It’s sexy, sizzling and silly, all at one time.

In light of “The Good Place,” “Upload” seems light on humor and connections we can embrace. Amell and Allo are good partners. They’re just caught in a situation that’s too raw for viewers who now are in the middle of a pandemic.

“Defending Jacob” is fairly straightforward. It has a murder. It has a suspect. It has a trial. And then it starts sprinkling in reasonable doubt. If there’s a greater lesson to be learned, we missed it. ... Thanks to a great score and lingering cinematography, “Defending Jacob” is good. It just seems supersized to justify a film star showing up on television.

While Blanchett waltzes through the miniseries like Eleanor Parker, she doesn’t quite get the hardscrabble woman who tilted at the ERA windmill. She’s too patrician for those of us who remember her. ... Martindale and Ullman have done their homework, but it’s Elizabeth Banks as Jill Ruckelshaus and Byrne who impress. They capture the movement’s urgency and help us understand their place in it. ... “Mrs. America” might have benefitted from an additional episode to explain how many of [Schlafly's] disciples went on to win seats in the House and the Senate.

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 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.

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.

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.

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.

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.

There’s a germ of something here. It’s never quite clear what it could be.

“Cheer” isn’t so much a new take on an old story as it is proof there’s drama wherever two or more gather. It’s an addicting reality show that will make you think twice the next time you see someone accomplish something amazing.

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.

While the parallels between this high school musical and the other one aren’t hard to spot, it does have a more adult vibe and a snarkiness factor that should pull in a non-Disney crowd.

It’s an interesting premise that shows just how intense high school can be. ... While the series doesn’t give full back stories, it does let you know what happened to the students and how theater affected their lives.

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.

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

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

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

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

Rose is perfectly cast. The show has a lot to offer, too.

This is an odd, odd show.

“Harts” lets you have a helping of the lifestyle you loved in “King of the Hill.”

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

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.

Two siblings steal the show.

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

Considering he [Walton Goggins] has played some of the most offbeat characters on TV, this is a switch and, at times, a heartwarming journey.