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

“HSM:TM:TS” has great adult appeal. It also boasts a lot of solo numbers, presumably because COVID concerns limited the number of big song-and-dance routines. Bassett, one of the best in a very excellent bunch, gets a rousing “breaking free” anthem that he sings. ... It isn’t a huge twist on the summer formula, but it does have enough variety to suggest this season could produce a couple more breakout stars.

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

BrainDead comments better than a Sunday morning pundit, moves faster than a New York to D.C. train and never pauses to filibuster.

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

Linney and company are masterful (Basso is a revelation); the final episode's writing is solid.

This isn’t connect-the-dots storytelling. It’s a blast from the past that reminds us when cop shows succeeded because they were built on great writing.

Sure, the show’s live sound was spotty in parts (too many lines were inaudible) but its energy was right where it needed to be, particularly in the big dance numbers.

Because the creators have been able to take a headline-grabbing situation and make it relevant for those on the outside, “The Morning Show” bears watching. It’s one of those shows you didn't know you needed to watch.

The new TNT miniseries (it's on just three weeks in December) has plenty of in-your-face drama and heaps of atmosphere.

Creators Tony Yacenda and Dan Perrault get plenty of laughs this time around, but it’s often because the actors have crafted such full Christopher Guest-like characters. These suspects have layers and they’re infinitely worth peeling away.

Running just seven episodes, “Run” makes a strong case for short-term series. Stopping when it should, not when producers think it can’t be squeezed anymore, the half-hour series rarely lags, even when some twists seem forced. Waller-Bridge created the template for something like this. Now, Jones borrows the playbook and two extremely talented actors make it worth the risk.

A simple check of Google could tell you how this all turns out but it’s fascinating to see how McNamara bends the narrative to fit the message.

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.

There’s a fairy tale quality to a story that constantly twists and turns. Like Victor LaValle’s novel, it manages to touch on a number of issues and secrets. When it ties this story to other, classic books, “The Changeling” really shines. Stanfield, too, is the best man to play the game.

Written by Dan Fogelman, Alan Menken and Glenn Slater, the new musical miniseries on ABC has so many clever bits and witty songs you’ll think someone wrote a sequel to “Spamalot.”

While the first two episodes of season two are too enamored with getting players in place (particularly since season one ended with a house cleaning), “The Morning Show” does pick up steam and gets everything from the Iowa Caucuses to a visit to Wuhan in the picture. ... Crudup, though, is the heart of this world. As corrupt as he may be, he’s worth following.

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.

Of the recent reboots, Roseanne fares better than most because it has allowed its characters to change. The political discussion jars a bit (was the series always this pointed?) but the family bonding holds no matter who’s in crisis mode. ... Executive Producer Bruce Helford (who was fired from the original at one point) has done his homework and found a way to make this stand on its own and pay tribute to the past.

The seventh season--subtitled “Cult”--is among the most smartly written and addictive.

Based on Gene Luen Yang’s award-winning graphic novel, “ABC” expands his concept and uses its panels as storyboards for something much greater. It works.

While Pardo is a super lure into the world of the Mayans, it’s the fringe characters who make us want to see more. ... “Sons” fans will view this as a similar ride, only in a different gear. Where the potholes and speedbumps exist remains to be seen. For now, though, the road is open. Mayans M.C. appears to be on track and ready for a long, long ride.

Like an unexpected present, “Modern Love” contains plenty of reasons to smile.

Because it looks at the selling of a superhero (come on, there’s even a class in branding), “Gen V” is pulling out a different rug than “The Boys.” Both are fairly subversive (and violent) but this one has an easier way in.

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.

Yes, The Mayo Clinic does get bogged down in classic photos moving in and out (a Burns hallmark). But its success stories help drive home those very lessons William Mayo wanted to impress upon his peers. It’s a great elevator speech for a business that doesn’t really need one.

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.

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.