

If you loved "The Office" you may have grave doubts that any followup comedy could be as good and as quote-the-dialogue funny. "Extras" is that - another triumph, and a perfect Sunday-night companion piece for "Curb Your Enthusiasm."

As with the Gervais-Merchant "The Office," the more time you spend with the characters in "Extras," the more you feel their pain as well as laugh at their expense.

It's one of the best new shows from any network this year, and is a total, almost giddy delight from start to finish.

Like the best TV comedies - from "Seinfeld" to "The Mary Tyler Moore Show," and all the way back to "The Jack Benny Program" - "30 Rock" sparkles not just because its central star gets to shine, but because everyone does.

The law-firm arena is one of TV's oldest and most familiar genres, but Damages enlivens it by defying expectations.

"The Nine," starting tomorrow, is the show most people will want to discuss at the office water cooler.

Every hour is impressive, surprising and entertaining.

It's bold, different and exciting, with a central character and performance that take your breath away.

"The State Within" is challengingly cerebral - but at times, it's also almost painfully visceral. Don't miss it.

Pushing Daisies is perfect.

Sameer Asad Gardezi and his writing partners have created something very different in Aliens in America--and something very, very funny.

The team behind this series--creator Tom Kapinos from "Dawson's Creek," executive producer Scott Winant from "My So-Called Life" and "thirtysomething," and Duchovny himself--makes it easier for Duchovny by surrounding him with sparkling female characters and talent.

With strong performances by a cast that includes Alfred Molina, Michael Keaton, Rory Cochrane and Chris O'Donnell, this adaptation of a Robert Ludlum novel reels you right in.

It's not comfortable. Just compelling.

The real skill and appeal of Mad Men remains in its characters.

Archer is the rare show that's in love with its own wordplay and good enough that this love becomes endearing rather than annoying.

Justified doesn't have the bite of "Fire in the Hole," from which the first episode was adapted, but it gets much of the tone--droll, a little weary, frequently tense, sometimes conflicted--never forgetting that at the core, good is challenging evil.

Watching HBO's new Boardwalk Empire is like sitting in your favorite tavern and hearing someone say, "Drinks are on the house." Friends, it doesn't get much better.

The next great "Masterpiece Theater" series has arrived.

Season one set the bar high. Season two clears it.

If Sunday night's two-hour return episode of Mad Men ended after the first four minutes, it would still put the show in contention to win its fifth straight Emmy as the best drama on television.

Whether you've followed the show to this point or not, you can tune in and savor smart TV drama at its best.

With the bar set at Emmy, Homeland has little room to falter. With this return episode, it doesn't.