“Succession” is the best show on TV. Which makes it a particular pleasure to report that Season 3 lives up to that superlative.

Colman is exceptional in everything she does, so she’s not afraid to make the Elizabeth of Season 3 look, at times, distressingly irrelevant and frustratingly complacent. ... Like Colman, the new cast members assume their roles with elegance and ease. ... The return of “The Crown,” with its irresistible blend of heightened history and peek-behind-the-brocade-curtain drama, is a gloriously welcome gift, arriving just in time for the holidays.

Thanks to the stellar work of Vallee, Kelley and the top-flight cast, Big Little Lies, like its characters, delivers a high-sheen surface. But, unlike some self-consciously glum prestige TV dramas, Big Little Lies isn't afraid to be entertaining, mixing intimate, dark drama with sly social commentary. It's one of the best shows of this still-young year.

A pretty ingenious concept – a scripted series about people involved in making a dance-centered reality show – gives this series an enjoyable spring in its step. Sometimes funny, sometimes dramatic, the show benefits from a well-chosen cast.

The show skillfully moves from coming-of-age comedy to drama. This “Wonder Years” also does a fine job of telling the story from the point of view of a Black family, and honors their experiences.

Adapted from a Pulitzer Prize-winning novel by Elizabeth Strout, Olive Kitteridge is an extraordinary character study, featuring a brilliant performance by Frances McDormand.

From the lead roles to the ensemble, “Mrs. America” has a fabulous cast, and the writing gives them plenty to work with. Blanchett is totally in command as Schlafly. ... “Mrs. America” is one of the best shows so far this year, and it’s worth seeking out.

Painfully timely. It's also absolutely enraging, and completely riveting. ... The Handmaid's Tale isn't just the best original show Hulu has ever done. It's one of the most impressive series of the year.

If subsequent chapters in the 10-episode season stay at this high level, Fargo again looks like a contender for best TV series of the year.

Masters of Sex is better than ever.

Season 3 is an utterly confident mix of gritty comedy and affecting, underplayed drama.

In Season 3, the superb writing and performances make Transparent more satisfying than ever. If there's a standout, it's Light as Shelly, providing most of the comedy as Shelly works on her own one-woman show.

The female wrestlers are a splendid ensemble, both in their silly show, and in GLOW. But they’re always individuals. ... The 10 episodes in GLOW Season 2 go by so fast, they’ll leave you wanting more.

The Night Manager combines luxurious production with razor-sharp writing, and it's brought to life by a brilliant cast, headed by Tom Hiddleston and Hugh Laurie.

Lonergan's gift for empathizing with characters while clearly seeing their flaws fills every scene with rich, unsentimental emotion. Lonergan's work is matched by director Hettie MacDonald, who, rather than leaning on handsome production design and costumes, makes the material feel immediate, and the characters' choices full of risk. ... The cast more than rises to the occasion.

Tambor's delicacy and sincerity as Maura are subtle and moving, though he never aims for sentimentality. The comedy and difficulty of what this all means for the Pfefferman family are beautifully balanced.

The “Parks and Recreation” special made the most of its brisk running time, packing in lovely moments for the characters, and gently delivering the message that we need to take care of our emotional and mental health as we quarantine during these anxious times.

Black-ish is one of the best new shows of the season.

One of TV’s best shows. In Season 2, “Succession” continues to demonstrate that unlikable characters can make for riveting TV. ... “Succession” is good, nasty fun.

It’s to the credit of White and the wonderfully well-chosen cast that we keep watching, even knowing that these guests are probably not going to find much self-awareness. ... The splendid cast is led by Bartlett, who makes Armond’s growing resentment a volatile partner to his put-a-smile-on-everything professional demeanor. Rothwell emerges as the heart and soul of the series. ... Coolidge is outstanding, as she makes Tanya’s stunted emotional life kind of sympathetic. Britton and Zahn are pitch-perfect as a couple with their own challenges.

Is it a long sit? Definitely. Are there moments when you wish the band would quit noodling around and amusing themselves by playing snippets of rock oldies or the Harry Lime theme from “The Third Man?” Absolutely. Will you feel impatient as you wait for more finished versions of such songs as “Get Back” to emerge? Sure. All that said, Jackson’s film is something special.

Documentary Now! is dazzlingly smart.... It's true that Documentary Now! is funnier if you're at least vaguely familiar with the movies that serve as the inspirations.

[The first 2] episodes are so solid and done with such polish, they're reason to think that Season 5 of Portlandia may be the best one yet.

Burns and his frequent collaborator, writer Geoffrey C. Ward, plunge into the elements that make The Roosevelts so engrossing, enlightening and entertaining. In a seemingly effortless balancing act, Burns and Ward do justice to the massive mark these three individuals left on the country's history, while also keeping a tight focus on their inner lives.

A true horror story, possibly the most successful horror story ever made for television, a medium hostile to sustaining belief in the unbelievable. The four-hour miniseries is a bit too long, and the ending doesn't live up to what has gone before, but this Stephen King story is gripping, fascinating, well-acted and superbly produced. [18 Nov 1990, p.5]

The Vietnam War is both the most powerful film Burns has produced, and the most despairing. ... By the end of the fascinating, sometimes wrenchingly hard to watch 18 hours, it's impossible to regard the Vietnam War as anything other than an agonizing failure, one that taught Americans to be cynical about a government that lied to them, sent Americans off to risk their lives, and made one costly bad decision after another.

With witty writing, a likable leading lady, and a terrific cast, iZombie is full of life, and one of the season's best new shows.

That willingness to embrace comedy and tragedy makes Barry something special. Hader, who also directed and co-wrote several episodes, is exceptionally good, making us care about Barry while also being horrified at what he's capable of. The cast is superb.

GLOW is both blessedly original and delightfully nostalgic. ... It's a superb showcase for an ensemble cast that couldn't be better. Brie, in particular, is a revelation.

The Deuce is probably the best new show of the 2017 fall TV season, with superb acting, punchy writing, expert production design, great music, and a storytelling flair that keeps you watching. That said, The Deuce may also make you feel a bit queasy.

Like the trial itself--and the spectacle that surrounded it--The People v. O.J. Simpson is sometimes trashy, often disturbing, and so compelling that it's impossible to stop watching.

Utterly fascinating. ... The Crown is a showcase for keen character observation and inspired acting, not only from Foy. As Philip, Smith is able to show more dimensions of a man who's hard to like, but not easy to outright condemn.

At times, Luke Cage feels so concerned with urban problems, it's as if Marvel met "The Wire," an impression helped by an excellent cast.

The first two episodes also reinforce that Mr. Robot is at its strongest when keeping a tight focus on Elliot and his Mr. Robot companion/adversary.

Legends, which is based on a novel by Robert Littell and produced by a team that includes "Homeland" veterans Howard Gordon and Alexander Cary, has an unusual sense of melancholy, which seems to emanate from Bean's soulful performance.

There’s nothing very radical going on in the new season, at least not yet. ... For now, it’s a treat to wallow in the show’s zippy dialogue, sharp performances, and fabulous production design and costumes.

Though Chibnall doesn't quite stick the landing in the last of the eight episodes--when we learn the truth about Trish's assault, it feels a bit too much like an "Author's Message" sign should be flashing--any fan of intelligent TV should watch Broadchurch Season 3.

Season 7 is the next-to-last one of Portlandia, but based on its spry start, the show hasn't yet worn out its welcome.

The Season 6 premiere moves at a brisk clip, efficiently dispensing of much of last season's dead weight, and offering its own incidental pleasures, including the nifty duo of Hank and Wu, who stay busy keeping track of Renard and feeding inside info to Nick. The ending is a typical Grimm cliffhanger, which revs up the suspense and reminds us how good it is to have Grimm back again, for one last go-round.

“Dark Winds” immediately establishes its own tone. ... “Dark Winds” avoids stereotypes, and feels fresh and vibrant.

The good news is that Wayward Pines is a creepy mystery that gets more compelling--and shocking--as it goes along.

The miniseries remains difficult to watch, as Kunta Kinte and his descendants keep being victimized by white slave-owners, slave-catchers and land-owners who regard slaves as property, not as men, women and children. But Roots gains in power. Though at times, the story seems to blame the institution of slavery on sadistic white racists, as the miniseries goes on, it makes it clear that slavery remains America's original sin.

The mood and writing mix splashy comic book pulpiness with brooding film noir menace, sparked with bits of dark humor.

"Titus" -- the series -- is manic and makes its home on the black side of comedy. It's clearly not for everyone. But it also turns convention on its ear and takes big risks that sometimes produce laugh-out-loud payoffs. [20 March 2000]

The second season effectively builds on some of what happened in Season 1, and lets us get to know Annie, and those around her, better.

“Bridgerton” is more fun, perceptive and affecting than the shorthand description makes it sound. The first episode is a bit slow and unfocused, but after that, the characters emerge as complex, and the show takes flight.

All in all, The Marvelous Mrs. Maisel is even better in Season 2, rising above a few flat spots to offer bubbly, exuberant entertainment.

Brodsky resists the temptation to judge, and instead sheds light on her subjects, and all their complexity.

It's definitely a smart, clever spin on the old opposite-personalities buddy-cop formula, with a terrific ensemble cast and immensely likable characters.

Sharp Objects may not be compulsively watchable, but it’s much better than the “Gone Girl” movie, with its own sweaty, sensual, mesmerizing atmosphere.

Thanks to a brisk pace, straightforward storytelling and a terrific central performance by Russell Crowe, “The Loudest Voice” builds up considerable steam, even when we know what’s coming.

There’s something hugely refreshing about “Sherman’s Showcase,” a show that makes you giggle before you realize, “Hey, that’s pretty smart.”

Brutal and intense, the season opener is an powerful blend of darkness and a few threads of light, as Rick again takes on the role of doing whatever it takes to protect those he cares for.

Confirmation is a restrained and tasteful retelling. Maybe a little too much so. ... But what keeps Confirmation watchable are vivid performances by a terrific cast.

“The Gilded Age” may not offer penetrating insights into the late 19th century, or the vast gulf between tycoons building extravagant empires and the poverty of those at the bottom of the economic ladder. Fellowes and his collaborators instead seem focused on maintaining a light, satiric touch. It may not be illuminating, but “The Gilded Age” is undeniably entertaining.

Among the standouts are “Take Me As I Am, Whoever I Am,” a fine showcase for Anne Hathaway. ... Also good are Tina Fey and John Slattery, who demonstrate instant chemistry despite playing a couple whose marriage has hit a trouble spot. ... Like the best of “Modern Love,” the [first] episode is funny, sweet, and heartfelt without being schmaltzy. At a time when conflict rages across the media, there’s something appealing about pulling up the comforter and falling into “Modern Love.”

Even as tension builds, it’s a treat to hear pungent dialogue, revel in artful cinematography and evocative music, and get caught up in a story that’s a bit too sprawling, but makes us wonder what happens next.

Based on that limited sampling [of two episodes], the premise strikes me as both fresh and familiar enough to make me want to see more.

The Slap has the complexity and subtlety that's hard to find in a lot of broadcast network programming, and it's to NBC's credit that they're taking a chance with a limited-run series we'd expect to find on cable.

When Ridley's narrative threatens to get too heavy-handed, the individual struggles and tragedies of the characters keep the story grounded.

The first two episodes of the new season highlight what makes Claws special, and at the same time, wonderfully unpretentious. Here's a show that makes the most of Nash, who is always great to watch.

The first four episodes do an eerily good job of making us wonder why Heidi can’t seem to recall her time at Homecoming, and just what the heck happened there. The sound design of Homecoming is intriguing, as you’d expect from a series based on a podcast. ... The cast also keeps "Homecoming" watchable, with skillful performances that keep a fine balance between drama and thriller, spiked with moments of weird humor.

Though the “Westworld” parallel applies to the affluent creeps-exploiting-the-poor in an amusement park narrative, “Brave New World” is much more rewarding to watch. Attention-getting scenes of good-looking people having orgies aside, “Brave New World” benefits from a dark wit -- which the grimly self-important “Westworld” has always lacked -- and which keeps it watchable.

Though not everything works equally well (Howle’s Allen Lafferty is saddled with too many exposition-heavy scenes), “Under the Banner of Heaven” is both frightening and fascinating.

Pose is way too entertaining to be considered an example of TV offering a diversity lesson.

As Michael Peterson, Colin Firth manages to make us think he’s guilty as hell one minute, and possibly innocent the next. Toni Collette is touching as Kathleen. And while many a series has caused eyes to glaze over when the plot shifts to younger characters, the dynamics among grown children in this extended family are consistently absorbing.

Jessica Jones could use a bit more wit, overall. But its messed-up, tough, brave heroine holds our interest every moment.

What “Allen v. Farrow” does most effectively is illustrate how what happened – or didn’t happen – can make us examine our own preconceived notions. As with the HBO documentary, “Leaving Neverland,” which explored allegations of sexual abuse leveled against the late Michael Jackson, “Allen v Farrow” makes you think about who you believe, what you believe, and why.

Scenes set in 1920s Berlin, apparent flashbacks that seem like they're aching to be their own show, but don't quite work in this one.... The further adventures of that family, in all their flawed glory, make Season 2 of Transparent a smart, sensual treat.

If the rest of the 13-episode Extant remains as compelling as its first episode, this will be the standout show of the summer season.

Master of None is a warmer, sweeter show than "Louie" often is, and it's less cynical than a raft of other comedies on TV and elsewhere.

At times endearingly old-fashioned (montages of whirling newspaper headlines), sometimes scatalogical (a time-machine toilet), occasionally blasphemous ("Turkey Jesus"), and totally irreverent (Odenkirk as "Pope Jonah Abromowitz.") The tone can get pointed (Cross as a filmmaker who's such an apologist for slavery he refuses to call it that, instead using the term, "helperism"), but the mood stays buoyant.

The history is mostly a familiar overview, but the straightforward narration, well delivered by actor Liev Schreiber, covers the big picture and some smaller, but intriguing, details.

“The Black Church” feels a bit rushed toward the end, as Gates tries to address the ongoing horrors of racial violence, police killings of unarmed Black men, and younger activists finding the Church doesn’t reflect their progressive views. But even with its flaws, “The Black Church” flows like a river, carrying viewers forward in the tradition of the glorious music that has been an essential element of worship for centuries.

Based on the first few episodes, Portlandia remains as odd, endearing, and Portland-made as ever.

For all its volatility and rough textures, after a few episodes, The Knick begins to draw you into its idiosyncratic rhythms.

With an appealing cast, a relatively fresh setting and smart jokes ("Every party in Silicon Valley ends up like a Hasidic wedding," i.e., the men and women are always separated), Silicon Valley is definitely worth your time investment.

Even when scenes border on getting mushy, as in the final moments of Stranger Things 2, the sentiment feels earned, not plastered on. Scary, witty and sweet, Stranger Things 2 just might give sequels a good name.

It’s all dazzling, if sometimes disorienting. After five episodes, it’s hard to know where “Lovecraft Country” is going. But even if it careens off the rails, the show has so much creativity and passion it’s a ride worth taking, wherever it leads.

With its signature mixture of tiny details providing texture and easy storytelling flow, Mad Men lures us back into its final season with all the confidence in the world.

The setting is convincingly snowy and wintry (it was filmed in Calgary, Canada), the writing is clever, and the actors are outstanding.

Quibbles aside, watching this superb cast working together remains a pleasure, and it makes Season 2 of Orange Is the New Black an irresistible summer viewing choice.

Lakshmi links her personal experience with the areas that she visits, which makes “Taste the Nation” feel both personal and universal.

The crime story has disturbing echoes of all too many series built around the murder of young women. What keeps “Mare of Easttown” watchable are the terrific actors, who make the most out of their characters, who are drawn with nuance and depth.

[Lady Diana Spencer (Emma Corrin)'s] transformation from the “Shy Di” young wife of Prince Charles (Josh O’Connor) to the desperately unhappy, but increasingly popular, Princess of Wales gives Season 4 a propulsive energy. Equally riveting are storylines involving Margaret Thatcher (played with clenched-jaw virtuosity by Gillian Anderson). ... If anything, Season 4 of “The Crown” suffers from an overabundance of plotlines that beg for more attention.

Downton Abbey Season 5 may cover some familiar ground, but its steps are so lively, the company so delightful, and the scenery so fine, it's a trip well worth taking.

But nobody should watch Wet Hot American Summer: First Day of Camp for plot. Instead, just park the questioning part of your brain, sit back and revel in the silliness of these terrific performers fooling around.

Overall, the first four episodes of the Portlandia final season indicate that Armisen, Brownstein and the rest of the team intend to keep things bright as they prepare to turn out the lights.

The delightfully funny, sharp “Sherman’s Showcase Black History Month Spectacular” is a welcome return from writers and stars Bashir Salahuddin and Diallo Riddle.

Though there are moments where the film feels a bit too diffuse, what makes Robinson's life so remarkable is how many aspects of American life he touched.

Instead of being heavily self-important, The Looming Tower is swift and urgent, with an outstanding cast and zingy writing.

It's all very naturalistic, and at times, a little slow. But the affectionate, accepting atmosphere casts a warm glow over everyone.

“Stumptown” starts off strong, quickly introducing us to characters we want to get to know better, avoiding the usual private investigator clichés, and giving us a setting that’s fresh and brimming with story possibilities.

It may not be subtle, but thanks to razor-sharp writing, and dynamic performances by Giamatti, Lewis (as with "Homeland," deploying a persuasive American accent) and everyone in the strong cast, Billions is dark, edgy and outrageously entertaining.

As a saga about how Hollywood builds up idols and then throws them aside, Feud: Bette and Joan is no "Sunset Boulevard." But it's a delicious cocktail of nostalgia, gossip and star power.

Through it all, Ali is a marvel. Even when the dialogue lets him down, Ali imbues Hays with pride, tamped-down anger, sadness and so much humanity he makes True Detective something special.

Dawson is a confident lead. ... She’s joined by a beautifully cast group of eccentrics. ... “Briarpatch” isn’t weighty, and thank heavens for that. There’s something to be said for a show that doesn’t take itself too seriously, and that goes down as easy as a frosty drink on a hot afternoon.

If “Jazz” was a combination of arts education and appreciation, “Country Music” is the Burns equivalent of a jukebox musical. The wonderful songs just keep coming. ... “Country Music” is at its best when it pauses to revel in the brilliance of greats like Johnny Cash, Parton and Hank Williams.