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.

"The Riches" is both unique and intoxicating -- and plenty more.

It's a gloriously visual fairy tale full of saturated colors and whimsical stories, the kind of romantic comedy/whodunit that should, by rights, captivate a nation starved for quirkiness and delight.

Again, it's back to the writing and the look. Both are superb.

"Flight of the Conchords" may well be the funniest thing you've seen in ages and -- at least for a half hour -- answers the question of whether HBO has any good shows left.

The level of cleverness of Flight of the Conchords is off the charts.

The writing and acting are hit out of the ballpark on this one, and that's not a vibe you pick up out of nowhere.

There's a lot to love in Californication, from the blowtorch-keen dialogue of creator and writer Tom Kapinos to the way that Duchovny's ever-so-slightly-fading good looks perfectly encapsulate the character's downturn in Hollywood, to a multitude of standout performances in the ensemble cast.

Hirst, Rhys Meyers and the rest of the cast (and Bergin's costumes) make it all somehow meatier but no less entertaining in Season 2.

The acting (from a mostly unknown cast), cinematography (you can just stare at this series) and especially Weiner's writing carry the series to exceptional heights.

The writing is a real thing of beauty - from the aforementioned nuance to searing workplace witticisms and pitch-perfect tone from a multitude of characters.

All the elements Mad Men does well - the humor, the note-perfect clothing and sets, the creeping cultural change - are still there to be savored.

The first three episodes of Season 2 that AMC sent out continue that level of achievement with no evident missteps.

Soak in the visuals, listen to the mesmerizing use of sound. The writing and acting will lure you in, but have appreciation for all the details that go into making this series so great.

Generation Kill is rewarding in its complexity. It feels real - and that realness is bracing, sad and funny in equal measures.

Few series have exploded onto the scene with such a rich array of potential stories and inherently interesting characters.

As Sutter proved in the intriguing and original first season, there's plenty more riveting storytelling to tap into as Sons of Anarchy boldly comes of age.

The Pacific is a superb, viscerally moving and harrowing depiction of World War II and a worthy complement to "Band of Brothers" (2001).

Little Dorrit is anchored by an extraordinary performance by one of England's best actors. And like "Twist," that central performance is only one of many elements that make Dorrit not only terrific entertainment, but, in some ways, perhaps even better than its source material.

What is not surprising at all about the fourth season of one of television's elite series is that Weiner continues to explore what it means to be human.

Sons of Anarchy remains as bare-knuckled and, almost inconceivably, as funny and crass as ever. And it doesn't take Season 3 very long to ratchet up the twists

Glee, one of the season's best and most anticipated new series, delivers on both counts - and more. It's a quirky, sweet, humorous, nonpartisan funfest.

If you like big-screen-level thrills and complicated plot structures, you'll opt-in to FlashForward. And you'll be rewarded. Here's hoping it stays strong and compelling as it heads to April 29.

The Life & Times of Tim--is flat-out brilliant and easily one of the funniest newcomers to television.