Vikram Murthi

It’s possible the protracted table-setting and myriad subplots will eventually pay off when “Helstrom” ties the threads together. However, even if that’s the case, the actual experience of watching those threads in action remains programmatic and dull.

The one-liners still move at fastball speed, but the show’s sharpened political conscience has only made them land harder. ... It also remains a phenomenal showcase for Azaria, who, simply put, gives the best performance of his career.

While High Maintenance potentially moves in more meta directions, there are still some familiar pleasures by way of The Guy. ... Sinclair continues to be one of the best actors on television in part because his natural charisma and compassion extends to a character who feels stuck out of time: a roving avatar of kindness that offers relief and concern for people just struggling to maintain.

Comedically, Baskets has basically remained the same, minus some of its more abrasive shades exhibited early on. ... Baskets has always been comfortable playing itself as an unfussy drama, often privileging melancholic portraiture over punchlines. However, this season trades in depression for self-improvement, and the results are more poignant than ever before.

The series exudes warmth and grace even in its smallest moments without losing sight of its sense of humor.

The fourth season effectively channels the raw vitality of WTF’s early days, when Maron was trying to dig his way out of a hole by embracing the world around him instead of pushing it away.

Rebellion tries to do too much at once, but much like the Easter Rising itself, it’s the trying that deserves plenty of attention.

If the fourth season reminds viewers of anything, it’s that The Americans has a masterful control of tone, doling out horror and slow-burn dread like very few of its contemporaries.

Mozart In The Jungle may always just be out of reach of the “Great TV” pantheon, but it’s always watchable being entirely itself.