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.

The eight-episode series stretches its mystery to nearly unbearable lengths. ... It’s not as dense as Vallee’s “Big Little Lies,” but it does give its female cast meaty roles to savor. Clarkson gets the biggest slab, but Adams, Perkins, Scanlen and Lillis make the most of theirs. For them, it’s an acting banquet. Cut thinner, it might have been prime time prime.

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.

Castle Rock rewards King fans in ways they wouldn’t think possible. Others will have to find their way in through the dribs and drabs that leak out.

The mystery serves as rope, pulling us through the reunions and confessions. Mooney is pretty stiff in the pilot; Nicola Correia-Damude could be the oracle as Hanley’s would-be friend. The most refreshing aspect of Truth is its open embrace of Canada.

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!”

Come Inside My Mind brings tears repeatedly, but it also gives Williams life. Those moments on stage (particularly during “Comic Relief,” which showed him at his best) pop.

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

In comparison to [FX's Trust], “Succession” doesn’t hold up. It doesn’t have the same production values or theatricality. This is “Dynasty” without the costumes, “Arrested Development” without the overt comedy.

Once director Vanessa Caswill boils away the innocence, Little Women becomes a more substantial drama. ... While the four roles could have been played by stronger actresses, they’re fairly well-matched. Watson and Lansbury are left to carry the subtlety. Both do it well, making us long for “Older Women,” a version that views the high-strung March girls from another perspective.

Miller and company don’t always make it easy to follow (the flashbacks could be confusing for new converts), but they never undercut Atwood’s impact.

It was an overwhelming original, complete with inspired casting and staging choices.

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.

Rise isn’t as heartbreaking as “Friday Night Lights” or as complex as “Parenthood” but it’s in an embryonic stage and has the potential to become the next big must-see entry on NBC’s schedule. Gillespie and Cravalho hold our interest, but it’s Perez who bears watching.

While Here and Now isn’t as engaging as “Six Feet Under,” it has an intriguing quality that invites you to snoop around.

Because it’s so great at reclaiming an era we almost forgot, The Assassination of Gianni Versace easily stands as first must-see offering of 2018. It checks all the boxes needed for the perfect winter miniseries and there’s not an inch of it that isn’t stylish.

Like “A Different World,” the “Cosby Show” spin-off, “grown-ish” moves to its own beat. While it, too, tries to be socially conscious, it doesn’t force its message.

If you fly often enough, this might hold your interest--but only if you’re strapped in a seat and unable to pay for a movie because you forgot to bring a credit card.

Far more formulaic than you’d expect from Executive Producer Ryan Murphy, 9-1-1 sparks to life when it’s dealing with the oddest cases.

[Johnny Carson is] such a presence, it’s hard to concentrate on what happens to those in his employ. Had Reiser and Green made him less vital to the story (even to the point of eliminating the clips), “There’s Johnny” might be a better look at those who worked so hard to win his favor. Now it’s just another journey down “42nd Street” and all the potholes it has to offer.

Sedaris plays crazy better than anyone. At Home is right in her wheelhouse. It manages to send-up the trivial and make it oh-so-important.

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

The Deuce isn’t an easy watch, but it is a telling one. By the time the hairstyles and polyester settle down, it’s ready to explain how the industry took hold, what elements were at play and, essentially, who is teaching syllogisms and who’s crafting them.

Episodes isn’t made for mass viewing. Its world is too insular (even for the biggest television fan); its take on success is limited. But LeBlanc is a good sport and Mangan and Greig are too good to be limited to British series.

The variety--particularly if you watch them consecutively--shines through. Because it’s such a confined space, directors like Smith have to focus on the acting. The episodes are like little workshops. ... It's like any motel--hit and miss.

It’s very much another desperate man in a desperate situation. Whether he’ll emerge better than Walter White is anyone’s guess. Dubuque, however, makes the journey just as intriguing.

Andy Samberg may not be in Christopher Guest’s league--yet--but his latest mockumentary, Tour De Pharmacy, has plenty of moments that will make you snicker.

In the eight-episode Netflix series, there’s plenty of action but all of it isn’t that interesting.