The deeper that “Evil” gets into its mythology, the more it feels like a magician offering an inside look at how they do their tricks. For those who enjoy “Evil” for its web of sigils and exorcisms, Season 2 still has plenty to offer.

While the show does find some drama in that disconnect, “Us” is largely like the Petersen family itself: following a well-worn trail with one man resisting the pull to spend time on a more fulfilling path.

“Kevin Can F Himself” has already earned our attention. Now we wait to see what the show has to say beyond its explicit, primary message.

The series’ biggest flaw is the amount of storylines that are packed into its 10 episodes. ... In the end, “Physical” is a showcase for Byrne that will have you jumping even if things feel a bit unbalanced.

An excellent (and severe) second season.

“Blindspotting” doesn’t pack as large a punch as the original movie did, but as a series it creates a slice-of-life story that’s fun and engaging. With Cephas Jones at the helm the series moves along at a brisk clip without forsaking an ounce of humor.

In its second season, “Love, Victor” delivers more of the charming, quirky characters and tender teen romances that gave it such a strong start.

The more serious dramatic hairpin turns of Part 2 ring a little false. “Lupin” isn’t a show with enough commitment to make Assane’s exploits work on a level beyond mischief. When things veer toward potential legitimate bloodshed, the show feels out of its depth. It’s a shame, because “Lupin” works at its most whimsical.

It’s one of the great achievements of this new HBO Max comedy that this dance of uncertain feelings and independent lives is so well woven into the genuinely funny DNA of the rest of the series that it all feels blissfully natural.

In a series already bursting with beautiful sentiments, the stunning world-building immeasurably enhances the experience, helping to make “Tuca and Bertie” stand out in the animation realm, the TV world, and beyond.

Waldron and director Kate Herron throw in as many flourishes as they can to try to turn exposition into entertainment, but there’s only so much you can do after deciding to answer every single question about time travel.

The series’ efficient storytelling, world-building, and character work make it easy to switch off your brain and enjoy the adventure (that is, if you can get past The Sick). Strong performances help, too, and with so many critical core ingredients working smoothly, it’s much easier for a genial little fantasy-adventure series to go down easy.

“Feel Good” accomplishes so much in its tight six episodes that it’s both a blessing and curse that it leaves the viewer wanting more. ... It’s so damn good you may want to watch it all over again.

As the show progresses and the logistics of her journey come into sharper relief, it’s natural to wonder if all of this is worth it. It’s never an easy “yes,” but when the obfuscation starts to melt away and the show isn’t bent on delivering the extremes of human behavior, the punishing ride leads to a destination with some unexpected rewards.

If you disliked the women of Wisteria Lane it’s doubtful you’ll find much to appreciate here. But if the first season of the show didn’t connect with you back in 2019, there’s no reason not to jump in with Season 2 and give it a second chance.

The more “We Are Lady Parts” focuses on the original spirit that courses through this group, the more the show around them sings.

The result is an impressive one-man technical feat loaded with surreal twists and dense commentary under the veneer of sophomoric gags. ... However, whether or not you embrace the weird tonal shifts and abrupt transitions between vignettes, the experience is a constant audiovisual thrill.

Through four episodes, characters are still being honed, ideal dynamics identified, and a consistent sense of humor established (here’s hoping for at least 40 percent less poop jokes), but there are also enough solid cracks and relatable storylines to hope “Housebroken” finds its best self after a little more training.

There’s a version of this show that uses the fickleness of this game to say something about how teens treat each other and what’s expected from them by their elders. But all the inconsistencies and jagged pacing and disjointed plot threads are more an indication of a show spreading itself too thin for any of it matter.

“Friends: The Reunion” is a special made to be as broad as possible, and it too often ignores or steps on the intimate connections fans already have with their favorite fictional friends.

“Trying” isn’t afraid to use a few choice coincidences now and again, but once things get past the small contrivances of the premiere, the show makes the most of the opportunities to dig into those personal hurdles facing the estranged Freddy (Oliver Chris) and Erica (Ophelia Lovibond), Nikki’s sister Karen (Sian Brooke), and any of the show’s would-be grandparents.

The series instantly dates itself with its monologues and it’s doubtful fans will watch more than one episode considering there’s no actual plot.

“In Treatment” is still a theater piece, even if directors like Michelle MacLaren get off the couch as often as possible, and it still comes alive in spurts thanks to great performers bringing human moments to life.

Season 3 tries to forge new ground and ends up on a familiar path instead. It’s a de-evolution of the series’ wide-ranging ethos, trading dozens of unexpected moments in order to refashion just one.

There’s a slight widening of the show’s scope, even with 10 fewer shorts to consider and a bit of the show’s earlier DNA still intact.

It’s nowhere near as unique or compelling as it should be. But at least Murphy is starting to ask himself the right questions.

It’s clear this series has legs, as a much-deserved showcase for Smart, as a thoughtful story about the evolution of comedy, and as an original series that’s very much its own thing. Let’s see where this show can go.

Jenkins’ trademark patience behind the camera builds romance and passion with powerful precision, establishing unique individual identities while fleshing out each subject, no matter how many scenes they get. ... Before the final needle drop, it’s impossible not to feel closer to this world and everyone in it.