“Fleabag” has callbacks to the first season’s revelation and an ending that’s so perfect it really should be in a textbook for comedy writers.

It’s involving--and just the series to keep your mind off the snow that's lurking. Fargo's still a prime TV destination.

How Harjo will end the series is anyone’s guess. Easily, the town could continue on with other stories, other protagonists. The four friends, however, were the lure that brought us in. No doubt, their exit will be emotional. If there’s a lesson to be learned from the journey, it’s this: Great stories are everywhere. It just requires someone to give them light.

Sure, it’s billed as a comedy but there are so many touching moments it could easily top the shows that are billed as dramas. ... You’ll also see why there are many rites of passage in a teenager’s life. Some come with guidance; others require a little on-the-job experience. All should be preserved as beautifully as these.

Because Louis C.K. does everything but hand-deliver the series to the network (and maybe he does that, too), it’s entirely his vision. That’s something few hyphenates get a chance to reveal. Here, though, it resonates.

The series isn’t a fluke. It’s as good as we thought it was last year and, maybe, even a little bit better. When you see the fulcrum at home, you’ll understand what pokes “The Bear.” In a word, it’s phenomenal. And the series is, too. It proves “every second counts.”

Like a good novel, The Staircase never seems to bore. It does, however, give viewers pause when it comes to the justice system.

Both Paulson and Vance are Emmy-worthy. The miniseries is, too, primarily because it makes us care about a story that once seemed impossible to escape.

Silicon Valley isn’t the kind of place you’d like to live (or even work), but it is a fun spot to visit. It makes you happy you never devised a single app in your life

While “Hacks” isn’t as ruthless as it was in its infancy, it does have moments where Smart can bear her claws. .... When Deborah gets a guest spot, “Hacks” hits its apex and puts everyone on alert. It’s the season’s best episode and yet another reason Smart is the best female in a comedy series, hands-down.

Consider how well-crafted they are, you might want to pace yourself and savor every precious moment.

While “Gemstones” doesn’t bite the religious hand quite the way it did in previous seasons, it does conclude without a big sermon. Aimee-Leigh might have delivered the message in song. But the way Jesse, Judy and Kelvin do it is quite good – and just the farewell we need until they return with a big “Gemstones” movie.

Wackier than the last outing, Season Three has a moment in the first episode that is both hilarious and appalling.

Writer Jane Anderson, cherry-picked four chapters and crafted them into a telling character study that covers 25 years of story.

While there are far too few Veep episodes each season, the ones that begin this, the sixth, are jewels to treasure. Unimpeachable, Veep remains the best comedy on television. Now, more than ever.

It’s a fascinating documentary that’ll make you want to devour it all, no matter where you start.

While “Hacks” will definitely be in the hunt for more Emmys (it won for Smart and its writing and directing), look for Metcalf to join their ranks. The second season’s third episode is about as good as these things get.

Veep doesn’t have as many pointed one-liners as it did in the past (could the absence of creator Armando Iannucci be the reason?) but it still boasts a cast that’s as sharp as ever. The addition of John Slattery as a possible love interest is clever, but some installments get bogged down by a parade of guest stars trying to share a bit of the fun.

Haggard finds much to embrace and a great way of making you think of all people.

It gleefully wallows in its own world, suggesting nobody in Washington really knows what makes it tick. While Louis-Dreyfus is just as Emmy-worthy as ever, it’s Simons who rises to this season’s top.

While Blanchett waltzes through the miniseries like Eleanor Parker, she doesn’t quite get the hardscrabble woman who tilted at the ERA windmill. She’s too patrician for those of us who remember her. ... Martindale and Ullman have done their homework, but it’s Elizabeth Banks as Jill Ruckelshaus and Byrne who impress. They capture the movement’s urgency and help us understand their place in it. ... “Mrs. America” might have benefitted from an additional episode to explain how many of [Schlafly's] disciples went on to win seats in the House and the Senate.

Girls was great last year. But this season it just got a little bit better.

At times, True Detective just seems like an overlong episode of a standard television series. But the flashbacks and flash forwards give it heft and let Fukunaga push the actors.

Tossing Meyer into the election fray was a great idea, particularly since it gets away from the well-worn path she strutted last season. Now, out of her comfort zone, she’s bobbing and weaving with the best of them.

The series may have been a dandy offering during the pandemic (if you didn’t binge it then, you should now), but it’s a good digestif for the world we’re in now.

Miller and company don’t always make it easy to follow (the flashbacks could be confusing for new converts), but they never undercut Atwood’s impact.

Tyson's so perfectly cast, perfectly directed and perfected nuanced, Bountiful overflows with the kind of goodness we rarely find in TV movies.

A compelling look at the 1963 March on Washington for civil rights.

Anderson, a favorite in British theater, shows American audiences yet another nuanced take that manages to nudge even Colman’s performance. ... While Corrin doesn’t make a deep impression until the third episode, she gives Diana a strength we haven’t seen before.

It’s violent in ways you wouldn’t think; daring in areas you couldn’t imagine. It’s not your mother’s Fargo. But it does have the characteristics you’ve come to cherish.

While Getting On might seem confining--and hardly funny--it’s one of the best workplace comedies on television. Like both versions of “The Office,” it embraces stray looks, asides and slyly funny commentary.

“Alien: Earth” is a lavish production – more so than any of the films in the canon – but just as claustrophobic and, easily, as memorable.

The Deuce isn’t an easy watch, but it is a telling one. By the time the hairstyles and polyester settle down, it’s ready to explain how the industry took hold, what elements were at play and, essentially, who is teaching syllogisms and who’s crafting them.

Sudeikis continues to inspire in untenable situations. Season Two throws out plenty of them and lets the fish out of water swim more than sink. A big chunk of the supporting cast earned Emmy nominations and it’s easy to see why – particularly when they’re made the focus of entire episodes.

Director Jonathan Krisel makes them seamless – and fun. ... Clearly, this is a vanity project but it has worth beyond its fun factor. Krisel goes deeper on some of the family issues and lets Martha reveal personality beyond contempt.

Because there are so many supporting characters just waiting to break out (keep an eye on Kia Stevens’ Welfare Queen), GLOW has an urgency it may have lacked in the first season. ... Still, it’s the women in the ring who prove irresistible. GLOW isn’t the laugh-a-minute comedy you might expect, but a stealthy character study just waiting to pounce.

That they’re both gone without realizing the full impact they made is probably the saddest part of a very fun journey. Bloom and Stevens didn’t miss a beat.

Like Behind the Candelabra, its action isn’t measured in car chases and explosions. It’s charted in the lives it touches.

Reiner keeps the interest level high but The Affair requires much more buy-in than the pilot cares to offer.

It slips into a world you probably never knew (or cared about) and finds a way to make you utterly invested.

Sunday’s premiere provides the border and key pieces to the oh-so-attractive world that is Mad Men.

Watchmen doesn’t need millions of dollars of special effects. It soars on great writing and performances.

Through the limited series’ run, guilt is passed like a basketball. Sexual orientation, economic disparity and other headline-grabbing issues get their turn at attention. Best of all, Ridley works with a repertory company of sorts which gamely assume new roles.

That loopy quality is what makes “WWDITS” so fun. Just when you think it’s headed down a familiar path, it pivots and finds a new vein.

While Dotrice and others add dimension to the story, the miniseries’ success comes down to the two main characters. Grant is oily and confident; Whishaw is seductive and afraid. The combination is combustible and quite watchable when the two appear in court together.

Although it’s two hours long, Going Clear speeds by.... Mesmerizing? If you’ve had even a passing interest in Scientology, Going Clear will fascinate in ways you never thought possible.

While this “One Day at a Time” isn’t as revolutionary as Lear’s early offerings (“All in the Family” is still the gold standard), it does move the needle on a number of issues. It also shows fans know better than executives.

Silicon Valley is good. But “Silicon Valley 2.0” is going to be even better.

“Dave,” season three, is as raunchy as you remember but also a bit telling. As he makes his way around the country, look for his world view to change. Sometimes, the more you see, the less you know.

Harjo and Waititi take their time painting the picture. They introduce outsiders (who stereotype residents) and give us a strong sense of what it’s like on the inside. ... “Reservation Dogs” is the comedy you never expected but may just need. It’s powerful dive into a world that’s oh-so deep.

“English Teacher” takes a while to heat up. But when you get to episode six of the new FX comedy, you’ll be hooked. There, Linda Harrison (Jenn Lyon) enters the picture and demonstrates what kind of challenges teachers face today. .... It’s a great addition to cable’s curriculum and a chance for the oh-so-talented Alvarez to show the breadth of his resume. But Jenn Lyon? She’s one to watch.

It’s a magnetic production, one that’s filled with precious performances that sparkle.

Director Steven Soderbergh walks a tightrope between camp and class and, if you make it that far, pulls it off.

White uses sly humor throughout the series and gets his best results from Bartlett, who unravels in unusual ways. He captures the manager’s approach beautifully and has plenty of fun getting even.

Kimmy gets a little smarter, too, and finds relations outside that circle of new life that embraced her last year.

More confident than the first season, this “Dave” shows a side of the fictional Burd that’s more believable. ... While “Dave” embraces too many guest stars, it doesn’t shortchange GaTa (the show’s stealth weapon) or Burd. Burd, in fact, is a much better actor this time out. ... “Dave” really soars on the backs of its unexpected stars.

Sedaris plays crazy better than anyone. At Home is right in her wheelhouse. It manages to send-up the trivial and make it oh-so-important.

“Hacks” is her [Jean Smart's] master class – a series that showcases just how much she can add to anyone’s work. ... “Hacks” nicely fills the void left by “VEEP.” It, too, is acerbic and on point. ... While “Hacks” may be a harsh title for something this deliciously good, it captures the price some are willing to pay for celebrity.

If there’s a disappointment, it’s that Reubens doesn’t open up more about his feelings during the scandalous times. .... What “Pee-wee as Himself” does provide is a look at the building blocks that made the quirky character.

The two are great actresses--no matter how old--who can slip into another bracket and tell universal truths. PEN15 has more humor than you can imagine (wait until you see them in physical education classes) and a voice that deserves to be heard.

The Night Manager is easily the best miniseries of the year--in a year packed with monumental ones. Hiddleston, Laurie and Bier aren’t just adding another credit to their resumes. They’re part of a series that’s quite likely a game changer.

Murphy gives his eight-part series a lush old Hollywood look and lets both Lange and Sarandon have fun recreating the quirks that made the actresses so memorable. While Sarandon is a dead ringer for Davis, Lange has to work harder to find the outsized Crawford. Both are ably abetted by a host of actors as recognizable names.

It was an overwhelming original, complete with inspired casting and staging choices.

As easily digested as gelato, this season has action that hinges on those two young women (Beatrice Granno and Simona Tabasco) making visitors feel welcome. That means the stakes are high and the room service bills even higher. Coolidge continues her winning ways (Emmy No. 2? It’s possible) and DiMarco has just enough innocence to make you wonder what his future will be. “The White Lotus” still ranks among television’s best.

“Cheer” isn’t so much a new take on an old story as it is proof there’s drama wherever two or more gather. It’s an addicting reality show that will make you think twice the next time you see someone accomplish something amazing.

Winters hits the bases but doesn’t necessarily come all the way home. In “Showbiz Kids” there are enough storylines to fill a stadium.

Running seven hours, “Mare of Easttown” often exchanges action for atmosphere. A few more cases could have pushed this along, but it does engage. Winslet never falters, making “Easttown” seem like the place she was born, raised and disappointed. Peters and Smart are great sparring partners but Mare is the deserving main attraction. Winslet is the reason.

By breaking the books into digestible chunks, it goes down smoothly and, yes, makes you want more.

Ken Burns’ stellar documentary. ... “Country Music” isn’t definitive, but it comes pretty darn close, particularly when it uses those unforgettable songs as evidence. ... Absorbing every step of the way, “Country Music” is like a class reunion you don’t want to leave. You learn something about the people you thought you knew and you come to appreciate them for the faults you never thought you could excuse.

While the first season surprised with behind-the-scenes talk (and action) among the superheroes, it didn’t have the depth this one does.

It's bursting with ideas initially but once it leans into to specifics it becomes the series you may just want to embrace. Barinholtz and Wonders are great support; O'Hara may well have found her new "Schitt's Creek." Rogen, though, needs a chill pill.

Created by Noah Hawley, the new season is among the series’ best, using wild characters and round-about storytelling to pull you in. By the second episode, you will be hooked.

While Brunson has the format for a good series, she doesn’t have all the elements. Sometimes, the comedy is forced. ... This is a start but it's like Brunson's character -- a little naive. To be the show we need, "Abbott Elementary" needs to do more than dance around the obvious.

The last season is stuffed – and remarkably so. It gives newcomers like Reid Scott and Jason Ralph a good foothold in the series and suggests there’s much more that could be mined. ... Season Five wasn’t just business as usual. “Marvelous” is only one word to describe it.

The four lead vampires feed on pretense and find laughs in something as simple as hissing. But it’s Guillen and Feldstein who bring the spice.

“Black-ish” has found a great way of talking about current events without sounding like “Meet the Press.” The Carmichael Show will get there, too, once it lets its very good supporting cast get out and do more.

Kohen, basing her series on Piper Kerman's memoir, immediately gives us characters worth watching.... Orange is the New Black is TV that'll have you talking for days.

“Lovecraft Country,” which tips its hat to the novels of H.P. Lovecraft, has the gloss of a Steven Spielberg summer blockbuster. It also has Spielberg’s way of tucking messages in places you wouldn’t expect.

Caplan’s narration guides the journey and makes the trip rewarding. When she and Brody get a minute to size up their friend, “Fleishman” does more to capture the value of friendship than any number of episodes of “Friends.”

Like life, it unfolds in quirky ways. Knowing Dunham, its ending will leave questions: Will we get to see what great work comes from her character's experiences? Easily, this could be the "Go Set a Watchman" for something more.

Fey and Carlock constantly keep audience members on their toes, thrusting ideas that sound so wacky they’d never work. And yet they do.

While “The Pitt” hits familiar notes (overcrowding is still a problem; understaffing is a given), it benefits from the “24” approach to storytelling. After one episode, it’s impossible to leave the “day in the life.” Binging is a likely diagnosis.

Come Inside My Mind brings tears repeatedly, but it also gives Williams life. Those moments on stage (particularly during “Comic Relief,” which showed him at his best) pop.

The new series has enough hallmarks of the old to please O.G. viewers and snag new ones. Key to much of the new fun is how exacting Thiele is at suggesting the younger Henrie. He’s a dead ringer for the dad and a fine comedian. Brown has hints of Gomez but she’s blazing her own trail, particularly since we’re not sure where she’s from or why she’s here.

The eight-episode series stretches its mystery to nearly unbearable lengths. ... It’s not as dense as Vallee’s “Big Little Lies,” but it does give its female cast meaty roles to savor. Clarkson gets the biggest slab, but Adams, Perkins, Scanlen and Lillis make the most of theirs. For them, it’s an acting banquet. Cut thinner, it might have been prime time prime.

While it’s too early to determine where this is going (even they admit “we’ve been very lucky with people dying in our building”), it could unravel in interesting ways.

All the Way works because Cranston is so determined to make Johnson relatable. He shows there’s more to the guy than baling wire and spit. Best of all, he isn’t afraid to let him look weak and afraid.

While Kemper’s mood can grate, she’s working from a very logical base. There’s the Elizabeth Smart innocence that suggests this does have legs. How long they can maintain the guise is anyone’s guess.

Fun to watch. ... Even though it goes too far with its secret rooms and hostage situations, it makes you want others to be kept in the dark. “You” started with a bang and, thankfully, it’s still firing solid kill shots.

Easily one of the best new shows in years, “WandaVision” accomplishes the impossible: it pulls us back in just when we thought we were out.

It recalls some of the better standup specials of the past decade. It hits on those R-rated topics she’s good at addressing and it lets her weigh in on the problems women face in Hollywood.

The Bridge doesn't overwhelm with information--as too many cable shows do--but it does shock with revelations that fit nicely into the gameplan. Kruger and Bechir are fine leads, too.

Although she [Jennifer Coolidge] lit up two seasons of the quirky Mike White drama, she has a kindred spirit in Parker Posey, who takes the third season to her own offbeat heights. .... “The White Lotus,” season three, is a bit more lush than the previous two and stuffed with phrases you’ll be hearing for months to come.

Making It isn’t as heavy as you’d like but it does cut the clutter of talking heads and political spin. It’s very low-key. So low-key, in fact, you suspect someone will decide to use the felt to make the kind of puppets that populated “Mister Rogers’ Neighborhood.” Or a very special edition of “Ya Heard? With Perd!”

Like a gentler Monty Python venture, Galavant pokes, prods and pummels current events. It doesn’t get down and dirty, but it isn’t afraid to wallow every now and then. When it does so with a little song and dance, there’s enough fun to last longer than 30 minutes.

Interestingly, a lot of nothing adds up to a big something.

So “inside baseball,” the new season fits the stars better than previous outings. It hints at retracing steps, but the over-the-top production numbers make it more of an original than even “Schmigadoon.”

The deck is stacked against the fledgling money launderers. How they maneuver around their detractors is still “Ozark’s” biggest strength. Couple that with the one-two punch of Linney and Pelphrey, and this is a compelling season worth binging.