Filled with outrageous supporting characters and a quirkiness that befits the subjects, “Pam & Tommy” thrives on the performances of its two leads.

That’s the thrust of the fourth season – people making bold moves. After two years of life without the Maisels it’s a welcome change.

It’s better than an unadvertised special and more fun than a deep discount on Black Friday.

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.

Ominous, creepy and utterly engaging, The Strain is like the perfect drive-in movie.

Yes, the series has humor (Applegate is too nuanced to let that go), but it’s not the laughfest you expect from something labeled “sitcom.” This is more ironic.

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.

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.

“Coastal Elites” is a powerful 90 minutes with five actors who know how to make each moment count. You may not agree with the political points some espouse, but you will respect the heart that’s behind them.

An absorbing, intelligent new drama that gives the Batman mythology one more layer of depth.

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.

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

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.”

The laughs aren’t as rapid-fire as they were in “Veep,” but they are plentiful. Gad perfects that smarmy billionaire; Suzy Nakamura is ideal as his common law assistant. ... Laurie is ideal at the helm – even when the story seems like it’s rudderless. He plays captain in a way you wouldn’t think and handles disaster like Jean-Luc Picard never would. Make it so? “Avenue 5” does.

It’s likely this could have a good long run, particularly since Scott is so smart and approachable and Reynolds is so deliciously low. ... It’s easily one of those shows that could go the distance. It’s far better than some of the network’s retreads and it’s much more interesting with the producer’s well-written asides. This “Don’t” is a big do.

Witherspoon, who practically owns the franchise on uptight white women, gives this one an even bigger nudge. At times, “Little Fires” looks like a Marc Cherry potboiler. Washington, meanwhile, reacts like she’s in something more significant. That pull adds to the story’s allure and pushes our sympathies to others. ... “Little Fires Everywhere” doesn’t have the heft of “Pretty Little Lies,” but it should spark discussions about privilege, race and expectations.

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.

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.

In the fifth episode of the season, Crashing hits a peak, particularly since it lets Audrie Neenan offer her own take on his work--and his choice in women. She’s a jewel as mom and a perfect foil for Wise and Holmes. ... If there’s a drawback to this season, it’s the length. Easily, Crashing could have stretched a couple more episodes and shown the aftermath of life in the big leagues.

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.

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

While the season takes time (and some close listening) to take off, it’s in play by episode two and ripe with possibilities for spin-off series, should “Ted Lasso” end its run after this season.

The opening episode has plenty of what fans love most – revenge, romance and remorse. ... Even though there’s plenty of “Dallas” maneuvering, you can see why the Paramount Network series is so popular. These characters don’t really care what others think. They press on and leave plenty in their wake.

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.

This “Feud” is like a phone tree, adding strength as it pushes out. Hollander knows how to get under Capote's skin. He just never makes him likable enough to justify the women’s attention even in the good days. Where “Feud” succeeds is in recreating the world they inhabited.

The show’s writing is sharp and smart; its acting is clever and curt. Toss in that casino wild card and you’ve got a season that’s just as remarkable as the first.

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.

Thanks to some inspired choreography by Christopher Gattelli, “Schmigadoon!” is as excitable as its exclamation point and just as worthy.