For now, though, The Leftovers is properly mesmerizing.

There are a lot of characters and talent involved here--Mary Elizabeth Winstead notably plays the bride who was left behind--but The Returned is very much a show propelled forward by its story and the questions it raises.

Blessed with a sharp cast that includes John Turturro and Christopher Walken as senior innies, “Severance,” which is produced and mostly directed by Ben Stiller, manages to adeptly juggle the grim and the giggly (melon ball party, anyone?). More importantly, it never fails to entertain. In the end it leaves you begging for more. Always a good sign.

The suits are louder, the sideburns are longer; aside from that, the season-six premiere proves to be classic Mad Men with plenty of vice (maybe more than before, at least more pot), long hours at work and lots of questions.

There are slight miscues--Kimara’s attempts to become pregnant seem a distraction--but this very busy boat stays upright and moves forward, shifting just enough to stay interesting.

Gervais mostly finds a balance between humor and deep darkness, though he sometimes falters (far too much time is spent on an obnoxious therapist). And, like many comic actors, he seamlessly transitions to drama; even better, he poignantly walks the tightrope between despair and laughter.

“I May Destroy You” is fascinating TV, taking a dark subject and turning it every which way. It can be shocking, it can be fun (which is also somewhat shocking), it can hurt and maybe even heal. No matter what, it’s an unsettling revelation.

A parade of rape enactments threatens to drag and a halo hangs dangerously over McNamara’s head at times. But “I’ll Be Gone in the Dark” always rights itself and ends up both engrossing and enlightening. It doesn’t have all the answers — no one does — but it asks the right questions in the right way.

“Bridgerton” is a blast, an addictive coiffured period romance that turns downright randy while dancing deftly with racism and misogyny.

Whatever it is, "WandaVision" is the weirdest entry yet into the MCU, and a significant artistic step forward in its storytelling. It's bold and visionary and also a lot of fun, tweaking sitcoms in a knowing, loving way and playing with their format in a way that turns Americana on its ear. Like any great show, we're hooked.

The essential concerns of "The Scheme" actually fit into our current situation. That it does so in an entertaining manner — there are a number of laugh aloud moments here — is partly thanks to director Pat Kondelis, but the real reason this documentary works is because of a charismatic basketball wizard from Saginaw named Christian Dawkins.

The disconnect between propriety and reality keeps the miniseries on constant edge. The entire cast is fine, but Hall steals the show.

Welcome back, Ted. ... “Ted Lasso” is ultimately about good-natured perseverance, about being decent in the face of indecency. About a group of disparate people working toward a common if likely unattainable goal.

Power is as sexy, flashy and addictive as it has always been. The only difference is the women in Ghost’s world have a lot more to do and say--and the series is better for it.

The gore level is playful, not scary, and the idea that true love conquers all, even a craving for human flesh, permeates the show. Sheila, Joel and Abby can still live the American dream, it will just taste a bit odd.

Like the tremendously successful “American Crime Story: The People v O.J. Simpson,” HBO’s new film, the ultra-sharp Confirmation, is a look back at the muddled ’90s, when racism and sexism were shockingly overt, and one could be used to undercut or confuse the other on the public stage.

What’s even more impressive is the delicate balance between the laughable and the distressing here. “Sweet Tooth” has some serious and timely bite.

There’s no question Hollywood loves to look at itself and a TV show about a TV show is more than a bit indulgent. But audiences also like to look at Hollywood and “Reboot” at least manages to be witty and entertaining.

Smarter and more creative than ABC's "Desperate Housewives," that other show about superficial suburbia, "Weeds" has edgier and wittier writing. [6 Aug 2005]

The twisted, distorted, decadent fun of "The Curse" is how much you'll recognize but won't like what you see.

There’s tons of pseudo-scientific cyberpunk gobbledygook, of course, but Smith keeps things moving and pretense falls to the wayside. ... “The Peripheral” is dead center fun.

“Pretend It’s a City,” Martin Scorsese’s six-part documentary appreciation of Fran Lebowitz, is more than merely delightful, although it’s certainly that. It’s also something of a historical document. ... It’s easy to see why Scorsese wanted to put her time in a cinematic bottle.

Mostly it’s a showcase for Colman, for that endlessly expressive face and her perfect line readings, for the humanity she draws on so easily. Watch it and marvel.

Simultaneously heartwarming and heartbreaking.

There’s a lot of humor here, but it’s more innocent than leering. And there’s also a great deal of understandable awkwardness that seems as pertinent to 2013 to the ’50s. You may not want to watch this with Aunt Tildy, but it is certainly worth watching.

As gritty, dysfunctional family, crime-fueled dramas go, Animal Kingdom roars with dark promise.

No knowledge of chess is needed to enjoy this show. It’s more about one person’s evolution, a classic long journey through friendships, love and personal struggles. But it’s hard to imagine anyone other than Taylor-Joy making that journey; she imbues Beth with a cool confidence and her exotic, big-eyed look has an oddball eroticism that’s hers alone. Chess has never sizzled like this.

"I Think You Should Leave" is eccentric, hysterical and hilarious. The stranger it gets, the more it feels at home.