It seems hell-bent on not failing us for one single second.

Funny and suspenseful, Sneaky Pete is an excellent idea for this weekend’s streaming TV viewing.

Beautifully crafted and excellently acted, Casual is well worth checking out, to see if its mood and rhythms fall in sync with yours.

Diana, Our Mother is a very touching and forthright hour spent with the sons and other people who knew Diana.

The season premiere had a lot of table-setting storytelling--at once self-recapping the saga and pointing it toward its future--but it did so with a satisfying forthrightness.

Show creators Chris Brancato, Carlo Bernard, and Doug Miro want to tell two parallel tales: The DEA investigation and hunt for Escobar, and Escobar’s point of view in his ever-increasing ambition, power, and ruthlessness. Narcos is superb at delineating the latter: You really get an understanding of how a poor, not especially charismatic man rose from the rabble to become one of the richest, most feared men in the world.... In contrast to this, the efforts of Murphy and Pena to defeat Escobar are, of necessity, more hit-or-miss.

Tucked away on Cinemax and by now almost doggedly proud of both its cult status and its utter unpredictability, Banshee remains a pure pleasure machine, at once vulnerable and sturdy, and determined to go out on its own terms, whatever the hell those may be.

Notaro keeps the show moving along with a lot of low-key funny observations while always allowing for moments of seriousness and even sadness to enter into the mix.

If Daniels, Strong, and showrunner Ilene Chaiken are feeling pressure to maintain the show’s massive-hit status, it doesn’t show in the enjoyably scattered yet propulsive season premiere.

It’s both binge-able yet also easy to consume one bite at a time. How involved you become in the show depends on how much you’re beguiled by Wise’s charming performance and her character’s informative dialogue.

Jacobs has found a way to play that character in such a way that Mickey is endlessly surprising rather than easily irritating. ... Gus has always been just as deeply screwed up as Mickey is. In this final season of the show, there’s a reckoning with his own neurotic behavior, and Rust shows himself fully up to this challenge as an actor. Love also delves more deeply into its supporting cast.

It’s the way third-episode writers Meredith Stiehm and Alex Gansa set up and execute this latest Carrie psychodrama that gives it the import and narrative propulsion that makes it well worth investing in the Mathison Mental Health Project once again.

W/ Bob & David is, pretty much, an of-its-time sketch show following the same format as Mr. Show--one sketch leads into the next, in a funny, often tenuous, manner.

Bosch is a fine piece of TV work, one of the best examples of how to take what works on tightly-formatted network crime shows and supplement it with some of the looser freedoms of pay-cable crime series.

All the acting is equally good, something you can’t say about most ensemble-cast shows. Basically, This Is Us is a well-designed emotion machine that, by the end (for the record, I freely admit I didn’t see the end-twist coming--you might, because you’re smarter than me), had me eager to see how this is all going to shake down in Episode 2.

On Italian television, a second, equally popular season of Gomorrah has aired. Clearly there is meat on these bones that people enjoy picking at. Your appetite for it, however, may vary.

The Defiant Ones works on almost every level: as a primer on the music industry, as gossip, as biography, as a time capsule of the 1980s, the 1990s, and the beginning of the 21st century. Neither Iovine nor Dre is particularly eloquent about their own achievements, but The Defiant Ones does that work for them, excitingly.

As the series progresses, Loudermilk’s sobriety and his pessimistic attitude toward life are tested, making the character more three-dimensional. He and the show named after him start off interesting and get better as they proceed.

Westworld, with its florid dialogue and languid self-seriousness, isn’t as much fun as Twin Peaks was. But it’s also easy to see why Westworld is the much more popular show. It’s tapping in to currents in our culture, our feelings that the world has become a far more confusing place, with power struggles that threaten any possible unity or peace. We can’t saddle up and shoot-’em-up, but we can escape and watch others do it for us on Sunday nights.

If you keep watching, The A Word gathers its own quiet power as a succession of portraits of people under stress (to add to the tension, money is tight for every member of the family) without becoming unbearably morose, thanks to regular bits of dotty British eccentricity and a few comic misunderstandings. The show is at its best, however, when it centers around sweet, solemn little Joe, who’s shutting out the world by singing along to Human League, subconsciously seeking human connection.

While the upcoming season is uneven--there are a few awfully wobbly moments in the saggy middle hours--the series is well on its way to going out in a manner that will have its fans sweetening their cups of tea with salty tears.

[Billy Eichner and Julie Klausner's] collision in this sitcom they’ve created for themselves is a black mushroom cloud that some viewers are going to find too strong to take.... Klausner and Eichner are such intelligent performers in every medium they’ve chosen, you have to root for the success of Difficult People. And I say that while still not entirely convinced that this is the best vehicle for those talents.

The filmmakers grant Durst his humanity, allowing us to see the charm, and occasional flashes of humor, that animate the man when he sometimes emerges from the fog of good fortune. In the two episodes I’ve seen, The Jinx makes good, sparing use of dramatizing some of the moments Durst describes.

The New Edition Story is an exceptionally well-made, fast-paced, warts-and-all biopic.

The Missing is one compelling piece of work, full of what the anguish of having an abducted child does to a family over the years. It’s also a prickly mystery story that occasionally relies on a few too-neat coincidences to pull off its startling conclusion. The performance that ties everything together is Karyo’s.

House of Cards has opted to diminish its central figure to allow others to emerge, even if that is done strategically, in the hope of consolidating his personal power. Whether that’s a winning strategy remains to be seen when all of the episodes are available to be binged.

Your engagement with Narcos is going to depend on how much you can become concerned about Escobar and his fate, how much you can look past the series’ easy melodrama to savor its more subtle and moving moments of political intrigue, and the small, vivid subplots about the Escobar gang’s individual lives.

Things spends too much repetitious time trying to convince us that Mike, Dustin, and Lucas are cute kids, and the show’s sense of foreshadowing when it comes to revealing something that’s supposed to scare the daylights out of us becomes an exercise in tedium.