Writer and executive producer Noah Hawley upped the game with a sharp, well-developed story involving multiple moving parts. It’s smart, thought out and full of watchable characters with convincing enough motives to create the perfect amount of viewer sympathy. The end result isn’t just a “Fargo” 2.0 (or 3.0 depending on your love of film), but an evolved story that takes television to a whole new level.

This is a television show at the very peak of its powers, confident and controlled. The cast and crew have done their part--your assignment, should you choose to accept it, is simply to tune in. You won’t regret it.

The acting is delightful, the visuals are sumptuous, the stories couldn't be more surprising.

Season 2 is bolder, stronger, and more audacious because now, actions have consequences.... For a TV show, the stakes don’t get much higher and Soloway nails it all with ease.

Louie is television's best half-hour drama. It's also one of the best comedies, when it still wants to be, which isn't all that often.

Few shows are so grounded. And, if you have a little patience, few shows are so worth watching.

Tambor anchors the show with his sad eyes, but Landecker, Duplass and Hoffmann also turn in strong performances as the addled children.... Episodes might break your heart, but you'll keep coming back for more.

Master of None is more articulate than any other show at putting under a microscope that generation’s neuroses, desires, and ambivalence. The series also happens to be sexy, hilarious, and very moving, a tribute to Ansari’s observational powers and ability to pinpoint the zeitgeist.

The Night Of doesn’t break new ground so much as it showcases a group of actors, writers and directors working at an exceptionally high level, merging potentially familiar genres into a thoroughly absorbing study of disparate characters brought together by a murder whose perpetrator remains a mystery.

Ultimately, this meandering, often brilliant show is held together by Glover, whose charming, sensitive presence is akin to the way Atlanta bops along on its own bemused frequency.

The FX limited-run series is every bit as watchable as the insanely watchable trial.

Orange Is the New Black is as scatological as ever in the second season and leans awfully heavily on lesbian sex to the point of repetition. But where it shines most is when it shows the sense of dislocation inmates can have from being shuffled around with little explanation. Prisoners come and go, and they all seem to have a story.

There's a looser feel after so much anger and grief; jazzy instrumental music underscores the twisting and turning action. It's top notch TV by directors at the height of their game.

With lead characters this complex, showrunner Michelle Ashford has plenty of material to plumb for episodes to come. Judging by the second season's start, Masters of Sex is just getting down to business.

The production is exceedingly well put together and boasts a fine cast that also includes Ann Dowd (pivotal figure in HBO's melancholy post-Rapture series “The Leftovers”) and “Breaking Bad” co-star Jesse Plemons. McDormand is nothing less than extraordinary in the title role.

Overall, the season gets off to a very strong--and interesting--start. The writing is deepening along with the relationships depicted.

Another season of fast-paced, dramatic antics with plenty of twists and turns to keep “Chapter Twenty-Three” on par with any of season 1’s installments.

Nic Pizzolatto’s script and Cary Fukunaga’s direction slowly, methodically earn every big moment. And when those moments arrive in the third episode, they’re legitimately terrifying.

The show works because all of its actors seem so human, so likeable, despite the words coming from their mouths.

Season 4 is so rich and dense with characters, backstories and subplots that some of its more interesting new additions remain mere teases. As always, the flashbacks remain the strongest aspects of the series.

At times, however, Hawley goes a little too heavy on the quirk, and Thornton, who last regularly appeared on TV in the John Ritter political comedy “Hearts Afire” in the early 1990s, overly indulges in that smirk. Bits between mob enforcers Mr. Numbers (Adam Goldberg) and Mr. Wrench (Russell Harvard) also wear out their welcome. The overall quality of TV's Fargo is high.

It’s exhaustive and it’s exhausting, and for a certain type of Beatles fan (like, I suspect, Jackson himself) it’ll be an irresistible delight. ... To embrace these near eight hours, you need to completely surrender to his pacing, to glory in every day of the Beatles’ sessions at Twickenham Studios and then at the smaller recording studio in the basement of their Apple headquarters. You may find yourself wishing that the boys would please shut up and play their instruments on a number of occasions, but the film clings to those endless conversations with the tenacity of McCartney trying to coax the right guitar line out of Harrison.

For the most part, Show Me a Hero revels in small, telling moments that say as much about human nature as how the American people perceive politics and politicians.

There have been an awful lot of movies and shows about lost children, but The Missing elevates the familiar dynamic to a new level with a gut wrenching mystery. By the end of the first episode, you really want to know what happened to the tyke while dreading where the answer might take you.

The “Rashomon”-style storytelling elevates the series from being just another conventional story about a middle-aged affair. But, that can't completely make up for overwrought moments in the opening episode.... But the biggest problem for The Affair is that neither Noah nor Alison is particularly appealing.

Mad Men is getting better as it goes on.

These characters are anything but flawless and one-dimensional. But, they are at their most believable and compelling when they relentlessly defend their children and loved ones and awkwardly try to make sense of their crumbling worlds.

By the end of the first hour you’re not entirely sure what happened or who is to blame, but you’re left with an unsettling feeling that even when the truth does surface the story won’t be tied up with a neat little bow as it would be in so many other crime dramas on television.

With Full Frontal, TBS truly has a comedy show that’s sure to become part of the cultural conversation and possibly fill the void felt by Jon Stewart‘s departure. There’s so much scathing, insightful, intelligent funny packed into Full Frontal and Bee’s ability to land a joke is beyond impressive.

Despite the audience-building challenges Fuller sometimes throws in the path of his monster--“Il Monstro,” the Italians call him--it’s hard to hate him; Hannibal Lecter is one of the most interesting characters you hope to never meet.

It’s hard to hit pause on Making a Murderer once it’s rolling through the queue.

The power of "Leaving Neverland" lies in the faces of the two men telling their stories, and the anguish of mothers trying to measure their own complicity. It’s hard not to see truth in those faces, but no doubt many will continue to resist.

It’s an honest, unflinching look at dating, relationships and life, told from a refreshing and hilarious perspective.

The season five premiere of Key & Peele finds the duo returning to their sharply observed sketch show in fine form, their keen eyes focused on recent news and social events.

Silicon Valley often has the watch-it-all-come-together plotlines that make those shows [“Seinfeld” and “Curb Your Enthusiam”] such delightful comic puzzles.

You don't need to pay attention to the authentic background characters, or the glorious music, or the exquisite clothes, or even the textured dialogue to appreciation the majesty of Boardwalk. In fact, you can strip away the majesty--which the show loves to do--and still have a killer drama.

Roots is at once a more intimate and explicit document than was its forerunner and no less compelling, if you can endure the harshness of the spectacle that accompanies it.

The show’s centerpiece remains Malek’s mesmerizing turn as Elliot, as well as his chemistry with Slater‘s Mr. Robot. Excavating that much emotion from deadpan narration is a tough gig, but Malek continues to find new shades of neutral both in voiceover and in his scenes.

It’s a complex protagonist, the kind we don’t see enough of on television or in studio films.... This series feels like the first superhero show really just for grown-ups--and it totally works.

Few current shows on TV approach The Leftovers level of contemplation and as a result, the show stays with you long after an episode ends. Though it’s sobering to watch, it’s also very moving and beautifully acted.

There's a lot more to Jane the Virgin than its soapy surface and you will cry just as much as you laugh--and love every minute of it.

My complaints about the new season revolve around that 1 percent [that is unrealistic]. The show is better as a human drama than a political procedural, thank God.

[Minne Driver] jumps into it headfirst which helps the original sale, but as she settles into the role she will have to adjust the tone in order to toe the line between endearing and annoying. ... The real story here though is breakout star Fowler. For a kid who has minimal dialogue he has loads of star power thanks to fantastic facial expressions and giggle-worthy reaction shots.

Defined from the outset as a cheater, [Jean] comes across as pensive brat whose hot, supportive wife isn’t enough to keep him satisfied. Aside from his skills with bleach and a Q-tip, there’s very little so far that compels one to root for this hero to succeed. But that’s hardly a reason to dismiss the show entirely. There are some inventive twists and well-placed comic moments.

There are lots of juicy twists and some melodramatic intrigue, and Kerrigan and Seimetz execute them with nicely chilly precision. But The Girlfriend Experience is at its best when it puts aside plot machinations to deliver a sympathetic but clear-eyed portrait of a woman discovering herself.

Saul moves faster, but it has that same sense of mood and atmosphere. Scenes are set through lighting, sound and visuals in a way that you actually notice and appreciate. It’s television as artisitic expression rather than just pointing the cameras at the actors and having them read lines.

This sitcom’s battering ram of madcap inanity can run aground when a particular episode doesn’t have an especially memorable storyline, and perhaps Angie Tribeca caters too much to an audience in thrall to the old “Airplane!” style of so-broad-it-hurts humor. From the 1980s’ “Sledge Hammer!” to the more recent “Brooklyn Nine-Nine,” smart-aleck cop comedies are nothing new. But in its minute-to-minute pleasures, Angie Tribeca is one big goofy grin of a sitcom. Season 2 can’t come quickly enough.

In its seventh season, Archer remains as reliably funny and lovably immature as ever.

It feels familiar and fresh, with myriad possibilities in front of it thanks to smart new cast additions and a renewed focus on those characters over just getting lost in the creatively inane.

That we never really know the people whom we love is a powerful, popular theme that fits snugly into the thriller and horror genres (think of “Rosemary’s Baby” and all those early ’90s erotic thrillers) but to see it rendered so artfully and crisply and unsentimentally as a weekly drama is to understand why we are so often informed that we live in a golden age of TV.

Creator Michael Schur (“Parks and Recreation”) must be commended for not only playing to Bell and Danson’s strengths but much like he did with his previous NBC hit, Schur creates a place for lesser-known cast members to truly shine.

Jay Roach‘s smart direction and the brilliant script by Robert Schenkkan (adapted from his Tony-winning play) are essential to capturing the dynamics of an era and its principal players. Likewise, Bill Corso’s impressive make-up is indispensable to getting these historical characterizations just right. But the acting’s the thing, and there’s not a disappointing performance in this stellar ensemble cast.

The result, like “30 Rock,” is another sharply written, often offbeat, endearing and funny comedy.

With Horace and Pete, [Louis C.K.'s] ambitions can sometimes outrace his execution, but the commitment of his cast to a consciously old-fashioned kind of drama reminiscent of Arthur Miller and Eugene O’Neill makes the pilot exciting even when it’s a bit stilted.

Most of the jokes work, some of them don't but creator and executive producer Kenya Barris never stops addressing race in unflinching ways.

Iif the path is well-worn, Casual mostly transcends predictability thanks to a finely calibrated tenor that mixes gentle laughs with a wistful, resigned air.

Finding out how Escobar rose in power and status to become a murderous megalomaniacal drug lord is as fascinating as it is frightening. This is due in large part to the masterful performance Brazilian actor Wagner Moura delivers as Escobar. Menacing but never melodramatic, Moura is exceptionally convincing and subtle.... Murphy is a man who wants to “do good” and nearly ruins the series because it. Compounding the issue, Murphy’s voice-over commentary is excessive, occasionally states the obvious and at its worse, takes you out of the moment.

Documentary Now! is so wonderfully silly it may take viewers a moment to recognize just how smart it is, too.

With the wattage of star-power turned so far up in the first episode alone (read: a lot of cameos we can’t tell you about) the struggle for control of Empire can fuel the plot further, but it’s Cookie’s steady stream of hilarious one-liners and the show’s character transformations--if they happen at all--that could add nuance and depth to the show.

A compulsively compelling series that grows richer and more emotionally nuanced as it gains momentum, The Man in the High Castle milks its provocative what-if premise for plenty of smart suspense and subtle shading.

Despite the 17 years that have passed since the end of “Mr. Show,” the format still works and the guys are still funny, despite not doing much to get with the times.

It’s a unique blend with four very distinct but compelling stories, proving there’s plenty of drama to be mined from real life. It doesn’t hurt that each of the actors is perfectly cast in his or her role, driving home the beautifully written scenes that often pose pertinent and universally relatable questions.

From one episode to the next, it’s always a bit of a surprise which character will become the story’s central figure, the writers seemingly able to make any of its dramatic players utterly gripping.

The fact that so much of the show relies on Oliver means he bears the burden of getting the tone exactly right. And right now, he's a little more angry than funny.

Writer and creator Julian Fellowes provides a sweet parting gift, indulging fans with closure on so many dangling storylines, while offering fiery and long-overdue exchanges between some of the most popular characters.... His ensemble of actors is equally generous, each giving such steadfast performances in these last episodes of the award-winning series.

While Frank may not be as wily as he once was, he’s still not someone you want to cross. Departing showrunner Beau Willimon is proving that while he’s leaving the show after this season, he’s leaving with a bang.

There is a lot to love about Masterpiece: Indian Summers on PBS. The nine-part historical drama is beautifully shot and costumed, culturally inclusive and sensual. But the best part about the soapy series is star Julie Walters.

House of Cards has traded in the fun of watching Frank shuck and jive in exchange for accomplishing his long game, which isn’t as fun as watching all the manipulative plays go down on each episode. In certain ways, Frank and Claire are being forced to grow up and have grownup jobs to prove it.

Smart, sincere and punctuated by four-letter obscenities in the way Burr’s stand-up routine is.

Despite first impressions that can feel one-note, all the characters turn out to be complicated and intriguing.

Fresh off the Boat has soul, flavor and an incredible cast. Time will tell if the comedy finds the audience it richly deserves.

Liza’s wonderfully written interactions with each of these characters, especially the women, will undoubtedly draw you in and keep you watching.

The production managed to capture the overall cheesy tone present in the original while moving through the many numbers with lightning speed. The three hours flew by quicker than expected at the outset thanks to giggle-worthy moments and fun numbers, with things really picking up in terms of overall entertainment and production value at the two-hour mark.

An intriguing debut is marred by silly missteps, rough dialogue.

The show doles out morsels of information slowly, like a trail of bread crumbs, which makes for a satisfying viewing experience and feeds your curiosity while making you question other aspects even more.

Underground celebrates the small, exceptional group of black and white heroes who risked it all for the sake of freedom. And it’s that story, the amazing cast and the historically accurate writing behind the drama that make this series worth the investment.

Show creator Rob Thomas‘ touch on iZombie is a marriage of his tenacious super-sleuth “Veronica Mars” and his irrepressible love god “Cupid” (remember that 2009 Jeremy Piven gem?) with just the right mix of sleuthing and snogging.

We're getting the character we knew she was capable of being, with the added layer of new motherhood.... Admittedly, it's too early to declare definitively that Homeland is back, but I will say it's back to being a show I'm looking forward to watching, rather than one that made me angry as it lost its credibility mostly and lost its way completely.

The 8-episode series (only six episodes were made available to critics) mostly succeeds by sheer force of will. The viewers are so bombarded by jokes that something is bound to tickle you eventually-–though truth be told it may take awhile.

God what a good show this is. Who cares who killed who?

While a subplot involving a John Brown-type Synth liberator, Leo (“Merlin’s” Colin Morgan), is a heavy-handed distraction, Humans holds up as a slightly humorous, thought-provoking, creepy piece of sci-fi filled with sympathetic performances and solid writing.

Westworld gives you a lot to consider, and immerses you so completely in its manufactured reality that you’re never distracted from its complicated questions. The best thing I can say about it is that after seeing the first four episodes, I’m very eager for more.

In all, The Flash pilot is an entertaining hour. It doesn't ask for too much of its audience except to sit back and let the new adventure unfold.

Looking is a good show. It will reward viewers who can hang on beyond the first episode and can adapt to its much slower pace and more naturalistic shooting style..... But, Looking will make you work to get there.

In the end, those hate-watchers had little to complain about other than occasional uneven camera angles, a missing Toto (he disappeared after the first scene) and the long three-hour running time; strong performances, fun dialogue and dazzling numbers rounded out an overall solid outing this time around.

In season three, it’s clear the complex web of relationships will deepen and tangle even further. The show’s writers continue to craft the story with expert care, giving each character moments to shine. Masters of Sex continues to be a Sunday TV must.

Despite the occasional creakiness and lapses into melodrama Downton Abbey remains a show to watch, notable for its dreamy production values and the real depth of feeling it portrays between the classes.

Agent Carter hits the screen a much more confident show than “Agents of S.H.I.E.L.D.” did last season. This is a show with a clear vision, a powerful acting ensemble, and the perfect Marvel blend of action, excitement, pathos and humor.... [It is] easily one of the most entertaining premieres of the season.

At times Famuyiwa is so concerned with including the myriad supporting players that the film can be more of a competent procedural than a riveting, insightful exploration of a crucial moment in American politics. But those worries are mostly tempered by the slow reveal of the film’s true agenda.

People of Earth earns kudos for going for the stars, but it also suffers from a failure to launch.

The cast is uniformly good, especially Corey Stoll as Dr. Ephraim Goodweather, the head of a Center for Disease Control team called in to investigate that dead plane.... The greatest strength of The Strain is its ability to revamp vampires while paying homage to the myths about them that have accrued over decades.

Later episodes get bogged down in subplots that feel like busywork meant to keep our characters apart, and perhaps there aren’t any major revelations to this show’s look at dating in your 30s. But Love’s modest, hesitant misadventures are charming in their own right. Maybe it’s not quite love, but it’s definitely like.

After an exceedingly violent first episode, it eases up a notch, and the show is better for it.

The jokes were mostly solid, but anodyne. Colbert projected enthusiasm, but it felt like he was in a hurry to get through the segment and to the desk.... The guest interviews were not great... For the premiere of the new Late Show to be a success, Colbert, like those guys, needed to convince us that he was having fun. And like the other Stephen Colbert did for so long, he needed to make us have fun watching him. Mission accomplished.

The brilliance of Showtime’s Ray Donovan expresses itself not only through the impactful intelligence of star Liev Schreiber, but through nuanced moments in its literary-quality storytelling--written and visual.

[A] very funny new sitcom.... Lowe and Savage have a crackling energy together.

Gotham is dark and unpleasant, but it's also exciting and unpredictable.

Make no mistake, The Comeback earned its second season and celebrates its triumph, foresight and timing with twice as much depth, humor and awareness.