Having seen the first four episodes, you need to be a part of this. You need to doff the skepticism and get on the ride.

What remains compelling about The Shield as it heads into its last hurrah are the gray areas and ethical gradations of the characters that have defined it.

The breadth and ambition of "The Wire" are unrivaled and that taken cumulatively over the course of a season -- any season -- it's an astonishing display of writing, acting and storytelling that must be considered alongside the best literature and filmmaking in the modern era.

In the end, there will likely be a lot of unhappiness, dead bodies, same-as-it-ever-was institutional failure, lack of responsibility and the triumph of self-interest over the greater good. Not exactly a Hallmark card, but one hell of an artistic achievement.

This series is one of a kind.

State of Play is one of those series where a moment's brilliance is rivaled by the very next scene, a careening thriller that gives credence to the idea that there may not be any better format for telling an impact story than over the course of four or six hours. [16 Apr 2004, p.E1]

"Battlestar Galactica" not only lives up to its sci-fi gold-standard reputation but also should be considered straight up as one of television's most appealing dramas, no matter the genre.

There are many small and wonderful dramatic accomplishments in the underappreciated gem that is Battlestar Galactica, but perhaps the most enduring is that what was conceived of as an epic space adventure has turned into a finely detailed, intimate drama.

Three more words: Oh. My. God.

Lost is a different genre, one that may infuriate even the loyalists, but there's something impressive and rewarding in its density.

Rescue Me races out of the gate as confidently brilliant as ever before, wildly mixing emotions along the way.

Right out of the gate, "The Boondocks" is a water-cooler series that lives up to the hype. It is funny, fearless and continues the vibe of the strip.

"Weeds" is colossally great... a series far better than its premise and utterly essential for devotees of smart, entertaining television.

Kohan and her writers deserve perhaps more credit than they're getting for forcing change and making it artistically compelling.

The fall's funniest sitcom.

With elements of "Wonder Years," "Cosby" and the "The Jeffersons," but also a spirit all its own, "Chris" is a sitcom that finally makes the family funny again.

"City of Men" pulses with the kind of energy you don't get often on American television, and the realness of the shot-on-location scene really makes each episode feel like a minimovie.

"Studio 60 on the Sunset Strip" lives up to the advance hype, easily qualifying as one of the best new broadcast series of the fall.

Welcome back, 30 Rock. Even in a season of wonderful sitcoms--trend story alert!--you get it done.

It's Close who makes "Damages" a series to contend with.

It's a serialized mystery that pays off your devotion.

Daring and original.

This series has always handled the duality of his character with masterful strokes. And it has done viewers a favor by quickly setting up the seasonlong scenario.

When Season 3 kicks off spectacularly, there's a slight exhale in the first 59 minutes--then a twist. And not a small one, either. By the second episode, the writers give you roughly 40 minutes to digest that twist, then drop a real stunner. Which is--just to cut to the chase here--truly and incredibly exciting television.

All your favorites are back in force, with a few twists, but the allure of the series always has been and always will be Hall, who manages to make a killer (who kills only people who deserve it, mostly) likable, believable, engaging and funny, as he works his job as a blood splatter expert at Miami Metro Homicide.

The new offering, from executive producers Ronald D. Moore and David Eick (the team behind "BSG"), stands on its own and in many ways might be more inviting to viewers who are not hard-core sci-fi fans.

A cleverly crafted, ingenious thriller with only scant moments of implausibility. Most of it has the unmistakable imprint of a smart premise beautifully executed.

It's not very often that a TV show bursting with imagination, audacity, rude charm and a relentlessly funny worldview gets on the air, much less appears fully formed. But Sarah Silverman... has delivered an offbeat gem.