To call "Deadwood" great television doesn't begin to do it justice.

"Masterpiece" isn't too strong a word to describe this series.

What begins as the usual artistic season premiere shivers and sways with unexpected jolts, one of which irrevocably changes the course and feel of the series. Everything blurs, and nothing, and no one, seems true.

The fans, no doubt, will be content with the conclusion of the brutal street politics--usually the best aspect of each season--as we witness a brilliantly stormy resolution of the unrest between Proposition Joe (Robert F. Chew), Marlo Stanfield (Jamie Hector), who continues to expand his power, and the charismatic, elegant brute Omar Little (Michael K. Williams), a murderous thief worth cherishing.

More relevant and biting than it has ever been.

As hilariously scalding onscreen as it is on the daily comics pages.

Few stars can write and play a kicked-in-the-mouth underdog as smartly as Gervais does here.

Real and relatable, "Chris" may be the best new comedy of a season filled with sitcoms worth viewing.

More than simply being outstanding, "Friday Night Lights" is an important series because of the way it takes family-friendly television seriously.

The agile humor and light, sharp intelligence permeating the script make "Studio 60" far and away one of the season's best new dramas, if not the top entry.

It demands commitment and a willingness to pay attention to the smallest bits of information, but it's also riveting. Once you decide to go take this case, you won't want to turn back.

In a fall season full of lofty recommendations and solid, well-made pilots, it's the only series truly worth getting excited about.