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Dark and sinister is the new sexy, thanks to Dexter, which in its second season has proven to be the most successful series Showtime has offered up yet. Remember how much you squirmed in your seat during the season one finale? Believe it or not, the premiere of season two felt like it could have been a season finale--because jaws were on the floor when the credits rolled. For being a supposed sociopath, Dex is pretty broken up about the gruesome events that concluded last season. The one and only person who could possibly understand him is six feet under, and it seems our unlikely hero is losing his homicidal grip. He's even having a little trouble slicing up a few of his latest victims (from a murderous gang member to a chainsaw-wielding fiend from his past). Enter Lila (Jaime Murray, Hustle), a lady with a sweet British accent and a few dark secrets of her own. She seems to accept Dex for who he really is, and he finds himself feeling relaxed for the first time in his life. In contrast, his relationship with his girlfriend Rita (Julie Benz) has been stretched almost to a breaking point. The problem is, he should be anything but relaxed. Someone picked a poor place to go scuba diving off the Florida coast, and came across an underwater graveyard: Dex's primo spot for dropping dismembered bodies wrapped in heavy-duty trash bags. Word about the "Bay Harbor Butcher" gets out quick, and the F.B.I. sends the best of the best, Special Agent Frank Lundy (Keith Carradine, Deadwood) to work alongside the police to sniff out Miami's latest serial killer. This guy is no schlub, and Dex may have met his match. And, yes, Dexter gets to work with Lundy on a daily basis, which provides some wonderfully awkward moments. It certainly doesn't help that the intuitively paranoid Sergeant Doakes (Erik King, Oz) is hot on Dex's trail.

Season two of Dexter is all about decisions. Lila or Rita? Old code or new code? Run or fight? Right or wrong? Well, one thing's for sure: When it comes to writing, casting, acting, and production, the makers of this show made all the right decisions. Michael C. Hall is simply superb as the title character. You'll never find yourself more willing to genuinely root for a serial killer. It's bloody liberating. --Jordan Thompson

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DEXTER is a crime drama about Dexter Morgan a man who leads a double life as an incredibly likeable forensics expert for the Miami Police Department and as an emotionless vigilante serial killer. Taught by his foster father to harness his lust for blood and killing Dexter lives by his own strict moral code - he only kills murderers who can't otherwise be brought to justice. Dexter is a killer who grapples with fitting into society while at the same time he struggles with his inability to feel emotion. The irony of Dexter's life is that he works closely as a blood splatter analyst with the very people who hunt his kind - the homicide department. Dexter's "Regular Joe" front is in full force while working alongside the ill-tempered Sgt. James Doakes who seems to be the only one to sense Dexter's more sinister side and Lt. Maria LaGuerta the head of the division who pursues Dexter sexually with as much force as she would any criminal. While his sister Debra Morgan a tough and determined cop leans on Dexter for personal advice and career advancement the closest one Dexter "connects" with is Det. Angel Batista whose similar attention to detail and taste for forensics almost mirrors his own. While sentiment and feelings elude Dexter he struggles to find a kindred spirit of sorts in his emotionally damaged girlfriend Rita who keeps him grounded in the realities of "normal" life and provides him respite from the dark corners of his mind. The series is based on the acclaimed novel "Darkly Dreaming Dexter" by Jeff Lindsay.

I can't wait for this season and after what I saw, this one will be in french! That's so cool!!

You can believe all the superlative comments on the 5 stars-reviews. My brain grew lips of its own to produce a hidden grin of vicious pleasure while watching the episodes of this series. It is to TV series what H.R. Geiger is to visual arts: Not beautiful, definitely gory, not really ugly, but oh so fascinating you just can't stop watching.

A barroom toast to Det. Jimmy McNulty (Dominic West), a one-man good cop/bad cop, offered in The Wire's final episode could very well serve as this series' epitaph: "When you were good, you were the best we had." Season five bears witness to this. The 10 riveting, wrenching episodes focus on yet another beleaguered Baltimore institution, The Baltimore Sun daily newspaper, whose staff, much like the police, is forced to do more with less. One editor (Clark Johnson) struggles to maintain the paper's journalistic standards in the face of declining ad revenues, employee buyouts and bureau closures. An ambitious reporter (Tom McCarthy) undermines him by taking a page out of the Stephen Glass/Jayson Blair playbook, manufacturing sensational quotes, and eventually, whole stories, while bean-counter management encourages its rising star and keeps its eye on the (Pulitzer) prize. Meanwhile, on the streets, the year-long investigation of rising drug lord Marlo Sansfield (Jamie Hector) and the 22 bodies found in "the vacants" has been discontinued and police morale is at an all-time low (the money promised to the department has been diverted to the schools). McNulty manufactures a serial killer case that will have far-reaching repercussions in the mayor's office, where Tommy Carcetti (Aidan Gillen) is mounting a run for governor a mere two years into his term. "I wonder what it would be like to work at a real police station," McNulty rages at one point. The Wire, as ever, is all about real. It's a gritty and unflinching look at life in one of roughest districts of a "broke-ass city." There is street justice for some characters, and street injustice for others. Some meet sad, sudden, or shocking ends that defy TV convention. Referring to Marlo, McNulty declares early on, "He does not get to win; we get to win." The hard-earned victories are mostly small, or come with a price. Not that The Wire does not offer glimmers of hope. Bubbles (Andre Royo) struggles to maintain his sobriety (Steve Earle portrays the leader of his 12-step program and also does the theme song honors this season), and the final episode features a cameo by Jim True-Frost as the once overwhelmed teacher, "Prez," who now seems to have the hang of the job. The ratings-strapped and criminally Emmy-snubbed The Wire has always been a critic's darling with a passionate fan base. To the show's credit, it did not make itself more accessible in its final season (consequently, its send-off did not receive near the fanfare of The Sopranos or Sex and the City). That should not dissuade newcomers to the show. It is heavy lifting, and if you're just joining The Wire, a visit to the show's official website for orientation is recommended. But buy it, watch it, and be patient. It's so worth it. From the masterful storytelling to the peerless ensemble, it just doesn't get any better than The Wire. But that's not exactly news. --Donald Liebenson

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In the projects. On the docks. In City Hall. In the schools. And now in the media. The places and faces have changed but the game remains the same. Times are tough for the detail. Mayor Carcetti has slashed the departments budget to the bone. Police are operating without overtime some without cars and radios. Angered McNulty is off the rails again and headed down a dangerous path of deception and lies that will ally him with an unscrupulous reporter. The drug trade still rules the corners all you have to do is read between the lines.

The thing about Heroes, beyond the incredible idea of the show, beyond the performances of the actors, beyond the slick production ... is the writing. This show is just plain clever. There is an effective use of humour and irony, the pacing in brilliant, the dialogue is crisp. Underlying everything that others have said about it is rock solid vision and a respect for the viewer. Television at its very finest.