Seven years later, Wall Street has rebuilt, and our call girl is, instead, exploring the world of the most powerful and wealthy, and the power of boundless surveillance.

Christine (Riley Keough, in a sensational performance) is so interested in using people to get ahead that she worries she’s a sociopath.

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Jones’s commitment never cracks, even in the face of one of TV’s most talented comedy ensembles.

Season 2 of this British-import comedy was stronger than the first as it delved deeper into the lives of its characters, both of whom are utter messes and strenuously trying to be fine.

Kim, like the show’s protagonist (who will become the utterly amoral Saul Goodman), is running out of options., come at issues of race from radically different perspectives.

And their differences in outlook were elegantly and movingly explored in an episode about police brutality.

It all added up to a resolution that was—and had to be—unsatisfying, because so many of the people we’d come to respect were so ill-served.

In a broadcast landscape full of slick, self-consciously campy melodramas, ABC’s turn to social realism is worth applauding.

Don’t worry about having missed season 1—both seasons are a slight six episodes, making does manage to startle with its ambiguity.

Ephron, who concealed the facts about her fatal illness from many of her closest friends, is shown as both dazzling and, finally, hard to truly know. This series was based on—or, really, suggested by—a 2009 Steven Soderbergh film, one that used a prostitute’s experiences to analyze the mindset that led to a wrecked economy.

We’ve jumped ahead from season 1’s story, which depicted Sharon (Sharon Horgan) and Rob (Rob Delaney) going through her pregnancy after a one-night stand; the couple’s spats are more deeply felt now that they have an actual child, though they haven’t quite learned how to relate to one another in a manner other than a battle of wits.