Target is pure, utter, ridiculous, over-the-top-into-the-ravine entertainment.

This one is stylish, smartly produced and has a very appealing cast.

The writers have great ears for "real" dialogue, and, in fact, not a single line here feels like a dead ball. The characters, too, arrive fully formed and believable. First impressions are absolutely vital in TV, and The Middle makes an excellent one.

As with his earlier shows, "Hopkins 24/7" (2000) and "Hopkins" (2008), Wrong has structured these stories masterfully. Nothing seems wasted, nothing is superfluous. As a result, the hugely important work these people do is honored in every shot.

This is a spectacular new series, with some stunning performances--Pierce, Peters, Zahn, in particular--and gorgeous music.

Cumberbatch and star British producers Steven Moffat and Mark Gatiss ("Doctor Who") have performed quite a remarkable feat here--they've created something unique and pleasurable where so many have trod before.

Funny, smart, entertaining, excellent acting and writing. What's not to like?

Like "Mad Men," Wife has an obsessive attention to detail; it's a hurricane of detail, in the visual touches, legal patter and the actors' unspoken flourishes. Nothing seems extraneous or out of place. Also like "Men," this show cares as much about silence as words, or that which isn't said (also a form of eloquence).

The most entertaining--and beautiful--new series on TV this fall.

In Treatment deftly picks up where it left off--midpoint in the journey of Paul Weston's soul--and reminds us why we took this trip with him in the first place. The new cast is superlative, Bryne is intoxicating, and Ryan is an especially excellent addition. Bon voyage.

Uniformly excellent - although some additional reporting devoted to the treatment of PTSD would have made this a more complete package.

Who knew beautiful, obscenely expensive cars could be so much fun? These three guys do, and they effortlessly convey their knowledge and nutty passion.

A winner. And for the Hoffmans' sake--plus family and friends along for the ride--let's hope there is gold in that hard, cold ground.

Episodes is flawless and hilarious. What a pity it lasts only seven episodes.

A stunning, brilliant, terrifying launch to TV's best series.

Brownstein and Armisen move so effortlessly between characters, then execute their riffs, tics, styles and voices with such skilled abandon that before long this doesn't seem like satire any longer but a fun house mirror reflection of intensely real people.

Not a dull or wasted moment, and Lane may have just turned in the one of the best performances of her career.

It was last year, and remains so this year--one of TV's very best.

This remains one of the best shows on TV, and (as usual) not for all tastes.

TV's best (but do your homework before diving in).

As twisted, and twistedly funny, as ever.

Six million zombiephiles watched the finale of the first season and those 6 million will not want to miss Sunday's opener, which is excellent and appropriately disgusting.

"Men," of course, remains the King of the Emmys, while Empire nailed the equally prestigious Golden Globe for best drama last winter. But Sunday begins to build the case for Empire, and build it convincingly.

An enthralling film.

Even at six hours, this tends to be more impressionistic, and less bound to a strict historic timeline.

Mad Men is back and back in all the right ways--the humor, the writing, the period details, and best of all, the flawless attention to these characters and their cluttered interior worlds.

There are three excellent reasons--Milch, Mann and Hoffman--why your faith will be rewarded.

Stunning, beautiful, hypnotic, engrossing, spectacular... That oughta do it here as well, except Frozen Planet unexpectedly adds another word: Unprecedented.