What anchors Better Things is the warmth Sam feels for her family. What makes it works are the tiny human moments.

The second season of FX’s Emmy-winning limited series has a new cast and mystery, and it promises to be even more fun and weirder than the first.

Halt and Catch Fire has always been an acquired taste. The mixture of personal dramas and the tech world doesn’t always go down easily. Some of that continues in the new season, but the new world of the Internet kicks some life into the story.

It has a lovely lyrical wandering quality about it. This year, there are probably more smiles than laughs. The humor is less jokey and more organic (keeping with the food motif). The episodes are more themed than plotted, mostly a series of interconnected vignettes. Characters drop in and out.

The series doesn’t measure up to top-flight Attenborough, who is working on “Planet Earth II,” but it is mostly fascinating as well as, of course, informative.

It doesn’t break any new ground, but unlike most crime procedurals, it’s neither facile nor jokey. Whether in the end Naz is guilty or innocent may not matter. The series ultimately succeeds on its mystery and as a provocative trip through the justice system.

Silicon Valley remains one of the best comedies on television.

It’s still laugh-out-loud funny, the best comedy on TV. One episode will have her monitoring a free election in a former Soviet republic. The irony just drips. And all you can say about Louis-Dreyfus is that six isn’t too many.

Eventually, though, what emerges in the series is a nuanced--if slightly bizarre--portrait of a woman in distress.

The series isn’t striving for reality, although it reflects a dysfunctional one. It’s going straight for laughs, and there are plenty of those. ... It’s Louis-Dreyfus’ presence, though, that makes Veep top-notch.

Odenkirk is flat-out terrific at times, but the show hasn’t kicked into gear for me. On “Bad,” Bryan Cranston’s Walter White was in a desperate situation that unleashed his inner monster and diabolical genius. Meanwhile, the occasionally dense Saul is meandering toward his sugar-rush exile in Omaha.

The Crown succeeds because it gives us this fresh perspective on the world at that time, and in many ways, the events of the royals then are not that far from what’s happening today. This Crown continues to rule.

In many ways, the new season of Jenji Kohan’s Emmy-nominated drama is as impressive as ever, but you may need a scorecard to sort out all the players. Most of the stories are engaging; others seem like simple diversions.

No one is arguing that The Deuce isn’t entertaining, if slightly cliched. But we shouldn’t pretend The Deuce is the truth. It would be easy to praise the series for being unjudgmental and focusing on the human elements. However, there was a lot of pain involved in that world, and the series is too carefully constructed for you to feel it.

While all of this may seem out of the past, there is something naggingly familiar, eerily fascinating and even contemporary about much of The Knick.

It is Balfe, who also received a Globe nomination, whom the series rests on, and she remains a captivating Claire. The actress brings a playfulness and an ethereal presence to the role, which are attributes essential for someone caught between two worlds.compelling drama

As a film, it’s all over the place, but in some ways its crazy-quilt nature suits its subjects and succeeds as a touching portrait of a unique mother and daughter.

In its own way, Wonderland is as visceral in its milieu and sliding-scale morality as HBO's "Oz." [30 March 2000, p.L5]

While the mysteries on Broadchurch are compelling, they can be a bit scattered at times, with some weird detours. Yet the magnetic performances of Tennant and Colman keep the series together; the two acclaimed actors are always able to navigate the show’s odder moments with interesting takes.

You’re the Worst has always been in danger of growing too hip or too stale. So far the series has kept changing enough to avoid that. The early episodes of season four show promise. It seems some reckoning is on the way, but it could also signal the beginning of the end.

Coltrane, Waters and Riseborough are brilliant in this compelling drama.

The brilliant Black Mirror returns Friday for a third season--and its best one yet--on Netflix with six new episodes.

Notaro’s great at deadpan one-liners, which is where most of the humor in the series is generated. Much of the rest of the time, it’s lightly situational.

The thing that The End of the F***ing World smartly does is never let you forget that Jim and Alyssa are like wild animals you think you have tamed, at any moment they might turn on you and bite. Also, kudos to the series for its offbeat selections of songs.

While, at first, the actress may not look like the superhero type, she convincingly gives Jessica a subtle toughness. In a way, the character is the flip side of Supergirl: Jones is a reluctant superhero, a loner who drinks too much and has real human flaws. Yet Ritter gives Jessica a needed likability. The series also boasts a solid supporting cast.

The show manages to be fun and wacky, funny, emotional with something to say.

The eight-part series, based on the popular children’s books by Daniel Handler, is delightfully weird or weirdly delightful, depending. The hourlong show can be both light and unexpectedly dark.

Five Came Back does not cover any new territory but puts together the story in a new focus. It is not simply about the filmmakers but about what they saw--the indelible images of war.

While an occasionally revealing portrait, Nothing Left Unsaid doesn’t strive for anything concrete. There is a nostalgic wistfulness to it. Had it been done about someone with a less-storied life, it might have fallen apart, but Vanderbilt has become something of a character herself.

While none of the information in Dirty Money is particularly new, the episodes--directed by different filmmakers--solidly lay out the stories to make them understandable. However, there is something to be said about getting all this information in one sitting instead of in bits and pieces, and in this Dirty Money delivers.

Both events [Watergate and the Pentagon Papers] are covered extensively in The Newspaperman. There is not a lot new there, but it’s interesting to hear it from Bradlee’s perspective.

The sheer exuberance of Speechless and the unsentimental way it approaches its premise ultimately makes the ABC family comedy likable, funny and even touching.

Girls is essentially a hipster soap opera--occasionally clever or smart--but not as revealing as it led you to believe. This year it might take the step that has been promised since its first season, but maybe not.

Walley-Beckett doesn’t pander nor play down the darker elements in the character’s life. ... James and Thompson are great choices as the Cuthberts, neither of whom display much emotion, yet the veteran actors are quite skilled at revealing the characters’ inner feelings. The real find is McNulty. The young Irish-Canadian actress seems perfect for Anne with honesty in her performance.

Though well-done and watchable, season three of Narcos doesn’t really distinguish itself from a number of other drug-crime stories without Escobar.

The show is fun, through, but kind of lightweight, a nice respite from an intense show like “Breaking Bad” or “The Americans.”

The series has the sophistication of PBS’s “Downton Abbey,” only with more laughs. There is something quite modern about the Durrells without it feeling false.

What sets the comedian apart from her male and female counterparts is that she scores laughs mostly from saying the outrageous so matter-of-fact-ly, even sweetly. Nothing seems out of bounds to her, but she doesn’t go out of her way to find something offensive, either.

Throughout Homegrown, the four of them [The daughter of a victim and the shooter’s brother. And the sister of a young man found guilty of incitement to commit acts of terrorism and a government analyst who helped make the decision that the man was a threat to the U.S.] offer articulate discussions of their situations and feelings, which gives this compelling documentary added impact.

Bosch is a welcome change of pace from the many procedurals on the networks, especially those that overwhelm their stories with technological jargon. Amazon’s 10-epsiode series is perfect to binge on, a long, involving mystery in which the detective still does leg work.

It’s off to a good start.

Surprisingly affecting. ... The series from Peter Farrelly (“Dumb and Dumber,” “There’s Something About Mary”) and Bobby Mort (“The Colbert Report”) has an appealing likeability to it. Mostly, that is thanks to Livingston who always keeps the character real.

[Westworld] impressively returns. ... The series usually hits the mark with strong storytelling that gives you a lot to ponder after the shooting is over. And the performances are outstanding. This year, the females are leading the way. Newton is a joy to watch and Wood shimmers, clearly embracing the new Delores.

Season Four promises some fascinating possibilities. Netflix is determined to keep spoilers under wraps, but we can say there will definitely be surprises, and the show will be graced by the strong presence of tough females.

The series is a wild ride, an old-fashioned Western with a contemporary edge. It carries the sweep and breadth of a grand tale with the larger-than-life ornery characters you expect to find living and dying in that rugged, lonely land.

Don’t expect a lot of out-loud laughs with the series, but it is constantly amusing.

The Looming Tower is compelling television, even as it marches toward its tragic end.

Transparent succeeds most of the time. The cast--led by Tambor--are terrific as usual. This year there are some rich, funny and moving moments, and the series continues to take chances other shows wouldn’t dare.

The series needed someone with the glamor of Stone to be the centerpiece of the mystery, even if she isn’t the largest piece of Mosaic. The series is not the smoothest of fits, but it has enough shiny parts to keep it interesting.

The Beat, Fontana's UPN cop show, won't be mistaken for a good series, but it's better than a lot of the junk polluting UPN's airwaves. Of course, its sophisticated flourishes may just be enough to sail the show over the heads of the netlet's pubescent target audience, and its pandering touches will be enough to alienate more discerning viewers. [21 March 2000]

Clunes and Edwards have a nice rapport, and the rest of the cast is quite solid.... The mystery itself is compelling enough.

The series can be pretty dark, but it’s worth investigating.

The series enjoys deconstructing superhero tropes but in its own offbeat way. You will probably need a few episodes to get into “The Tick, but the first part of the first season builds up nicely. By Episode 6, the series is all powered up.

Stephen King described Black Mirror as “terrifying, funny, intelligent. It’s like the ‘Twilight Zone,’ only rated R.” That’s actually giving it short shrift. ... What makes the series special is how there is always one more twist that you didn’t expect in the same way there is always some implication--usually for ill--in a new invention that we didn’t think of. This new season will only add to the acclaim.

The series has always moved between clever parody and outright silliness, but this year Archer seems to be paying more attention to the plot along with the jokes.

The first few episodes of Love careen from being clever and funny to some intentionally cringeworthy moments. The challenge for the series, which has already been renewed for a second season, is to have Mickey and Gus begin to see the light. Otherwise, the show paints a humorous, if somewhat disquieting, picture of the dating scene in L.A. and is populated by some likable auxiliary characters.

The amount you’ll laugh at Tour de Pharmacy may depend on your tolerance for mockumentaries. This one, like most, is a string of gags. If you’re looking for something undemanding, it qualifies.

It looks like Sutherland has another winner on his hands.

The two episodes available for review, Manhunt: Unabomber has a by-the-book feel--a lot of forensics and theories. It’s not until the last few minutes that Bettany’s Kaczynski is really introduced.

The 10-episode Mr. Mercedes isn’t a horror story. King’s tales are generally known for capturing middle-class angst, and the series has creepily translated that to the screen.

For fans of amply endowed eye candy and anatomy-centered gags of the PG-13 variety, it's Nirvana. [14 March 2000]

Wacky is probably the best word for You, Me and the Apocalypse, created by Iain Hollands. But give the series credit, each episode keeps upping the weirdness, comedy and, surprisingly, the dramatic ante. It’s unexpectedly good.

It’s Ritter that gives Jessica Jones its punch. ... This season’s story--at least in the five episodes available for review--builds to a deeper secret, and its buttressed by strong supporting players. Carrie-Ann Moss returns as Jessica’s attorney, who is fighting her own demons.

Only three episodes were available for viewing. Outcast is, at best, serviceable for a late Friday night horror tale, but I’m not anxious to hang around.

There is an old axiom that says you should not confuse sex with love. The fourth season of Masters of Sex lands squarely and entertainingly right in the middle of that potential mess.

What benefits the series most is its strong cast to take on these intricate roles, which might fall flat otherwise. Paul, Monaghan and Dancy are outstanding as very flawed people, whose fate you can care about; they aren’t evil but at times susceptible to their own demons and blinded by their faith.

In Future Man, it bounces amusingly along for a while and suddenly becomes weirdly sci-fi serious. In the third episode, “A Riphole in Time,” there’s a plot twist that makes you wonder what you signed up for. Still, Future Man is intriguing enough to keep you going, but I wouldn’t call it one to binge.

Although a bit over-frenetic at times, the series seems to take inspiration from a man-on-the run Hitchcock thriller.... So far it’s one of the most-promising new shows, and Chopra is someone worth keeping an eye on.

It is never as compelling nor as dark as that series [Mr. Robot], but after three episodes Colony zigs and zags often and has enough action to keep your interest.

During the first two years, Halt and Catch Fire has smoldered, sometimes frustratingly so, but has always been engaging, often thanks to the performances of Bishé and Davis. Judging by five episodes of season three, it looks like the show is finally catching fire.

Trollhunters has a nice vibe to it. There is an ’80s “Goonies” flair, but it is also has intelligence and flashes of wit, such as when a creature hums “In the Hall of the Mountain King” by Edvard Grieg as it goes in for a kill, or when Toby finds out Juliet dies in “Romeo and Juliet.” Otherwise Trollhunters follows the formula for these sorts of stories, uncomfortable teen by day and superhero at night.

The fantasy-dramedy is cute enough, though it doesn’t have the endearing daffiness of “Jane.” Tori Anderson and Joshua Sasse, who play Evie and Xavier, have a nice chemistry.

For the most part, Pitch is an engaging drama about a woman negotiating a man's world with the added glitz of big-time sports. Bunbury has the charisma needed for the role.

The series has an impressive feel and period look to it. The first episode directed by Kevin Macdonald (“The Last King of Scotland”) deftly opens up mysteries and invites you into the strangeness. Adapted by Bridget Carpenter, 11.22.63 isn’t for everyone. You have to like what-if fantasy stories. But like many of King’s stories, once you’re in, you’re in. Enjoy the trip.

It’s [the] weird but human moments that propel Patriot, created by Steven Conrad (“The Secret Life of Walter Mitty”), even as it keeps the spy-thriller plot simmering.

The most impressive quality "The 4400" boasts is the fact that, after tonight's episode, there are any number of directions the drama could head. There hasn't been anything this wide-open unpredictable on TV in years, and for that reason alone, it's worth overlooking the premise's flaws and following this wherever it may head. [11 July 2004]

Seven Seconds can be a bit obvious at times--a shot of blood in the snow with the Statue of Liberty seen off in the distance--but ultimately it settles into a worthwhile character-driven crime thriller.

Whereas Netflix’s “Black Mirror” deals with near-future technology angst, the Amazon series is more speculative. Each episode differs not only in look but in tone. So in this binge climate, it is nice having something worth binging that you can also take your time with, and “Philip K. Dick’s Electric Dreams” is that.

The problem is that series seems to take itself a bit too seriously. It could use a side of humor or an over-the-top quality. But these teens are mostly awkward, and while that could be charming, here it isn’t. Runaways doesn’t necessarily make you want to run away. It’s watchable enough, though not compelling.

The humor is mushy, mostly based on the characters’ being neurotic. Unlike “Silicon Valley,” there is little at stake in many of the situations in Loaded, which undercuts it further. The series is kind of like a cat-game app. It might amuse you for a while, but it’s still a cat-game app.

Britannia doesn’t slow down long enough to be as engaging as the HBO show, but ultimately, it has enough going for it that if you like such fare--not everyone is a “GOT” fan--you can get into the Amazon show.

There are few funny moments. Give the cast credit for throwing themselves into it--especially Martin--but the proud mama bit gets old fast.

I can’t think of another show like Comrade Detective on the TV landscape, and while it’s a strange trip, it’s often a delightfully odd one.

Midway through the first episode of the 11th season of “The X-Files,” FBI agent Dana Scully (Gillian Anderson) clutches her head and moans, “What’s going on here?” We can sympathize. Up until then, the episode had played like a frenetic trailer, filled with crazy action and angst. In subsequent episodes, the Chris Carter series settles down to familiar entertaining territory, but there is a danger you might turn it off before then.

While it struts and frets and boasts some top-notch actors, I’m not sure it has anything in mind other than being weirdly entertaining.

It’s great to see Lithgow, who won a Golden Globe earlier this year for playing Winston Churchill in Netflix’s series “The Crown,” but there’s not much challenge here for him and too few laughs.

The film is a bit too long. Wizard of Lies has some worthwhile moments, but it never seems sure at what it’s trying to be.

The good news is that Ozark isn’t all that predictable and develops its own quirky rhythm. ... Even when the series seems to be drifting, it keeps luring you in.

This is rich material: Think of it as a particularly outrageous "Candid Camera," with politicians and Sunday-morning talking heads as the marks. [21 Feb 2003, p.U35]

It isn’t cute, but it’s mostly sharp and engaging.

Class isn’t afraid to dive into its strangeness, but not always successfully. It’s kind of like a high school dance--fraught with crazy drama but not always as memorable as it’s supposed to be.

If you liked the series--you had eight years to find out--you’ll like the movie.

Its uneven but intriguing first four episodes.... It hints at a compelling future, with various factions vying for control. But it isn’t out to wow you early on, taking its time to develop its characters and the relationships. If your expectations aren’t too high--and it’s not “Battlestar Galactica” yet--The Expanse could just be what you’re looking in.

While the two-hour movie was a wild ride, slow the pace down for television and the boys aren’t as much fun to hang with. Barkin is the best reason to watch. Always a restlessly interesting actress, Smurf gives her lots to play with, and she makes the role her own.

The thriller created by Martin Gero can seem overly intricate at times, but the conspiracy doesn’t get in the way of the show’s early momentum. Where it goes from here is definitely worth checking out.

Salem's Lot is hardly bad. It's just that certain unpersuasive special effects, unruly performances and subplots undermine the best of intentions, a fate with which fans of King's oeuvre are no doubt familiar. [19 June 2004]

Meloni is terrific as usual--a long way from the solid Elliot Stabler on “SVU,” but it’s a stretch to appreciate a “hero” who describes his life as “an ever-swirling toilet that just won’t flush” and follow his cracked personality. With only two episodes to judge from, the jury is out on Happy! My guess, though is that it’s an acquired taste and only for certain people.

While some of the episodes--I have not seen all 12--show flashes of creativity, there is something synthetic about the series, like a hotel room’s pretend hominess.