Without a doubt, Homeland is the best drama on TV right now.

Although it's been described by other critics as a cop version of "The Sopranos," I don't see it. The only similarities are the fact that the lead characters are unlikely sex symbols, and on both shows you've got a bad guy with a heart somewhere in there...So why is this still any good? Because Chiklis is so good, because the writing is very good, and the cast has actors other than great-looking Gen Xers who look like they fell out of the Sports Illustrated swimsuit issue.

To paraphrase one of the great ads from the glory days: Between love and Mad Men lies obsession.

Showtime's edgy, edge-of-your-seat series, is, bar none, the best thriller on American TV.

Each week, the series takes on a Holmes classic, updates it, turns it on its ear and leaves you breathless.

Not as much sex as you may be used to, but plenty of action, and enough complexities to keep geeks, geniuses and fans glued to the strange and wonderful world of the Seven Kingdoms all spring.

Frozen Planet [is] perhaps the single greatest accomplishment in nature TV history.

Nothing but shocker after shocker.

The Game is worth it. Really.

Disturbing, sober and flawless.

It's the possibility of unlimited complications looming that make it so insanely riveting.

Treme is like Cajun food--it's spicy, it's weird and it's good, but it takes a while to appreciate.

Was it worth the wait? Are you kidding me? Does London Fog make raincoats?

In the weeks ahead, there is a tremendous amount of not-to-be-missed drama--including the area's first face transplant.

It's funny, it's vicious, it's politically incorrect--in other words, everything that "Community" wants to be and isn't.

As important as those set battles scenes are to the series, they are blended beautifully with the bravery, frailties, strength and weaknesses of the actual people involved.

This six-part series is so layered and unexpected that nothing follows a tried-and-true formula.... This is great TV.

An intriguing, well-done documentary.

Will Big Love go out with a big bang? If the final season's opener is any indication, the answer is a big "yes."

Nashville is arguably the best-written new TV series of the fall season.

A bleak, slow-moving, humorless show that is still so good that you will be angry every time an episode ends.

The series seamlessly moves between the horrors of war and the gentility of life in the show's titular 100-room manor.

Fey's back to her day job tonight and 30 Rock is as funny as ever, as cynical as we hoped, and as fresh as if it were a freshman show.

It's hilarious and even funnier this year than last.

This new phase takes the show from sometimes cartoonish to serious, punctuated with belly-laugh dialogue. This is thanks, in no small part, to Michael J. Fox, who is in six episodes this year.

As good and as riveting as the high school football-as-soap-opera show has been in the past, this season is even better.

Unlike a few characters in seasons one and two whose lives I just wasn't interested in, I won't be skipping any therapy sessions this season. They are all fascinating.

Maddening and exciting.