Brilliant, scathing, sprawling, The Wire has turned our indifference to urban decay into a TV achievement of the highest order.

Despite its depth and ambition, this is one great drama that never becomes cumbersome--it never feels like a chore imposed upon us by the God of High TV Art.

This is The Sopranos at its best -- and that's just about as good as TV ever gets.

TV has so much middle ground already there's no way not to cheer ABC's nerve in giving us something so ground-breaking, so distinctive, so you- can't-take-your-eyes-off-it or get-your-mind-off-it gripping...They've set a tone with Sunday's two-hour pilot - which succeeds best as a masterpiece of mood - that's gleefully perverse, visually glorious, splendidly acted, with a pulsating music score that heightens an already unbearable tension. [6 Apr 1990, p.1D]

While a quintessential Masterpiece Theatre production, Bleak House doesn't indulge in the languid pacing and preciousness that weigh down some other PBS period pieces.

There are needed bursts of humor that lighten the sometimes oppressive sense of a world on the verge of social collapse. And there's that visually pleasing re-creation of '60s style that both delights on its own and allows the show to comment through skewed reflection on modern times.

There are worse sins than looking like a Jane Austen movie. In fact, with PBS' latest British hit import, the unfailingly entertaining Downton Abbey, it might even be a blessing.

Danes and Lewis are near-flawless, keeping you off-balance and absorbed.

Like the show itself, Margo Martindale's performance is smart, chilling, amusing, convincing and unfailingly entertaining. And like the show, you really don't want to miss it.

This is TV pleasure at its most intense, without even a shade of guilt.

Of a handful of promising new series this season, only one shows the promise of greatness: Boomtown.

As you'd hope from a show based on Elmore Leonard's work, the plots snap, the dialogue crackles and--to press on with the point--the characters pop.

This is 24 at its fast, furious, exaggerated best, filled with well-drawn subsidiary characters and rapid-fire surprises, all held in place by Kiefer Sutherland's great, under-sung performance as Jack.

There's humanity in its victims and dark humor in the goal-oriented drive of its villains. With or without a strike, this is a show to treasure.

They've richly re-created a Roaring '20s world on the edge of an ocean and a precipice, and populated it with a riveting rogues gallery.

It is, in short, a show about real life, as seen through the eyes of one of the funniest men in America.

This is a sprawling, exciting, blood-soaked story, filled with great set pieces and wonderful actors.

I'd also like to see the show adopt a somewhat lighter tone -- though I fear the ring of somber self-importance may be perfectly pitched for teens. [29 Sept 1998, p.3D]

This is such a gorgeous show to watch (at least for anyone fond of mid-'60s clothes and design) that it's easy to forget how beautifully these actors play their roles and how true-to-life they and the writers make these characters seem.

Terrifically acted and gorgeously produced, this is a show that's both funny and frightening, that can simultaneously make you miss the '60s and feel blessed that they're gone.

In mere minutes and with a few instantly evocative images, Freaks draws its characters more precisely than some shows do in a season. [24 Sept 1999, p.11E]

Treme tells its story incredibly well, but it just may not be a story everyone wants to follow. Some will hear its music and some won't. But if you do, this could be the rare TV show that makes you dance.

Dunham's simply writing what she knows, and incredibly well.

There is always meaning to Mad Men's madness and passion under its control, along with an uncommon level of style, flair and wit. On a TV shelf crowded with cookie-cutter products, Mad Men is an original.

Let Lost remind you of how spectacular scripted network programming can be.

Out of these familiar adventure-story components and a host of pop-culture conventions, Alias' J.J. Abrams has fashioned a totally original, fabulously enjoyable lost-at-sea series. Once again, he has taken an outlandish Saturday-serial setup and imbued it with real characters and honest emotions, without sacrificing any of the old-fashioned fun.

The best of the bunch, and the best new series of the fall, comes first.

An equally spectacular, equally triumphant yet tonally divergent work that stands with "Band of Brothers" as the best war movie ever made for TV.