Sure, it’s billed as a comedy but there are so many touching moments it could easily top the shows that are billed as dramas. ... You’ll also see why there are many rites of passage in a teenager’s life. Some come with guidance; others require a little on-the-job experience. All should be preserved as beautifully as these.

Both Paulson and Vance are Emmy-worthy. The miniseries is, too, primarily because it makes us care about a story that once seemed impossible to escape.

“Fleabag” has callbacks to the first season’s revelation and an ending that’s so perfect it really should be in a textbook for comedy writers.

The series isn’t a fluke. It’s as good as we thought it was last year and, maybe, even a little bit better. When you see the fulcrum at home, you’ll understand what pokes “The Bear.” In a word, it’s phenomenal. And the series is, too. It proves “every second counts.”

While “Hacks” will definitely be in the hunt for more Emmys (it won for Smart and its writing and directing), look for Metcalf to join their ranks. The second season’s third episode is about as good as these things get.

Easily one of the best new shows in years, “WandaVision” accomplishes the impossible: it pulls us back in just when we thought we were out.

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.

Ben Platt (Broadway’s “Dear Evan Hansen”) goes all Tracy Flick in this comedy. ... This is one of the year’s best.

While there are far too few Veep episodes each season, the ones that begin this, the sixth, are jewels to treasure. Unimpeachable, Veep remains the best comedy on television. Now, more than ever.

Go into "The Bear" with the right mindset and you'll discover it's the best drama on television.

Because Louis C.K. does everything but hand-deliver the series to the network (and maybe he does that, too), it’s entirely his vision. That’s something few hyphenates get a chance to reveal. Here, though, it resonates.

Heaton brings a giddy charm to the “what if” role and gets great support from a cast just waiting to break out.

It’s gritty in a new way and, yes, lots of fun.

Haggard finds much to embrace and a great way of making you think of all people.

Created by Noah Hawley, the new season is among the series’ best, using wild characters and round-about storytelling to pull you in. By the second episode, you will be hooked.

Like Behind the Candelabra, its action isn’t measured in car chases and explosions. It’s charted in the lives it touches.

“Alien: Earth” is a lavish production – more so than any of the films in the canon – but just as claustrophobic and, easily, as memorable.

As easily digested as gelato, this season has action that hinges on those two young women (Beatrice Granno and Simona Tabasco) making visitors feel welcome. That means the stakes are high and the room service bills even higher. Coolidge continues her winning ways (Emmy No. 2? It’s possible) and DiMarco has just enough innocence to make you wonder what his future will be. “The White Lotus” still ranks among television’s best.

“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.

The Night Manager is easily the best miniseries of the year--in a year packed with monumental ones. Hiddleston, Laurie and Bier aren’t just adding another credit to their resumes. They’re part of a series that’s quite likely a game changer.

Better than “Goliath," “Landman” lets Thornton convey the emotions that color a “cigarettes and Dr Pepper” kind of guy. The role fits better than a well-worn pair of jeans and, like his trusty boots, never lets him down. He’s one of the best actors of the season in a show that could be one of the best of this or any year.

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.

Tossing Meyer into the election fray was a great idea, particularly since it gets away from the well-worn path she strutted last season. Now, out of her comfort zone, she’s bobbing and weaving with the best of them.

Watchmen doesn’t need millions of dollars of special effects. It soars on great writing and performances.

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.

Kohen, basing her series on Piper Kerman's memoir, immediately gives us characters worth watching.... Orange is the New Black is TV that'll have you talking for days.

At times, True Detective just seems like an overlong episode of a standard television series. But the flashbacks and flash forwards give it heft and let Fukunaga push the actors.

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.