Man, is this a good show...Boomtown is so good, it single-handedly restores your faith in broadcast networks. They can compete with the "freedom" of premium cable. All it takes is creative smarts. And NBC's Boomtown has plenty of those. [27 Sept 2002, p.B02]

"Galactica" is so beautifully designed, shot, edited and acted that you can practically smell and taste its emotional validity.

Best show of the season? Call me crazy, but it's a loopy-twisted-serpentine whodunit revolving around a whip-smart teenage girl...So let's recap. Engaging star, cool characterizations, witty scripts, meaty backstory. What's not to like? Only that networks always cancel deliciously offbeat gems like this. Let's hope UPN doesn't actually want to be a "real" network, after all. [22 Sept 2004, p.C01]

Party Down took awhile to jell, but it has hit its stride as one of TV's most finely observed comedies.

Even film school snobs like me can learn a thing or 10 from Moguls & Movie Stars. The breadth and depth of information rushing through each hour is astonishing.

For a show forever detonating bombs, it's surprising how sweet and frothy Tara feels. Just a half-hour long, it doesn't waste a second, pulling a gun within the first few and no punches ever.

As real as real gets, invaluably adding human understanding to a hot-button topic.

Showtime lets them take their time to spin serpentine story lines, gradually pulling us deep into one very sticky, scary web of intrigue.

The first three episodes totally nail it.

They [directors John Dorsey and Andrew Stephan] know how much to say, and show, to viscerally deliver the sights, sounds and even smells, without scaring us away.

Garcia's single-camera editing amplifies the comedy inherent, rather than being a crutch to create it. And the casting here is as good as "Earl," which is saying something--even if Leachman goes a bit off the rails as wacked-out "mamaw."

Producer Beers' team is the gold standard in male-aimed reality, and these guys have grit to burn.

With two shopping trips in each half-hour, TLC's latest hit is so fast-paced--and such giddy consumerism--that it's fairly irresistible. Also educational.

The soul of the show, though, is its conflicted "heroes," truly tortured, in palpable ways, recalling the best, early days of NBC's ill-fated Monday comic book. There's no cartoonery here. Just adult adventure and angst.

This evocative hour doesn't lionize Steinem, but simply lays out what happened.

Fascinating documentary--and extremely effective commercial.

The show's core relationship is appealingly relaxed. It dares to suggest successful coupledom lies less in heated passion than in being able to dress down and screw up and know you're still loved.

It all adds up to one solid nail-biter, with a profusion of clever clues that seems to cast suspicion on everyone.

You can see Neverland as sly philosophical discourse, or you can see it as fantastically produced adventure. Just make sure you see it.

No matter where you stand on the death-penalty debate, this is must-watch revelation--and, thanks to Herzog, tense and suspenseful drama.

[These women make] instant impact, of course, with their stories but also through sheer personality.

Strong personalities evoke the hold of the old, the tug of the new, and that intersection's human fireworks.

Bracing and tasty.

Sincere host, unguarded participants, sensitive treatment. And more cool stuff!

It's less the Plot Events that ring true here than the well-played little side moments and background squabbles, the simmering resentments and recriminations, the emotional tugs-of-war.

Browncoats Unite keeps the focus on the work itself. And that's what keeps "Firefly" afloat.

A head-spinning, yet deeply humane, thrill ride.

There's humor, there's heart, you'll laugh when you don't expect to.

He's rude, sarcastic, bitter, brilliant and, delightfully, the most compelling character of the fall TV season. [14 Nov 2004, p.11]

The most intriguing thing, actually, is that Lost may not even need the hoodoo voodoo. Abrams and script creator Damon Lindelof ("Crossing Jordan") have already set up a pretty compelling cross- section of earthlings as a study of simply human behavior. [19 Sept 2004, p.11]

This stuff is good. No, superb.

Like Hugh Laurie's irascible "House" title character, star Ellen Pompeo's newly minted Dr. Grey conveys such substance that you simply can't stop watching. [25 March 2005, p.B33]

Layering such unnatural proceedings into the family-drama format only intensifies both story angles when you do it right. And Cassidy has, with strong casting, solid structure and a fine feel for what's most frightening.

It all flows from the heart in a way few shows do, unfolding with the ease of being surrounded by people you've known forever already.

[A] rewardingly seasoned new drama series that's practically indistinguishable from the acclaimed feature film, except that it's better.

This four-hour gem is exquisite from start to finish, rife with the texture of its place and time, rich with human understanding expressed in everyday articulation and small gestures.

The 10 hours of PBS' immersive miniseries Carrier are frank and intimate, hard-hitting and heart-rending, rocking (with hit songs) and rolling (when the ship pitches so sharply, planes can't land).

Caprica feels torn between soulfully mature ruminations and adolescent "accessibility" for gamers wondering where the space action went. Let's hope the pilot's spellbinding second hour points the way toward greatness.

These actors are serious sitcom pros, and their show is actually about something genuine--sibling bonding/rivalry, parental button-pushing, relationship-building. It's nice to see some emotional meat in a live-audience staging again, feeding off the energy and reactions of real people.

While critics like me count quibbles, kids of all ages should share my husband's assessment: "It's a superhero show. Superman flies. Give The Cape a little space."

Future episodes aren't as snappy or scenic. But Shahi & Show deliver win-win, anyway.

These stylish suits aren't empty, by any means. But we'll have to see if USA is truly willing to let its heroes' souls get emotionally naked.

There's texture galore in this city-shot cop hour, eyed by handheld lenses echoing "Homicide's" edge (and director Peter Berg's "Friday Night Lights" intimacy).

Science channel publicity materials call the show "a real-life Twilight Zone," and in terms of mood, that's on the mark.

Robbins means business, calmly prodding family members--and not just the apparent aggressors--to truly comprehend where others are coming from. She calls people on their bull, eliciting not just tears from stress but tears of realization.

Method makes a solid case for Lewis as underappreciated auteur.

A great concept, mostly divorced from reality, with superb execution, just might extend forever.

One thing you can say for USA: It knows what it's doing. It's got its shtick, and it's sticking to it.

The show has sneaky depth. The leads are pretty without being "pretty," refreshingly down-to-earth likable, and able to flesh out their youthful stereotypes with this weird thing called personality.

Thought I was going to hate "Total Blackout." Then couldn't help laughing out loud.

Bunheads seems to know exactly what it's doing.

The good Lord created sitcoms like The Soul Man as relaxing, relatable humor with heart, and Cedric's new creation isn't about to mess with His template.

The characters hold promise, the show looks swell, the stories reflect rich history and the makers have earned our trust.

Her shrewd, straightforward perspective and her semisweet, offhand attitude make her reflections fresh and relatable.

Angel upholds Whedon's spellbinding "Buffy" mantle and expands it, taking his surprisingly mature and witty view of life among the supernatural into an adult realm. [5 Oct 1999, p.B27]

We're talking major-league adult content here - from unblinking strip searches, to human branding, to brutal violence and language that the broadcast networks have never even thought about airing. But that's only an alert, not a warning, because this drama series from tube auteur Tom Fontana ("Homicide," "St. Elsewhere") packs a dramatic wallop as potent as its frankness. [11 July 1997, p.B47]

There's real thought behind The West Wing, a blessed exhilaration in this increasingly apolitical medium. For those who remember when '70s TV comedy took on the world, this is a welcome arrival. True, the pilot takes some fish-in-a-barrel potshots at sanctimonious evangelists, in Sorkin's speechifying manner from "Sports Night." But it also delivers that series' satisfying depth of reflection and rich characterization. Eventually. Once we know who these people are. [21 Sept 1999, p.B27]

The busy season premiere quickly constructs an intriguing seesaw of aspirations and emotions, and it's self-contained enough to sell itself to even Nip/Tuck newcomers.

A soul-deep sense of humanity grounds "Heroes."

"Big Love" does more this year than you might expect, and more richly, more provocatively, more dramatically and amusingly, too.

A rich character drama and riveting suspenser that makes Fox's "24" seem lackluster.

The characters are vibrantly well-defined... And the writing is smart, with a light touch.

Any doubts the tube can get graphic enough for today's gore-heads disappear almost instantly with tonight's premiere installment.

As bizarre as things can get, Torchwood still feels more like sci than fi, and more ego/id than alien vs. human. The Gwen character in particular radiates intelligence, and empathy, and curiosity, about what's out there and what lies inside Jack. We can't help but share her, um, enthusiasm.

Uncompromisingly revelatory.

The second season of CBS' cult fave broadens beyond the first season's lawless action and family sentiment, even its rallying sense of community, to a wider and deeper purpose.

It's hard to convey all the ways that this tightly directed show goes right: quietly observant character detail, solid sleuthing, play-it-straight absurdity and sneaky "Airplane!"-style parody riffs.

Richness of detail permeates this modern tube-noir. The more damage done, the more juicy fun for us to savor.

This fall's most satisfying series delight.

"Dexter" knows what it's doing, and savors its skill immensely.

The filmmakers' assurance makes this miniseries play more like bang-up drama than fact-filled documentary. Yet their facts pass informative muster, and emotional validity, too.

It's fabulous in every sense of the word.

"Mrs. Harris" unfolds with a basic playfulness that keeps the mood light even as the story becomes dark indeed.

As well as New Yorkers know these three characters, it's amazing how quickly the real faces fade and the three actors here become their own "strong-willed people."

Samantha Who? which is not nearly as cool a title, but still a sparkling comedy that treats its viewers as--gasp!--actual grown-ups.

Good thing is, this ABC hour lives up (down?) to its name, arriving as a wacky/kinky escapist saga of screwed-up rich folks and the down-to-earth family attorney/fixer hired to sort out their shenanigans.

ABC's latest single-camera comedy is utterly relatable. Even better, it's filled with the same warm yet witty, always smart and eccentric vibe as previous misfit-student faves "Square Pegs," "Popular" and "Malcolm in the Middle."

On top of the stars' subtlety and Fuller's verbal wit, Sonnenfeld's pilot direction ladles layers of flashy frosting--theatrical camera angles, emphatic zooms, intensified color and those heavyhanded moments when the narration can't quite straddle the sap line.

Humans vs. cyborgs in a movie spin-off that's surprisingly effective for fans of both action and character drama.

Like a series of one-act two-handers--stage plays where just a pair of actors face off--this sneaky little gem steadily strips away its therapy patients' emotional defenses and excuses, exposing the raw fears and paralyzing reactions beneath.

The real-world intrigue is matched in dramatic flair by Chuck-world jeopardy. His store's fierce assistant-manager competition resounds as fatefully as saving the universe from evil. Which makes the dark light enough and the light dark enough to meld into a tasty escapist treat.

This narrated comedy-drama finely observes the particulars and peculiarities of teen life, both in the family its narrator is trying to outgrow and the high school pecking order he's hoping to rise in.

It's all sharp and snappy.

Giving us hope are Kapinos' brisk writing and Duchovny's agile performance, conveying smarts, savvy, self-indulgence and sad stupidity in equal amounts.

These folks know how to hit a note, and hold it, which means "Burn Notice" doesn't wobble around wondering how serious/silly to be. Its pitch is perfect.

This impressive fact-based debut from cultural journalist turned director Nelson George keeps us captivated simply by honing in tight on the character of its people, sketching in fine detail not just their admirable strengths but their all-too-human flaws.

They've translated the radio show's aural mosaic to the visual medium so effortlessly in this first season of six half-hours, we hope Showtime orders more of this life we all can recognize.

Fans of "The Sopranos" looking for a new Sunday-night must-see may find it here - though perhaps not fans driven to fits by that HBO hit's ambiguous conclusion.

Creator Vince Gilligan ("The X-Files") never loses touch with the mundane reality that so brilliantly magnifies its absurd horrors.

The "quarterlife" series, too, offers an especially hopeful kind of exuberance, even a glowing warmth to the friendships, that shines brighter than previous Herskovitz-Zwick shows.

The "Melissa & Joey" pilot is no great shakes. But Melissa and Joey could be.

The Whole Truth equals " Law & Order: The Next Generation." It's still just a little too overeager and needs to mature.

Proceed with caution into this foul but funny cauldron of catastrophe.

Gardell and McCarthy are two of the more realistic-feeling, instantly appealing sitcom personalities in ages. They're enough to make it worth drudging through the sludge tonight's pilot considers comedy writing.

Being Human echoes, move for move, the BBC America fave of the same name. Yet, Syfy simplifies the tone into young-adult novelhood, where there's lots of white space around really big print. Subsequent episodes improve as plots thicken.

Producers clearly encourage some to-the-camera carping, but the overriding emotional tone is one of bonding and growth. And respect. In a reality competition!

Rule-breaking law enforcers! Wherever have we seen this before? But it sure works Friday, seasoned with devil-may-care brio from a cool cast.

The indulgence gets annoying, even as the basic details are fascinating and fun, as are the seductive testimony settings. You gotta love the fantasy of all those swank joints and modern mansions.