Louie is back, as raunchy, candid, and hilarious as ever.

Unlike their previous show [24], Homeland takes its time: it doesn't make clear right away who's trustworthy and who's a traitor. Based on the first episode's strong script and performances, it looks as though the reveal will be worth the wait.

Frozen Planet recycles some material from previous films from under the same umbrella (I'm pretty sure those duck-hunting wolves were in Life) as well as covering territory very well-trodden by other films.

Quarles and Limehouse can't replace Mags, but they add new dimensions to Raylan's ongoing dilemma, that is, how to be a lawman when the law seems anachronistic.

Perhaps the most disturbing possibility--the subtext that makes Breaking Bad both enthralling and often unbearable to watch--is that Walter is becoming who he always was. He hasn’t changed. He’s been purified.

The action is set to move to gangster playgrounds like New York and Chicago, and introduce some dangerous romantic entanglements. If Boardwalk Empire doesn't begin in the most thought-provoking manner, its multiple, ready-to-expand stories suggest many avenues to explore.

The networks have been wondering how to compete with the no-holds barred nature of cable programming. This is it.

The new episodes present an almost a too intricate meditation on power. Game of Thrones demands that you pay attention or be left behind.

It was disappointing that this premiere lacked a lot of fun, usually Community's strong suit. Still, it reminded us of the distinct joys of the first season, offering cartoonish physical comedy, densely written jokes, and obscure pop culture references.

Treme sketches and interweaves stories and desires, hopes and disenchantments.

With its precisely drawn characters, winning performances, and frank, well-observed humor, Girls is a knockout.

With its deft writing and sharp performances, the show is a telling snapshot of how families live now.

In its insistence on the chaos of battles and the confusion of downtime, the series also offers another “harsh reality,” that these decent men are exploited by their faceless government, again and again. If this story is not explicit in the bloody surface of The Pacific, it is a persistent, distressing undercurrent.

This being The Good Wife, a show renowned for complicating what might seem obvious, Alicia's new position as a kind of moral compass leads to a new series of dilemmas. Some of these are predictably topical.

As the fifth season begins, Southland appears to be stronger for its ordeals. The ensemble is streamlined to the most compelling characters and the direction is crisp.

Its layered and nuanced analysis of male identity makes Men of a Certain Age worth watching.

Paul’s sessions this time around are sometimes soapy--as they were last year--but they are always mesmerizing.

The major flaw of "The Great Game" is not allowing Sherlock and Watson to work enough as a team. This flaw makes clearer what the other episodes do well, which is to emphasize the most interesting and important aspect of the original stories, Holmes and Watson's complicated and entertaining relationship.

Again, Breaking Bad promises to be quite a ride.

No such show has come even near to Glee's success. Nashville may be the exception, with its clever, even cynical, mix of middle-aged crises and youthful ambitions set in country music's Mecca.

Simon's Treme is an equally astute portrait of "an urban people" still struggling to come back from a brink.

If the premise is standard--an excellent cop is dragged back in, just when she's headed out, in this case, from the Northwest's renowned rain to California's sunshine--the details are insistently odd and creepy.

Though some action is depicted outside the two therapists' offices, most episodes are dominated by the sessions themselves, which unfold as brilliantly performed one-act plays.

Summon your patience and settle in for the long haul. By its end, the series' exploration of how ordinary human fallibility is transformed into shocking human depravity is compellingly inventive.

The show, adapted from Robert Kirkman's comic book series, quickly moves past its familiar premise. It's about what happens after the apocalypse, in the struggle to remain human after society's collapse.

To viewers new to the franchise, L&O: UK might prove a fine introduction. For dedicated watchers of the original, it might function as a kind of recap of the "best of" episodes from the series' entire life. But for the truly addicted, it will always be a paler, politer, well-bred echo of the Real Thing, better left on the side of the Atlantic where it originated.

Millman is closer to Gervais than Brent ever was, and Extras teases out compelling tension from his desperate efforts to enter the world of the glitterati.

The series is essentially light-hearted: Sam is a sweet-natured superhero with a dust-buster. He may be working for the source of all evil, but one can’t help but cheer him on.