Ed is, unabashedly, a feel-good show that dangerously flirts with being too eccentric, too sentimental and way too whimsical...It's nothing short of a miracle that it manages to toe each of those lines without crossing any of them -- the kind of miracle that has you thinking all good things can happen and ultimately will. [6 Oct 2000, p.54]

The 18th Amendment--that "Noble Experiment" that turned out to be one of the country's biggest civic failures--is the subject of a fascinating new documentary by Ken Burns.

Pushing Daisies deserves its high praise. It's the best new drama of the fall, finding sweet hope in morbid tragedy.

Everyone has to bring their A-game and, for the most part, they do.

Dexter, one of the best shows on TV this decade. High praise, indeed. Deserved.

One of the better new series this fall despite a habit of turning mawkish in the last five minutes each week. It's helped immensely by its very endearing characters. [22 Sept 1998, p.41]

The rest of the original crew is back, in varying degrees of denial, cluelessness, incompetence and narcissism. They have been missed.

Never mind the feminine religious cult Baltar falls into in this premiere. Add that to the clue-packed promotional photograph circulating of the BSG cast mimicking "The Last Supper," and what began as a deep, dark sci-fi drama seems to be turning into an anti-Arthur C. Clarke religious tract.

Toss in some sex and Southern-style politics, and you've got plenty to sing about.

With their moody new mystery series The Killing, AMC clearly knows what's good for us.

Take away the nude lovemaking scene, the revolutionary level of potent cussing, the curiosity-stirring controversies surrounding Steven Bochco's premeditated shock elements, and NYPD Blue remains one helluva cop show. [21 Sept 1993, p.35]

This third season is more in keeping with Downton's first [season].

The sometimes laughable soap opera aspects of the first year have been minimized. The pulse-racing, adrenaline-fueled suspense has been ratcheted up. If anything, this white-knuckle joy ride now moves faster than the clock that ticks steadily through each episode. [28 Oct 2002]

The acting is brilliant, the problems are relatable, and the truths Dr. Weston is chasing are profound. On the other hand, In Treatment is the epitome of American self-indulgence, both for the actors and the characters they're playing.

The Dust Bowl is more like eat-your-vegetables television than some of Burns' other endeavors, namely his last PBS documentary, "Prohibition." But it's still a worthwhile examination of an overlooked chapter from our past that holds plenty of lessons for our future.

Half the fun of Behind the Candelabra is watching these two Hollywood heavyweights deftly tackle roles that could have been career-enders not that long ago.

It's a beauty--in many ways richer than the Broadway production--and should not be missed.

Tedious.

It's a lot of fun. It's funny. And stars Bret Harrison and Tyler Labine have better chemistry than most duos on TV.

There's nothing wrong with "The Nine." It's just essentially a step above pedestrian.

In the end, it all amounts to pretty much the same thing: a half hour with a self-sabotaging wit.

Olyphant's devilish looks balance his white-cowboy-hat principles.

It’s a lot to juggle, but you can count on the payoff to be worth the trouble. Power, weakness, greed, violence--what’s not to like?

Irons and the rest of the cast are spot-on. The writing and directing are fairly crisp. Perhaps, though, tracing Elizabeth's life for 20-plus years subtracted from my becoming intently involved in each period of this biopic.

The series has a cinematic feel, with plenty of stand-alone, poignant moments punctuating each episode.

Warning: This is not "Cheers II." With the morose Crane as the central character, the Frasier spinoff reflects the gloomy, occasionally pompous personality of the guilt-burdened shrink and the star who plays him. The humor is moody and cerebral, like the chilly Grammer. But that's not bad - especially in this season of warm and gooey domestic sitcoms. [16 Sept 1993, p.43]

The playful and creative scripts are pretty fun. The good-looking cast is solid, led by Barrowman, a graduate of Joliet West High. The special effects are iffy. It's no "Buffy," but like "Buffy" it's getting better with age. It's not hard to imagine it could be must-watch TV by season four.

John C. McGinley is a comedic genius. While series lead Zach Braff tries to channel Tom Cavanagh from "Ed" in this single-camera, laugh-track-free comedy about young doctors-in-training from "Spin City" co-creator Bill Lawrence, it's character actor McGinley ("Wall Street") who owns and almost singlehandedly carries the show in his supporting role as mentor Phil Cox. [2 Oct 2001, p.47]