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.