"Larry Sanders" remains a piece of small-screen art, a series whose wildly colorful characters and flawless execution make it the wittiest half-hour on TV. [12 Mar 1998]

Through the radiant Russell, the show astutely transmits the conflicting blend of giddy anticipation and neurotic dread that defines the early college experience...If this is a "My So-Called Life" knockoff, then Brian Grazer and Ron Howard have obviously done their homework. All glorified clones should be so fresh and enchanting. [28 Sept 1998, p.2]

It's difficult to single out any particular aspect of the show: It's just plain brilliant. [13 Jan 2000]

"The Sopranos" retains the title of the most involving series on television and James Gandolfini continues to be a powerhouse of a performer. [2 Mar 2001]

Scrubs is sharp on every level, from script, direction and editing to the well-chosen, handsome cast and the employment of nonreal sequences. [1 Oct 2001, p.4]

Good as "Curb" has been, this 10-episode season should be the year it gets recognized as HBO's finest comedy. [11 Sep 2002]

"Curb Your Enthusiasm" retains its place as the funniest of the funny on television today. [5 Jan 2004]

Captivating from its first minute forward, "24" is the rare example of a television pilot that hits every mark with an aura of excitement and precision, a stellar cast that exudes personality and personal history, and direction that is as taut as it gets. [2 Nov 2001]

Never have lives of quiet desperation been so laugh-out-loud funny as in "The Office." [10 Oct 2003]

Everything goes (nudity, language, violence), but that's just the beginning; one-upping any overhyped "NYPD Blue"-like controversy over whether or not it's kosher to show someone's backside on TV, it's also a tour de force of assorted emotions, layered relationships and raw dialogue. [12 Mar 2002, p.4]

Those along for the ride since the beginning have rightly come to savor this as one of TV's premier hours --- a meticulously written, superbly acted program that demands undivided attention. [16 Sep 2004]

When television history is written, little else will rival "The Wire," a series of such extraordinary depth and ambition that it is, perhaps inevitably, savored only by an appreciative few.

HBO just might have found its next great dramatic addiction --- a vulgar, gritty, at times downright nasty take on the Old West brimming with all the dark genius that series creator and screenwriter extraordinaire David Milch has at his fingertips. [19 Mar 2004, p.2]

The reigning Emmy comedy champ debuts its second season with an episode that may well be its funniest... TV bar's for comedy has been raised again. [5 Nov 2004, p.4]

The show keeps delivering the kind of mind-expanding dramatic highs that ought to require a prescription.

Expectations were certainly sky-high for Boardwalk, but the producers have risen to meet them--in a series that grows richer, deeper and more absorbing with each of the six episodes previewed.

From virtually any angle, though, Downton Abbey is an almost peerless piece of real estate.

Either appropriately or ironically for a show about meth cookers, Bad is simply one of TV's great addictions.

Julian Fellowes has created such a vivid group of characters and assembled such an impeccable cast--effortlessly oscillating from comedy to drama--that the hours fly by, addictively pulling viewers from one into the next.

With a dream team of producers, directors, writers and stars, this is more than a message movie; it's artful storytelling at its finest, focusing on the human considerations of a disease that afflicts one in eight women.

Simply put, there's no more unpredictable series, and its delicate handling of combustible ingredients will be admired and studied by writers for years to come.

At its best, it’s big, bloody and downright glorious.

To anyone who has followed the ups and downs of Downton Abbey, the good news begins with those first strains of John Lunn's lustrous score, and doesn't abate until Fellowes and company have wrung every last ounce of emotion from these finely embroidered characters.

Cast is uniformly sound and sufficiently distinct without forcing oddballs into the mix. Show's strength in the pilot is its reliance on the ensemble over displaying individual talents but it might well have two secret weapons. One's Rogen, who plays the cool cat who's easily tripped up and has to work on regaining his composure; and Keena, who appears to have a good sense of how to play simple emotions convincingly and might well be on to bigger things. [25 Sept 2001, p.17]

A member of the top of the class of the fall season. Offering more comedy than drama, the show is quirky, with feel-good sentiments lingering beneath clever writing. [6 Oct 2000, p.24]

Situations are on target, characters are strong, the dialogue bright. Nothing's extraneous as director James Burrows keeps a tight rein on the brisk, smart exercise.

There's lots of good stuff to recommend Homicide. Performances are uniformly strong, above normal level of series work. It's a class act; all techs are superior, including excellent photography by Wayne Ewing and editing by Jay Rabinowitz. [29 Jan 1993]

Gets off to a spectacular start. [19 Sep 1994]