It's a bloody good, gory hour, and I don't know how Southland will top this. But I can't wait to see what's around the corner.

We've all been there. Which is why Freaks and Geeks works so well. Cloaked in grunginess, it's a totally unpretentious slice of high school life, a decidedly unmelodramatic drama devoid of "Dawson's Creek"-speak and sticky self-analysis. No one is wearing designer duds and the closing scene at the high school homecoming dance reveals that not one student possesses a shred of rhythm. [25 Sept 1999, p.25]

Homicide is the best new television drama of the season. That's particularly surprising, considering it's yet another cop show. And even more surprising in that it's NBC - the loser network - which has come up with a winner teeming with unique characters, steaming with atmosphere and featuring writing as sharp as a stiletto. [31 Jan 1993, p.30]

The new crew is an intriguing bunch. [9 Jan 2005]

This is the best ensemble of any show anywhere, and watching these gifted actors bounce off each other is a joy. Damages proves capable hands can craft a thriller for TV.

By dramatizing the true stories of the men who fought there, Spielberg and Hanks craft perhaps their most psychologically grounded work.

Mad Men is off to one crazy-good start.

Fox’s Human Target is the closest thing on TV to swigging a keg of Red Bull. It’s one hour of pure energy, a blast of fun action and stunts.

TV Land's first original sitcom is the surprise of the summer, a sparkling, breezy comedy, in no small part due to the casting of this year's It Girl, 88-year-old Betty White as a cantankerous caretaker.

Will The Event turn out to be another "FlashForward" or the next "Lost"? I'm betting cautiously on the latter.

A serial killer, a state execution, slapstick involving a baby--Fox's new Raising Hope is deliciously demented and easily the funniest new show of fall.

The three-week, six-hour miniseries introduces a colorful, international cast of characters who live and breathe to create one moment of perfection under the limelight.

Southland's cast remains one of its best selling points.

The most endearing, functional dysfunctional family in all of TV gets off to multiple good starts in the new season of Showtime's The United States of Tara.

This is no CBS crime procedural, and viewers deserve the chance to delve into this smart mystery for themselves.

For a topic that sounds as dry as a fund prospectus, the acting and pacing is exceptional.

The first two hours are marked by surprising twists and betrayals. TV's most cunning series is back in session.

I loved the pilot, mostly because I could never predict where the story was going, a rarity in prime-time TV.

Life may be short, but this comedy is not long enough.

Louis-Dreyfus won Emmys for both "Seinfeld" and "The New Adventures of Old Chrstine," and seems the best candidate to win another for her work here.

You'll worry the Big Apple will swallow them up. Mostly, you'll wonder how Breaking Amish will turn next.

There hasn't been a show since "The Sopranos" so concerned with bodily functions, and it makes its oft-compared predecessor "Sex and the City" look like a TeenNick production. But it's also fresh, bracing and original.

If there's a nighttime soap any better, I haven't seen it.

Mad Men is back with another ridiculously addictive season.

Alias is one of those rare action dramas where all the elements - plot, characters, production design, costumes, soundtrack and performances - come together to form one perfect hour of television. [30 Sept 2001, p.56]

Written well and delicately plotted, this new WB drama has staying power. You will want to know what happens to our heroine with the Botticelli visage. [29 Sept 1998, p.45]

A devilishly discerning comedy. [17 Sept 1996, p.39]

Alan Ball, the Oscar-winning screenwriter of "American Beauty," has done something wonderfully unusual. He has written a tremendously life-affirming drama about death. [3 June 2001, p.43]