Mr. Loverman is a tour de force for Lennie James, but it’s also an affecting story of a man who struggles to be his true self and knows what the consequences are if he comes out at his advanced age.

As We See It may occasionally veer towards the saccharine, but its big heart, outstanding central trio, and wonderful supporting cast make it must-see TV.

The acting is stronger than ever, now that Badgley’s Joe has a worthy opponent, and you won’t be able to see the season’s big twists coming. No matter why you initially enjoyed YOU, you’re going to fall in love with this new season, and Love Quinn.

Reservation Dogs improves on its excellent first season by deepening the community on the rez, making it less about the Dogs and more about traditions, people who think they know the traditions but don’t, and just how funny and rich life there can be, even if people have to be creative to get by.

It’s certainly not for everyone, but if it is up your alley, it elicits tears-streaming-down-your-face laughter, the kind of horrified guffaws only McBride and his team can deliver. ... All the hi-jinx and hysteria and humor are what make The Righteous Gemstones a thorough joy, but the deeper questions are what make it memorable, a true gem in a sea of shallow content.

I Think You Should Leave with Tim Robinson hasn’t lost a step in its third season, and in fact it’s probably gained a few, given that the inherent strangeness beneath the surface of our society is only becoming more inflamed.

Slow Horses is sharply written at every twist and turn. Forceful, funny, and conspiratorial, it’s constantly finding new ways into spy thriller dynamics while showcasing the terrific work of its cast and letting Gary Oldman just completely go off as the jaded, aged spy at its center.

No longer just a spinoff, Star Trek: Strange New Worlds goes boldly into its second season with terrific crew chemistry, more far-flung adventures on tap, and even more depth added to characters who already feel like classics.

Raised by Wolves has the potential to be the first great sci-fi show of the ’20s. Visually stunning, technically marvelous, and trippy as hell, it feels like both a callback to the golden era of sci-fi and a template for what the genre could be in this century. Raised by Wolves is a must-watch for sci-fi devotees and a return to early career form for Sir Ridley Scott.

If you’re willing to put in the effort, Fleishman Is in Trouble is a rewarding, intentionally maddening, often sweet experience that asks you to reexamine your own relationship with nostalgia. But in order to get to those depths, you need to watch more than a couple of episodes.

While the writing is sharp on the miniseries, created by Marissa Jo Cerar (The Fosters), the performances take already strong material and make it resonant.

Central Park is funny and warm, and has songs that will stick in your head.

Pachinko continues to be a show that deftly handles its sprawling settings and themes to make for a compelling multi-generational drama.

From witty one-liners and endearingly exaggerated personalities to physical comedy, musical numbers, and more it bears repeating that Shrinking is very funny and never maudlin. The series excels at giving viewers emotional whiplash (complimentary), but the team hasn’t just mastered the art of flicking from poignant to playful scenes on a dime.

Maid is not a cozy weekend binge nor is it a crackling murder mystery. That said, it does deserve to be your next Netflix watch. The series tells a haunting, but ultimately inspiring, human story and features a next level performance from Margaret Qualley. It might also change the way you think about poverty.

Girls5eva continues to build out its quirky, colorful world in Season 2, and each new face and development only makes it all richer. ... A showcase for some seriously funny women and infectious ear worms.

The show is a daring take on the saturated genre. .... When it returns to the investigation and drops the “oh-too-predictable” bombshells, it contextualizes them beyond the gritty details. Hehir’s direction and story sequence is riveting, and the interview subjects have much to offer, whether it be from a first-hand account or through decades of research and advocacy.

Those of us who are weary of alpha-male coaches anchoring football docs may see this season of Last Chance U as a breath of fresh air (although some of Beam’s staff exudes some of that cuss-’em-out energy). But overall, this is just extraordinary nonfiction storytelling.

If you slept on the first season of Swagger, Season 2 is good enough to go back and catch up now. It’s a worthy successor to Friday Night Lights, but more than stands on its own.

HBO’s six-part I’ll Be Gone in the Dark isn’t merely an examination of one of most devastating and least understood criminals in modern history. It’s a heartfelt deep dive into the extraordinary everyday woman who led to his capture.

For All Mankind Season 3 delivers more of what made its excellent Season 2 so thrilling. ... If there’s one spot, though, where For All Mankind Season 3 might frustrate viewers, it’s the resurrection of one of the most contested storylines in the show’s run. By the end of Episode 8, however, I could see where the writers were going with this story and its conflicted main player. ... Overall, For All Mankind is just freaking good TV.

Searing. ... Because Gibney is committed to showing the full scope of opioid-related sin, it’s hard to hang our anger on one singular party. Gibney’s most popular past documentaries left us understanding who the villains were and who the victims were. The lines get blurred when it comes to the opioid crisis in part because there are so many at fault and so many who have gotten hurt.

It’s through Byrne’s cutting insults and screams buried under her pained smile that Physical truly finds its voice. ... Shelia and her near-constant self-flagellation become Physical’s driving force. It’s a positioning that’s pointedly brilliant.

An ensemble that both highlights these characters’ strengths and humanizes their weaknesses. Leading the charge is Nicole Kidman in a role practically designed for her. ... The result is a show that’s as addicting and delightfully soapy as HBO’s summer hit The White Lotus.

Crush is just damn good, effective journalism.

With this hour, he allows us, too, to accept the inevitability of death and loss while also embracing the courage of feeling whatever grief or levity might come our way. Either way, we can put down the bat and pick up the feather. So to speak.

They prove time and again that as singular as they may be individually as scene-stealers, they’re a powerhouse duo together. Even if plenty of their sketches find themselves feeling a pinch of imposter syndrome. No, they belong here. They certainly belong here.

If you’re coming to it for the first time, you’re watching a series that not only has some of the best actors working on sitcoms today, but they’ve been a TV family long enough that the chemistry among the cast is quite apparent.