As always, this is a scattered story with multiple moving parts.... Fargo revels in presenting ordinary folk with extraordinary problems, in stripping away their everyday guises and peering long and hard at their dark potential. That it can do this through adaptations of true stories makes it all the more jaw-dropping.

The third season of “Succession” spends an awful lot of time waiting for something to happen and in the seven episodes (out of nine) offered for review nothing much does.

[It] sounds pretty dark, and it is, but the wonder of both Atwood’s novel and the series is that it actually manages to be playful and witty at times.

This show--which mixes hints of “Lost,” “Twin Peaks” and “The X-Files”--is one of the best things to hit our airwaves this season.

Thrones exults in the unexpected.

Massive, cruelly dense, absurdly complicated and absolutely thrilling.

Turturro bites into the role with bitter humor and wounded idealism. Still, it’s Ahmed, at times resembling a young Andy Garcia, who is at the heart of this series, with his innocence being stripped away as the slow wheels of justice threaten to grind his soul. It’s powerful, and timely, stuff.

You already know the outcome. Yet you can’t stop watching, thanks to Murphy’s flashy dramatization, which is just the approach the “Trial of the Century” richly deserves.

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.

Although the first episodes of the new season lack the snap and sizzle of the first season’s sexual discoveries, the air of indecision that haunts the show feels both accurate and unique.

Near flawless in execution while filled with rarely seen intelligence and complexity, the HBO miniseries Olive Kitteridge plumbs the depths of the seemingly mundane and finds cruelty, resentment, dogged insecurity and finally, if not hope, then some level of honesty about life’s attraction.

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.

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

Relentlessly dark and slow boiling, True Detective may promise more than it can deliver. But it still delivers quite a bit.

Yeun and Wong are both excellent, meeting the material and consistently finding new wrinkles, new layers, in their characters.

“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.

The dissonance between spoiled Royals and the modern world has turned darker, and the nobility seems a lot less noble. But it’s still a fascinating mess for us mere mortals to watch.

“Chloe” is an intriguing tangle of lies and obsession, a well-made striptease of a show that slowly reveals all over six episodes of cringey psychological suspense. Heads don’t explode, super-heroes don’t save the day and nobody hires a hitman. Instead “Chloe” is that rarest of birds, an adult drama, albeit one stuffed with odd turns and awkward encounters.

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.

The tone wavers here and there--a pair of teen brothers are too broadly drawn--but holds true for the most part.

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.

"Get Back" isn't for everyone, nor is it meant to be. But to Beatles obsessives, and they're a group that numbers in the millions and spans generations, "Get Back" is a holy grail, and it delivers.

The eight-part miniseries, a BBC co-production that begins Saturday on Starz, is handicapped a bit by its overly hotheaded protagonist, played by James Nesbitt. But if his access as a grieving father to crime scenes and witnesses often seems a bit preposterous, the story's many side alleys and turnabouts serve as ample distraction.

Simultaneously heartwarming and heartbreaking.

Morally and historically significant, emotionally wrenching and politically terrifying, The Normal Heart is more important than artful, and that’s just fine.

“For All Mankind” is simply one of the best things on TV. Aside from being uncomfortably prescient — the Russia/U.S. tensions induce cold shivers of recognition — it balances what might be with what is, mixing the not-all-that-fantastic with well-grounded human drama. Prepare for blast off.

The high production values and the series' ability to pivot its storytelling — the third episode is a lovely and quite moving distraction from the main plot — keep it fresh, even as the show's familiarities and the rudimentary bickering between characters ("you sure do ask a lot of questions!" Joel crankily remarks to Ellie, as he'd rather walk in silence) ring all sorts of bells.

Girls continues to delight and provoke in a way too few shows can.