“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.

Masters of Sex is highly watchable, not fact. If you understand that, you’re going to enjoy it much more.

It’s very much another desperate man in a desperate situation. Whether he’ll emerge better than Walter White is anyone’s guess. Dubuque, however, makes the journey just as intriguing.

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.

The loopy plotting may be hard to embrace initially, but it straightens out before the last few episodes and gives Aniston one of the best acting showcases in her career. .... When the third season gets to its oh-so-good last episode, you can see the grand contributions producers Mimi Leder and Charlotte Stoudt have been able to make.

Vice Principals is as profane and outrageous as HBO comedies get. Once you realize where this is headed, you’ll want to stay after school just to see how it all plays out.

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

The key to making this work (even though 10 episodes are more than plenty) is Josh Rivera as Hernandez.

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.

The Netflix documentary is so horrifically addicting you’ll be like a cat at feeding time. Never mind some of the seven-part series’ editing or focus. The production pulls you in because the characters are so unabashedly brazen. They don’t just talk about their hatred. They openly demonstrate it, helping you understand a layer of society you never knew existed.

Smart, funny and utterly intriguing, it sucks us in better than any procedural with an four-letter acronym.

This Bates Motel requires more than just a one-night stay. Once you slip in you may not want to check out.

On first blush, Deception is smart, stylish and involving. In time, it could drift. But, for now, enjoy the kind of storytelling that gives its core cast something interesting--and watchable--to do.

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.

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.

While newcomers may wonder why so much is made of so little, they can’t deny the delicious one-liners Fellowes has written. Coupled with a driving score, Downton Abbey moves--in ways you never thought possible. It's good to see it back.

Intriguing and thought-provoking, “Your Honor” should get families to consider how far they’d go to protect a loved one.

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.

In a sea of formulaic comedies, this stands out as a lifeboat worth clinging to.

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.

“The Boys” is a refreshing look at the ever-expanding world of men and women in tights. It gives Urban one of his best roles in years and keeps our interest much longer than we ever thought possible.

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

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.

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

The show is smart--smarter than most on network television--and it has life.

While the past few TV seasons have had more than a few robot shows, this one bears watching, largely because it doesn’t insist there’s a “robots are good” or “robots are bad” way of thinking.

“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.

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