In the run-up to the show it all sounded a bit hard to get your head around, but in the flesh the show zinged, at least this first week.

The domestic version... is every bit as good as the original.

In its emphasis on character over plot it reminds me of movies from the pre-Spielberg '70s, and is in so many ways what I want from television that I feel almost like phoning each of you personally to deliver the news.

It is, to put it bluntly, a cast to die for. Each story line is well-drawn and compelling and each subtly represents a thread of Paul's own issues that come together in Gina's office even more effectively, if a bit more sentimentally, than they did last season.

What is remarkable about "Life Support" is how it avoids every pitfall of the standard issue-based TV film and, indeed, of most TV films, period.

Mad Men has found a strange and lovely space between nostalgia and political correctness and filled it with interesting people, all of them armed with great powers of seduction.

For those Americans who have fallen through some wormhole and have never seen "Law & Order," the British version is as good a place to start as any--Walsh, Bamber and Agyeman in particular deliver fine performances. And those put off by the new "Law & Order: Los Angeles" or just jonesing for the good old days, will no doubt find a trip to London positively...brilliant.

Terrific acting, crackling dialogue and geek-hip crime are not the only things that make this the most electric drama to premiere this fall.

With Treme (which refers to a New Orleans neighborhood and is pronounced treh-MAY), Simon, co-creator Eric Overmyer and their team of writers (including the late, great David Mills) have proved that television as an art form cannot only rival Dickens, it can hold its own against Wagner.

There are only three patients this time around, and their stories, written by executive producers Anya Epstein and Dan Futterman, offer a thematic cohesion that seems richer, though perhaps more familiar. More important, the show remains a rare and wonderful opportunity to watch fine actors work their way through excellent material, earning it consistent praise and HBO's commitment, despite low ratings.

The filmmakers do not beat a political drum, they do not use an impassioned script or a soundtrack comprising brass and strings; they do not attempt to incite anger or outrage, sorrow or resolve in any way. Instead, they present the facts, simply and gracefully, and the result is devastating.

Haynes has created not only a rich and nuanced vehicle for his A-list cast--among them Kate Winslet, Evan Rachel Wood and Guy Pearce--he has given us a rare and valuable gift: an American melodrama about class.

Becoming Chaz is undoubtedly one of the most thought-provoking films you will see on any screen this year, a frankly chronicled tale of Chaz's life as a transgender man that opens a more than occasionally mind-blowing conversation about the essentials of gender, and subsequently, sexuality.

It is big, beautiful, beautifully acted and romantic, its passions expressed with that particular British reserve that serves only to make them burn brighter.

Enlightened is to my mind the most interesting and ambitious series of the fall season.

This may be the better work [than "No Direction Home"], for its depth of feeling and its relatively more forthcoming and knowable subject.

Notwithstanding a certain stylistic chilliness and my sense of it having been pitched on the back of "Inception," it promised to be one of the year's best and most interesting new series. Having seen four episodes now, I'd say the promise has been largely kept.

Highly arresting. [20 Sept 2002, p.C1]

Parade's End must be taken on its own terms, because it is offering something rare and provocative: a poetically precise consideration of what it means to be caught out of time, clinging to the lip of one era or reaching desperately for a foothold in the other.

By rooting Top of the Lake in the real, Campion gives her more fanciful inspirations legs, and the mystery--which is, needless to say, not merely or even mostly the mystery of a missing girl--room to breathe. I have no idea where any of it's headed. But I am going along.

An amusing, highly promising light drama from the WB about mother-daughter bonding that is tender, warm and loving in a natural way without heaping on the schmaltz. [4 Oct 2000, p.F1]

If the premiere of Frasier does not manufacture laughs as consistently as one might expect from a "Cheers" offspring, it's still a cleverly written show with a quality cast that bodes well for the future. Mahoney is superb as the father, who reveals his inner feelings grudgingly, and Grammer is a master of the witty response. [16 Sept 1993, p.F11]

A rather bent sense of humor -- woven into a nice little whodunit -- is what lifts the flawed-but-engaging premiere of Picket Fences above the ordinary, raising expectations for the future. [18 Sept 1992, p.F1]

Despite a bizarre courtroom sequence that strains credibility early in the episode, this is a very good start for Special Victims Unit, which promises to be a solid cop drama capable of occasionally stretching toward greatness.

As shamelessly superficial as the crowd it memorializes, but so sophisticated in its approach to shallowness that it's also great fun. [5 June 1998, p.F28]

As twisty and spellbinding as ever. [28 Oct 2002]

Jack is the glue that holds the show together, and Sutherland, with his pained, superhuman skill set, makes him a physical statement about the toll violence takes, even violence committed in an attempt to save the world.

The dialogue is "Deadwood's" calling card, with its mixture of gutter and Elizabethan grace. It layers Milch's broader, working theme -- the coming-together of various organisms to create a single, functioning one.