TV

For six years, “Better Call Saul” has given the story equivalent of a graduate-level seminar on morality, and the series finale is both satisfying and surprising.

Until recently, “The Sandman”—Neil Gaiman’s magnum opus about the eternal being who oversees the universe of dreaming—has remained an impossible quest.

“Russian Doll” is kind of a Jewish “Fleabag” meets time travel, a mind-bending exploration of trauma that reads like an exercise in self-therapy.

My heart is not large enough, my consciousness is not spacious enough for all the spot-on characters, the hectic energies, the ripping stories. I am not skillful, I think, at TV.

While “Star Trek” has presented itself as a show about exploring strange new worlds, at its heart it has always been about elevating those whom society has ignored.