"The Wire" is as complex a picaresque as one is likely to find this side of Dickens.

What's most important is that Homeland provides a smart, thrilling hour of entertainment for the next 12 weeks.

None of these twists are for the faint of heart, which is why Breaking Bad is a smart, thought-provoking TV show that elevates the artistic achievements of the medium.

Maintains the quality viewers have come to expect.

"Battlestar Galactica" is one of the most politically relevant and necessarily bleak series on television today.

The series remains smart and thought-provoking but it's also quite funny.

Gritty, tough, no-holds barred television that feels more real than any other police drama on the air. It makes "NYPD Blue" look like a children's show. [10 Mar 2002, p.TV-5]

Viewers who cringe at pathos may miss the occasionally lighter tone of earlier Mad Men seasons. But these are the circumstances the characters find themselves in. Besides, at this point in a series' run, most viewers are tuning in for the character stories, where some grace and positivity still pop up.

As a new year begins, viewers will be hard-pressed to find a more sumptuous, engaging drama than the "Masterpiece Classic" miniseries Downton Abbey.

Viewers hungering for a twisty-turny, who's-right-who's-wrong thriller will find it in Showtime's domestic terrorism drama Homeland.

The season premiere is a little clunky as it cleans up the mess left after the show's first-season finale--the sooner the show moves beyond that, the better.

Most of the time Sherlock's cheeky sense of humor makes this version of the character a delight.

Clearly this show is not for the easily offended. Not everyone will appreciate this kind of humor, but anyone who values smart, provocative comedy that's about truth telling will be intrigued.

HBO shows aside, visceral Boomtown is the new exemplar of quality TV dramas on Sunday night... Boomtown engrosses. It's the season's strongest new drama, not just because it takes a chance on a novel format, but because it manages to tell stand-alone stories even as it develops the characters in its large ensemble. [27 Sept 2002, p.40]

Bad challenges anxious viewers, but it remains one of TV's best hours, thanks to strong performances from the entire cast and the steady, guiding hand of executive producer Vince Gilligan, who proves in tonight's episode that he values realistic, risk-taking storytelling over the more convenient status quo.

It's the most thrilling premiere hour of "24" yet.

As season two begins, creators/executive producers Robert and Michelle King show no signs of standing pat. They're allowing the series and its characters to evolve while reminding viewers of the show's original premise.

For some viewers, even fans of smart, high-quality TV, there may come a point when too many dark, layered television series become just as tiresome as too many look-alike procedurals. We haven't yet reached that point with Boardwalk Empire, but some episodes are more admirable than enjoyable.

Should appeal to fans of Rock and to viewers who long for a family comedy reminiscent of "The Cosby Show" (albeit with a sharper edge).

GOT is easily television's most ambitious drama for expansive storytelling, but it doesn't shirk its duty to tell smaller stories about individual characters. That the series manages to excel at both is rewarding and breathtaking in its achievement.

"Longford" dives head-long into some of the most complex questions of human morality, and it's a pleasure to watch an actor of Broadbent's caliber tackle the notion of forgiveness with dignity and solemnity in what is easily one of the best TV movies you're likely to see this year.

Archer hits the comedy bull's-eye with smart, provocative writing.

Mad Men relies on its talented cast to communicate the unspoken, to get across the emotions and thoughts that roil just beneath the surface. I'll admit, there are times when I know I'm supposed to intuit something but I'm not completely sure what it is. And that's OK.

These are fantastic characters with socio-economic backgrounds we rarely see in TV dramas, and that's one of the many things that makes FNL unique. Whether you can watch the show now or won't have access to it until 2010, FNL continues to be TV worth watching.

Even in its sixth season Mad Men, remains a standout, a better series than 95 percent of what's on television.

The best new show of the season...It's less sentimental than "The Wonder Years" and not as concerned with its period setting. Unlike "My So-Called Life," which was real in a gloomy-doesn't-life-stink way, Freaks and Geeks finds abundant humor in the absurdity of the situations the characters face. [22 Sept 1999, p.C-1]

The combination of music and some humor, particularly from Mr. Goodman's character, make "Treme" easier to digest than a David Simon series might otherwise be.

Girls grew on me. As annoying as the characters can be, they also evince recognizable traits in absurdly realistic situations.

Mad Men exists on another level. Smart, mysterious and alluring, Mad Men remains a smooth concoction of period charm and psychological character drama.

The Lost writers begin the season with a firm grasp on their story and a keen understanding that viewers won't object to the introduction of new characters as long as old favorites are well served.

Lost itself has a certain intriguing quality that makes it worth coming back for more. [19 Sept 2005, p.TV-5]

There's no question that "Extras" is a hoot, especially for anyone who spends much time observing the ins and outs of fame and the media, but Gervais is correct that less is more.

I'm not a huge fan of Mafia stories, but after watching several episodes of The Sopranos, I'm hooked. This is not the same old drama foisted on viewers by the networks. The Sopranos, created by David Chase ("I'll Fly Away"), has depth, dark humor and even a latent charm. The characters, unavoidably stereotypical at times, are believable and honest. [10 Jan 1999, p.G-5]

The family comedy gets a welcome and winning update in ABC's Modern Family, the fall's best new sitcom.

If you're a fan of nuanced, character-driven story-telling, there's no question The Pacific is the superior effort.

Taken altogether--the determined detective, the drug lord, the kooky encampment, the mystery of Tui's disappearance--Top of the Lake makes for a compelling mix of moody, character-driven drama.

Pushing Daisies captivates with an emotionally resonant story and dazzles with its bright visual imagery. Fans of delightfully daft fairy tales, this one's for you.

Southland" remains a stand-out series for its gritty, on-the-street scenes of police work and the engrossing stories of its characters.

They're not making evolutionary leaps but these men do show enough signs of progress that viewers who appreciated their struggles and triumphs in the first season will have renewed reason to cheer them on in season two.

it's the danger of Dexter being found out that permeates these episodes, upping the pressure and keeping the series as tense and twisted as it was in season one.

Tonight's premiere has a zippy energy that can be attributed to the writing and Mr. Cumberbatch's riveting, gonzo performance. He plays Sherlock as authoritative and arrogant but also with a hint of excited madness that makes for an engrossing new take on this classic character.

Tonight's season premiere does a fairly good job of wrapping up the sixth season finale and setting the stage to move forward but there's still a fair amount of cleanup to be done.

[A] fascinating, challenging series.

Smart writing, talented actors playing realistic characters and a pace and cinematography reminiscent of HBO's "The Larry Sanders Show" or "Arli$ $ " make Sports Night one of only a handful of new series that warrant viewer attention. There's just one problem: It's a half-hour series that bears more resemblance to a drama than a sitcom. [22 Sept 1998, p.G-7]

It's Always Sunny in Philadelphia returns tonight at 10 with an episode that misses the mark, but another upcoming episode offers more hilarity.

This new season gets off to a rousing start that lives up to high expectations.

There's no question about the quality of this relentlessly suspenseful drama about former high school chemistry teacher Walter White (Bryan Cranston), who turns to drug dealing to raise money for his family after he receives a terminal cancer diagnosis. Whether viewers can stand the nerve jangling they're in for as season two begins will be decided on an individual basis.

It all blends together in an entertaining, easily digestible hour.

There are scenes in the first five episodes of the new season that are as compelling as anything television has to offer. But the viewer has to wade through material that fails more often than not to deliver on its promise.

Even on the rare occasions when those shows [like CSI or Law & Order] tell stories involving the death of a child, they're almost never as raw, palpable and grim as The Killing, an engrossing, well-made drama series that viewers should embrace despite its tough subject matter.

Writer/series creator Julian Fellowes weaves together an engrossing tapestry of stories, although some of them stretch credulity or peter out.

Yet another explosively compelling police drama -- not to mention a controversy that seems certain to guarantee a big audience for the program. [21 Sept 1993, p.D1]

30 Rock is more manic than "Seinfeld," but its smart observations on political correctness, corporate culture and life in Manhattan make it an ideal heir. This Rock continues to roll.

The show remains a chilly affair, which will probably limit its acceptance but for viewers who appreciate satire, particularly of a modern workplace, it's difficult to imagine a show on the subject that's funnier than Ted.

Putting Jackie in rehab actually works out well comedically, too, because she's surrounded by a new batch of odd characters to bounce off.

While some plots on Downton Abbey may be more meaningful than others, nothing in season three rings as false a note as the Patrick-has-amnesia story in season two.

This first episode back sets a lot of goals for itself: Remind viewers of the backstory, advance the plot from the cliffhanger, and introduce and resolve the murder-of-the-week. Daisies succeeds in accomplishing these tasks and even finds time for a "Sound of Music" shout-out as Olive pulls a Maria von Trapp en route to a nunnery.

The series offers strong, striking cop stories to accompany the intense thrills of the Luther-Alice cat-and-mouse game. But it is that back-and-forth and the sexual tension that develops between the pair that makes Luther stand apart.

The show wants to be hip and cool, and it often is, but it makes no pretensions that it doesn't have a heart beating underneath, much like its cool but caring lead character. [22 Sept 2004, p.D-6]

Zombies are coming on strong, particularly in the well-made, engrossing (and gross) premiere episode of AMC's The Walking Dead.

[The audience] will see some wonderful acting, especially from the luminous McDonald as Walter Lee's wife, Ruth. And they will see the movie debut of director Leon, who has helped turn these fine stage performances into convincing movie work, with the help of a screenplay by Paris Qualles that opens up the play into small additional scenes that will be a special pleasure for those who already know the play on stage.

The series maintains its sense of creating a believable universe. Yes, a few characters are explained away without making an appearance (BBQ owner we hardly knew ye) but the show tries hard to reward long-time fans.

Sunday's premiere doesn't advance the story much--shades of early season two--but there's enough zombie carnage that fans of mayhem may not care.

Aside from a few head-scratcher terms (GBH = "grievous bodily harm"), lawyers and judges wearing white wigs while in court (the judge in the premiere looks like she's got a poodle on her head) and occasionally impenetrable accents, Law & Order: UK should be remarkably familiar to fans of the original series.

Wise is one lucky devil. And so are viewers who appreciate lighthearted, supernatural dramas.

Easily the best of ABC's overly similar, large-cast ensemble dramas.

Curb is filled with uncomfortable comedy, as always, but its humor stems from the relatable minutiae of everyday life, not unlike what viewers watched on "Seinfeld."

On screen the show has a soaked-in mood, courtesy of pilot director Michael Dinner, and terrific performances that mark Justified as the best new series premiere so far in 2010.

The series retains its trademark flash forwards that signal murders and/or deceits yet to be revealed. It's one of the show's more operatic touches but this time the revelation, a fantastic and personal driver for stories, feels less like an attempt to manipulate the audience and more rooted in the plausible.

An engrossing, humanizing portrait of the British monarch.

It's not the best cop show ever but it's certainly an above-average effort for fans entertained by quality TV drama.

This first episode has brief nods to the deaths last season of two series regulars--Owen and Toshiko--and it acknowledges advances in the relationship between bisexual Jack and Ianto (Gareth David-Lloyd). But more than anything it's a propulsive action-adventure.

FX's Sons of Anarchy returns to form in its fourth season premiere this week with the action set squarely back in the motorcycle club's hometown of Charming, Calif. Even better, the show's wannabe hero, Jax (Charlie Hunnam), is fighting again, putting forth a plan to get out of his current situation.

The Hour looks fantastic but it moves at a snail's pace that's sure to irk impatient viewers.

An engrossing, detailed military character drama, Generation Kill is a modern-day "Band of Brothers," a warts-and-all account that hits closer to home because it depicts such recent events.

Circus offers equal treatment to performers, stage crew and management, showing how a circus operates and the conflicts that inevitably erupt when 150 people share such close quarters, living out of trailers for months at a time.

The first episode offers a somewhat overwhelming dose of midwifery, to the point that some viewers may wonder how Call the Midwife won't grow tiresome with repetitive birthing stories. The addition of Chummy to the cast in episode two and a broader role for the midwives--in episode three Jenny simply spends time with an elderly man--allows the series to avoid growing stale.

Did the new network screw up the show? Not that I could tell from the incomplete first episode sent for review (no judge's remarks or eliminations).

In a sort of oral history style, a moderator leads them through the show's tumultuous birth, its low ratings, demise and resurrection as the 2005 motion picture "Serenity." But what's most interesting about Browncoats Unite is learning how what was going on behind the camera impacted what viewers saw on TV.

The animated comedy returns in stronger comedic shape in its fourth season.

It's not easy viewing, but this series offers smart, challenging, character-driven drama at its finest.

For this one half-hour, Frasier is high-class entertainment. Grammer does scowling exasperation as well as any actor in America (it's hard to imagine an actor who could get more laughs trading looks with a dog), the fraternal relationship is wonderful, and the work-place material works perfectly (thanks to another fine supporting performance from Peri Gilpin). [16 Sept 1993, p.C7]

Torchwood gets off to a lighter, more rousing start in its second season premiere.

The show creates tension--through atmosphere and characters the audience cares about--and offers so many make-you-jump scares that by the end of an episode, you're left breathless.

The show's trademark time shifts continue, although it's initially unclear if they're connected to the season one story that carries over or to the season two plot.

It's so funny and so well-done on so many levels, the Conchords definitely deserve to be discovered by a wide TV audience.

A grand soap opera of epic proportions, Game of Thrones can be a bit talky in some episodes, but the series draws a viewer in with well-defined characters and a multitude of simultaneous stories whose plot turns are generally unpredictable.

Many viewers probably come to True Blood for the thrills and the romance but it's the humor that allows the show to rise a step above similar TV fare even as it falls short of HBO's loftier efforts.

Having watched the first two episodes, I'm pleasantly surprised to say: It worked.

It's amusing and knowing and will make some viewers smile, but it probably won't provoke gales of laughter. And that's fine. It's still more clever than most single-camera comedies ABC has put on the air in recent years.

The movie--as Jane Austen might have described it--is an amiable entertainment.

The show, although plenty entertaining, also feels like it's grasping to keep the drama of Tara's situation at a suitably heightened level while other character story arcs, most notably Marshall's, feel more believable.

An intriguing behind-the-scenes drama with moments of dewy-eyed idealism. [22 Sept 1999, p.E-3]

"24" still maintains some of its trademark intensity, but too often in these first four hours, the show is smack-your-forehead laughable.

The radio show is so much about voice and language and storytelling, I worried that the TV folks would mess it up. Luckily, the radio show's host, Ira Glass, hasn't allowed that to happen.

Chalk up Lights Out as another creative success for FX, the basic cable network that specializes in series with male-skewing milieus.

But most importantly, Scrubs has heart. Not the forced, icky sentimentality so often found in sitcoms, but earned moments that feel genuinely poignant. [2 Oct 2001, p.D-1]

They're all skilled enough to play both the drama and comedy of the situations their characters confront, and, what's more, viewers are prepared to know and like them.