Steve Greene

It’s a relief, then, to see the show in Season 2 stop to take its breath to really check in on what’s happening elsewhere. Cowboy (Steven Williams), the latest addition to the collection of ranch hands, helps bring some additional understanding of the structure and day-to-day functioning of life on Yellowstone Ranch.

Season 3 works to bring up the supporting cast to Brockmire’s level, but the rising tide starts to lift all quirks. When people from his past make their reentry into his orbit, it’s not enough that they have to return; they bring outsized relationship problems with them that distract from the meaningful advances in human connection that the show has spent time fostering. Then again, if the show has to live in a heightened state, it’s found a groove in letting Brockmire be a one-liner geyser.

Neither a proselytizing exercise for any one sports league or a harbinger of doom for the industry overall, Action is more of an accounting of where things stand at the precipice of a major change. It’s also a case study in perspective: Gambling inherently brings with it a rise and fall.

By focusing on less-heralded sources of sports drama, the show illustrates how these stories resonate with the people who represent not just a team or a town, but an entire sport. Duzyj’s history as an animator brings a distinct visual style to how these various stories unfold. Even in the most disappointing moments, there is an energy to the animated sequences that rises above a simple documentary gimmick.

Carmen Sandiego continues the tradition of educational entertainment, but the show has lessons beyond a textbook. It offers an implicit crash course in espionage thriller parlance and conventions, all while giving younger viewers an educational gateway to a bigger world.

Whereas similar shows have ended with a tidy conclusion, these kind of investigative dramas are richer for going beyond the backstory of a single crime to explore how much it continues to resonate long after the story ends.

With its shiny, colorful exteriors and bathed-in-light church sequences, there’s a glossy sheen to much of "God Friended Me." The test going forward is if it’s willing to dig beneath it.

Season 3 opens up with a quartet of episodes that confirms that this group of cast and writers is equipped to make this story work wherever and whenever things may lead.

911 is constantly operating at such a high emotional level that it would take something really drastic to make a severe challenge for everyone involved. Lucky for them, that snaking line of cracked pavement looks like the chance for them to do just that. The real test, though, is what 911 is ready to do when the dust settles.

Even though Howery is saddled with having to be the standard sitcom protagonist around which the rest of the show revolves, it still offers him a chance to indulge in the crowd-pleasing charms that made him a “Get Out” breakout.

It may take a little longer to get there than last time, but this new season becomes a worthy follow-up by not only swapping out one anatomical gag for another, but by filing off some of its goofier edges for another grounded look at the other daily challenges of high school life.

Through Glendyn Ivin’s direction and scripts from Belinda Chayko, Matt Cameron, and Phil Enchelmaier, Safe Harbour is a sharp story about the short- and long-term consequences of miscommunication.

The sense of dread and guilt that permeates each interaction, combined with the flashback structure that makes this more ghost story than murder mystery, almost makes each of the Argylls at fault in their own way.

Rest in Power is a representative collage. A turning point in some ways, a reminder of what hasn’t changed in others, it’s a time capsule for a country where this could not only happen, but happen again.

What Last Chance U shows time and again is how capturing all of these intertwined fates takes more than just a cursory glance at a clip reel. It’s about showing that no one person is bigger than the team, but that doesn’t mean each of them don’t deserve the chance to tell their story.

There are plenty of questions to be had about many of the things Dark Tourist wants to capture. It just seems like this show never asks the right ones.

Unhinged at times, oddly thoughtful at others, Trial and Error is more than parody; it’s a welcome wave of silliness.

There’s beauty in the way that all of this sinister intrigue is conveyed, but it’s a surface-level telling of a story that wants to have so much more in its grasp.

A convoluted mixture of soul splitting, corpse reviving, and blood guzzling mixed with a heavy theological aftertaste, Preacher is a cocktail and it goes down smooth, but has gradually lost its bite.

Impulse doesn’t take the conventional route for a show with immense powers. In uncharted territory, it’s a show that’s finding its way.

C.B. Strike isn’t out to rewrite anything, and maybe that’s a mistake. It makes for some steady, dependable viewing, but it always feels like there’s more for these two to explore.

Access doesn’t necessarily translate to a compelling series. Absent much of the drama that comes with uncertainty, there’s not much in the series to really latch onto. There’s something still striking about seeing an important figure in the sports world subvert any existing perception that having a child is somehow a point of weakness.

Despite his best efforts, for a show where humanity is under attack, you ultimately need a reason to root for at least most of the humans. The Rain never gets to the point where you’re pulling for the water droplets, but this is one barren wasteland that makes it difficult to care about anything other than surviving it.

"Brockmire" has always been able to deliver some of the best jokes around ... but now one of the funniest shows on TV is becoming one of its most thoughtful.

It’s a show that works too hard to compensate for the potential disadvantages its storytelling setup brings. ... Rellik may not be the perfect murder, but it’s one that as it unfolds, is worth at least keeping an eye on.

Pro wrestling is an entire industry built around an illusion, and it’s something that “Andre the Giant” often nods at, but often seems to brush aside in favor of focusing on the deep resonance it has with its fans.

These installments are ultimately closer to curiosities than necessary puzzle pieces to understanding these performers. They’re windows into fame, but whether they are genuine glimpses of the everyday life that comes with it is up for the viewer to decide.

Diary entries come to life in Shandling‘s own handwriting and illustrate one method Apatow uses to make this film a visually dynamic experience. ... As a tribute, a eulogy, and an appreciation, The Zen Diaries is a even-handed look at someone who sought to bring meaningful change into other people’s lives as he searched for that same sense of fulfillment himself.