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.