Tonight's pilot lays the groundwork for what could be a fabulous series, one that blends supernatural adventure with down-to-earth, complex family dynamics.

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

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.

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

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

Teeming with rich characters and terrific actors, brimming with wit, drama and unexpected urgency, Studio 60 brings its workplace to full, immensely entertaining life.

A satisfying, intriguingly complex ABC drama that emerges from the season's serialized pack as the best new show of the year.

What's remarkable is that 24 still finds so many ways to surprise us, to take our knowledge of how things are done and turn it against us.

Mad Men is a joy to watch - the clothes, the clocks, the furniture, it's like a mid-century night's dream. But this is no mere period piece. It's a smart, complex drama that attempts to get through the facades that have always hidden the truth.

Solid gold from top to bottom, the cast is almost an embarrassment of riches.

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.

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

As terrific as the three women are, the movie would not have been made without Combs and would not work as well without him

What Kill has to offer is clarity and clear-eyed empathy. TV's the better for it.

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.

Some of House's callousness is an act, and sometimes the show lets the act go too far. But one of the series' primary strengths is the way the writers and the star keep us guessing as to where that act ends and reality begins.

Indeed, the only real downside of the program is that they've made only six episodes.

Heavily narrated and prone at times to the precious, Daisies is a show unlike any other, and not everyone will like it. But even those who don't can embrace it as a sign that creativity, confidence and capability have not fled broadcast for cable just yet. Here, they're alive and thriving.

Even when 24 went off the rails, Sutherland somehow kept Jack in balance. And now that his show seems back on track, he's rolling at top form.

This is an epic big-screen adventure done for the small screen--and done in a way that makes most big-screen versions pale in comparison.

This is as good an adaptation as any Ladies lover could wish, one that overflows with the joys of life and exudes an all-embracing spirit. Be ready to be beguiled.

For those who were disappointed in the show's uneven fourth season, the best news is that, at least in the nine episodes previewed, Rescue Me is more consistent, more focused and more fun, with better stories for all of its characters.

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.

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

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.

This two-part production expands and opens the story without diminishing the charm or appeal of Austen's original or pushing it past her socially constrained boundaries.

Once you get past the premiere, series are often a crapshoot. But Showtime made all 12 episodes available for preview, and through that run, the energy never flags and the performances get deeper and richer.

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.

Jackie can be a dark show, and it's going to get darker. But there isn't an episode that doesn't leave you yearning to see the next. There also isn't a performance that doesn't work.

While the subject matter is heavy, Rescue Me is seldom heavy-going. It still makes times to revel in the boisterous camaraderie of its firefighters, and it still takes great advantage of one of the sexiest, funniest casts on television.

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.

For two nights and four fabulous hours, this sequel to 1994's Baseball, still PBS' most-watched program, reminds us why baseball retains its hold on our imagination, and why Burns and Novick remain TV's pre-eminent popular historians.

Three weeks, three styles, three fine, fun hours.

The result is a sharp, funny, clever series that remains faithful to the spirit of Doyle's stories while infusing them with a vibrant spirit of modernity.

She's a smart, funny, eccentric elitist who isn't afraid to tell us what she thinks of us or herself. Listen with an open mind, and you should find her sometimes scathing honesty is bracing rather than off-putting.

A riotously, often scathingly funny showbiz satire that proves LeBlanc is smart enough to know self-mockery can be a potent weapon, and talented enough to wield it properly.

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.

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.

What sets The Killing apart are its steady sense of dread, its dense atmospherics--that feeling that rain may at any moment pour from our sets--and its beautifully drawn characters.

Every line, every reaction is perfectly pitched, every shift from humor to menace to seduction perfectly played.

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

For anyone seeking edge-of-your-chair tension, Dead delivers. But what separates this fine series from similar shows is the honesty of its human interactions.

There's nothing in Downton you won't recognize, and almost nothing you won't enjoy.

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 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.

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

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

Summer TV at its witty, riveting best.

Bad is too complex a series and too brilliantly distinctive a creation to be reduced to a simple "Crime does not pay" motto.

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.

What lies ahead for Downton fans is a first-rate run of episodes that feels less hectic and more tightly focused on the family core.

No American-made option this weekend can compare.

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.

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]

As you watch the smart, sophisticated, sharply written and slickly directed Spin City strut its stuff, memories of Murphy Brown's early days may come to mind. Dominating a volatile, high-profile workplace and supported by a crackerjack cast, Fox demonstrates superb and crafty comic timing in a tailor-made role. [17 Sept 1996, p.1D]

Top of the Lake is rivetingly odd, almost oppressively atmospheric and thoroughly entrancing.

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

The winsome Sarah Michelle Gellar is a huge improvement over bubblehead Kristy Swanson as the new Buffy, moving with her mom to the "one-Starbucks town" of Sunnydale, Calif. She's cute and pert but nobody's fool. [10 Mar 1997, p.3D]

Bones isn't the riskiest or most ambitious series coming your way this season. But it may turn out to be one of the most satisfying and entertaining.

The script is humorous, though not hilarious, and the show boasts a fine cast that could, with time, jell into a great one.

Earl shares the look and heavily narrated sound of Arrested Development, but it has its own scruffy comic tone.

Witty, earnest, intelligent, overdone, overly ambitious, wildly entertaining and superbly cast.

There's something terribly real and awfully funny about this engaging little sitcom, which takes the sweetness of Parenthood and adds its own slightly bitter touch.

This bright, funny, appealing old-school comedy is an ideal vehicle for Louis-Dreyfus.

As Elizabeth movies go, this version has neither the sweep of Glenda Jackson's Elizabeth R nor the easily digested entertainment value of Bette Davis' Private Lives of Elizabeth and Essex. But it has Mirren, and that's reason enough to make it and watch it.

For all the artificiality of the language, there has seldom been a show that felt more authentic.

Entourage... returns for a third season with funnier episodes and higher stakes.

Juggling such a large ensemble won't be easy, and the producers have to guard against crowding too many stories together at the cost of depth and development.... If they can get the balance right, though, Class should be an ideal fit for CBS' successful Monday lineup.

There is no new show more likable, but that affection may waver if Betty can't give Ferrera the scripts and support she deserves.

Lights has a rare ability to portray life in small-town America without being condescending or sentimental.

Granted, this new Andy may not be as inventive or subversive as Universe, but it is just as funny and probably a bit more accessible.

Happily, this is a carefully adapted, clearly enunciated As You Like It that retains the beauty of the dialogue while making the meanings clear.

Damages is an enjoyably complex thriller.

The show is not designed to appeal to prudes, but the writing and the acting are too good to be wasted on the prurient.

In a sense, Monday's promising premiere is the first in a three-part introduction, with each episode building on and improving upon the one before.

Wise has been given a great chance to shine, and he makes the most of it, stealing scenes with such aplomb it may almost be a sin. Still, the show has to be carried by Harrison and Labine, and they seem up to the task.

Tonight, the surgeons set up shop in Beverly Hills, a move that has inspired the show to rediscover its sense of style and fun.

The British Mars produced only 16 episodes, and when the last of this season's final eight is over, you will have all the answers you need. What's more, they're satisfying and well worth the relatively short amount of time expended.

As much as the show recalls the movies, it also recalls some of the best work ever done in the genre for TV: the Buffy universe of Joss Whedon. Most every blast of portent and bombast is lightened by a throwaway joke; scenes of intense action and violence give way to equally well-realized scenes of domestic life that root the fantasy in emotional reality.

Bad brings new life and depth to an old one: Malcolm in the Middle's Bryan Cranston, riveting and remarkable as a chemistry teacher who finds a more commercial use for his skills.

The Tudors comes back enriched and improved.

Part mystery, part fantasy, part comedy, and all wildly imaginative exaggeration, Blood proves that there's still vibrant life--or death--left in the "star-crossed lovers" paradigm.

You can see where it's going, and assuming Abrams doesn't let it get lost in its conspiracy, it should be fun to ride along.

All we need ask of Grey's is that it tell its stories well in its own way, and tonight it does.

A fast-paced, funny show that has bounced back from last spring's post-strike slump.

So far, though, it keeps the techno-babble to a manageable level, and if it seems to owe more to other movies and shows than it does to real life, at least it's paying its debt in an entertaining fashion.

Times have changed, but they haven't weakened the basic strength of Dickens' story or diminished his insights into a society in which the poor are left to their own oppressed devices unless they cross paths with the rich.

Luckily, in Drew Barrymore and Jessica Lange, HBO has found precisely the right people to convey the peculiar blend of courage and craziness that were the two Edie Beales, daughter and mother.

Not every shift works; a newly added agent seems just as expendable as poor, underused Charlie (Kirk Acevedo). But there's a great final twist that more than compensates, and it solidifies the overall impression that a series that was once too far on the conspiracy fringe has settled into an enjoyable weekly sci-fi adventure.

There are big moments, but much of the joy comes from small exchanges and throwaway jokes.

Though the premiere's twists are not as shocking as in years past, better ones are coming, and quickly. Trust me, the show has not lost its ability to surprise--or even to make you gasp.

Yet, as rock-solid as the entire cast may be, Damages still belongs to Close, who makes us embrace a character who in other hands might be repellent or, worse, ridiculous.

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.

Love, betrayal, despair, redemption, reconciliation. All of the elements expected of any epic love story are included. The distinction here: The story is splendidly retold.

It's not perfect, but in a sea of procedural conformity, Glee is its own weird, often enchanting little island escape.

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

The Middle is precisely the show ABC should be doing: a smart, amusing sitcom that understands the damage cutbacks have done to folks in the middle.

ABC can add to that list of achievements the season's most entertaining new hour, straightforward division: V.