With Taxi, they've assembled a handsome vehicle that should run a long time. Only the direst accident could knock the wheels off this one. [12 Sep 1978, p.61]

Time marches on, or crawls very slowly, if you happen to be watching Young Americans. [12 Jul 2000, p.D01]

Lansbury does her best with her characterization of Jessica and it is conceivable that her series, which should inherit a substantial audience from 60 Minutes, which precedes it on CBS, may emerge as one of the new hits of the fall season. [30 Sep 1984, p.62]

A better-than-average new comedy series. [22 Sep 1982, p.8D]

It may take a superhero to pry your kids away from The Mighty Morphin Power Rangers or Saved by the Bell, which go up against Wishbone weekdays at 4:30, but the little dog has power. Once kids see him, they may want to return of their own free will. [09 Oct 1995, p.D05]

A thoroughly enjoyable mini-series. [19 June 2004, p.E01]

A somewhat intellectually provocative morality tale. [14 Feb 1999, p.F01]

Come to The Stand tonight as a TV event, not a revelation. You may get hooked for the duration. Or you may decide by Thursday night that Seinfeld, Frasier and the gathering demise of L.A. Law are more interesting than this particular retelling of the Noah's Ark tale. [8 May 1994, p.G01]

After a few explanatory bumps, Sliders is a thoroughly unconfusing ride on the action side, and its two young characters are extremely cute. Score a pair of positive points for audience appeal with the same people who like Beverly Hills, 90210. [22 March 1995, p.F01]

The characters are well-drawn by executive producer Peter Berg and his minions, who spent months doing research. The plots are provocative. The acting glistens. [30 March 2000]

Titus' shtick might be funny in a nightclub, but it's a droning, sour note of meanness on TV, so much so that Fox decided to move the pilot, where we get an intimate introduction to Titus and his family, to the show's second week. [20 March 2000, p.D05]

Welcome to Son of the Beach, a Howard Stern production, where the jokes are as broad and obvious as a beached whale, and where bikini'd female flesh is as plentiful as lip piercings at Lollapalooza. [14 March 2000, p.D04]

It runs 3 hours and 37 minutes. It's too darned short. [26 Sep 2005, p.C7]

Watching a man, even a man who looks terrific on a horse, trying to hold on to what he already has can take Yellowstone only so far. It’s the son who got away who could help Dutton stay interesting, and maybe even teach him something about fatherhood.

The Last Defense is good enough television not to show all its cards in the first hour. That’s also its power.

For Whom the Bell Tolls covers the things you’d expect, including his years as a prisoner of war in Vietnam. But it acknowledges his flaws, including a powerful temper. And it doesn’t skip past some painful bumps in his biography.

The thing about newsrooms is that they’re full of characters, and always have been, even before Twitter made us count them. The Fourth Estate gets that and shows the people behind the bylines, the podcasts, and the tweets. ... You might see, yes, how hard they try, but also why--and even, amid their obvious exhaustion, how much fun they have doing it.

You might come to One Strange Rock for its host, Philadelphia’s Will Smith, but you’ll stay for the astronauts. ... The visuals in One Strange Rock, are beautiful, occasionally strange, sometimes even otherworldly. Rock’s true stars, though, are people like Chris Hadfield, the first Canadian to command the International Space Station.

[The children's] enthusiasm for 19th-century child labor, whether it's selling watercress in the streets, sewing, or spending countless hours making artificial flowers, is contagious. They complain less than the adults--or have been edited more charitably -- and seem to appreciate that their contributions are indispensable.

The four episodes I've seen are action-packed but emotionally unsatisfying, possibly because Michael's motives are so far much less clear.

Yes, it's all decidedly odd.

Victoria at its best when the young queen is exercising her authority--and learning its limits--while widening her horizons, not worrying about what Albert might think.

Sneaky Pete is fun, even if it isn't wildly unpredictable.

It doesn't try to get too edgy (looking at you, Netflix's The Ranch), yet feels new all the same.

Mysterious comebacks have become a TV genre in themselves, yet I haven't seen anything quite like The OA, whose twists were gripping enough to keep me going even in some moments when I'd otherwise have been rolling my eyes.

The writing in the two episodes I've seen is funnier and more pointed than the show's premise.

It grows into something less brittle--and funnier--over the six I've seen, as the couple explore their increasingly unpalatable options and we get to know them better.

Issa the character may be a work in progress, but the woman writing and playing her knows exactly what she's doing.