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.

What gets lost, though, is the camaraderie of the dissidents. It’s still around, but so much time is spent showing Homelander railing at everyone, it doesn’t give them their due – at least not in the early episodes. ... But the beauty of “The Boys” is you just never know where it’s headed.

Directed by David Semel, the first episode (now available on Amazon) sets a visual tone that immediately sets this apart from other thrillers.... By the second episode, you’ll want to know who’s really good and who’s bad and how the latter will meet their untimely deaths.

Dunst takes risks and they pay big dividends. ... Emmy worthy. [Theodore Pellerin as Cody] is one of the best performances of the year. It makes you want to discover what drives him and where he’ll finally wind up. Others, though, are equally compelling. ... “On Becoming a God in Central Florida” is one of the best new shows of the year.

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.

While the supernatural can take this in directions you probably don’t want to go, the researchers (played by Mike Colter, Katja Herbers and Aasif Mandvi) do get moments of clarity. The show’s best bet is Michael Emerson as a pot stirrer who uses technology to cause problems.

While Patricia Highsmith’s novel, “The Talented Mr. Ripley,” and the film it spawned were engrossing, “Ripley” takes the skill to a different level. .... A technicolor Italy is certainly attractive, but a black-and-white one demands attention. Zaillian doesn’t waste the conceit. He gets high drama from crashing waves and a performance from Scott that embraces more than 50 shades of gray.

Highly addictive, it quickly makes you want to find out what happens to Lavinia Peck-Foster, the first lady of East Peck and her legal team.

The Duffers captured the vibe quite nicely, tell a story that doesn’t seem watered down and emerge with a series that could be the summer’s equivalent of a large popcorn with plenty of butter and a kidney-busting keg of Coke.

The new season has plenty of surprises (couples aren’t who you think they are), a reality check for Marnie and a nice showcase for Rannells.

In the third season, she [creator Amy Sherman-Palladino] dreams even bigger and gives us a USO tour, Las Vegas and Miami Beach. ... Swirl it all together with some of the best production design found in a sitcom and this season of “Mrs. Maisel” is pretty, well, marvelous. ... Brosnahan and company continue to impress and Zegen, the beleaguered man in the back, finally gets the attention he deserves.

Downton Abbey seems just as fresh as it did five years ago.

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.

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

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.

[Biderman’s writing and Schreiber’s acting are] a one-two punch that haven’t scored a knockout in the first round, but there’s still time.

Considering the money that must have been spent on it, “Bridgerton” should be better. It has all the trappings of a 1980s network miniseries but none of its sizzle. More humor -- and an appearance by Andrews -- would help immensely.

It’s a funny special, but it’s also a brutally honest one.

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.

This is a very quirky, specific world that could repel the very people who might love it. It's a slow go but if you're not in a hurry, it might be worth dropping by.

“TF&TWS” feels right now, even though it was originally scheduled to come before “WandaVision.” After that ground-breaking series cleansed the palate, it’s good to have something this lavish popping on home screens. Mackie and Stan deserve the attention. We saw that in earlier films when they got to banter. Now, they’re in the drivers’ seats.