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In the winter of 1997, great American sketch series Mr. Show With Bob and David revealed the true secret of thespianism: “All acting is, is jumping up and down and screaming a lot.”

I drop this bit of knowledge not to entice you to watch Mr. Show (though you totally should, on HBO Now), but to warn you that Adam Sandler’s inexplicably acclaimed Uncut Gems arrives on VOD this month. Film critics … what the hell?

Anyway: Here are seven TV series that are actually worth streaming in March, the lamest of the winter months. It’s not cold; it’s not warm; assholes are drinking green beer … again, what the hell?

Better Call Saul (Seasons 1-4 on Netflix; Season 5 on AMC): Speaking of Mr. Show, can we take a beat to appreciate Bob Odenkirk? Yes, everyone on Breaking Bad prequel Better Call Saul is fantastic—Rhea Seehorn in particular—but Odenkirk’s Jimmy/Saul is THE performance of the Bad universe. (Sorry, Heisenberg.) Few crime sagas are as steeped in raw humanity as Better Call Saul; do yourself a favor, and dive in this month.

High Fidelity (Season 1 on Hulu): Nick Hornby’s 1995 book and the nearly-too-late 2000 movie don’t hold up in 2020—think about it if you’re asking, “Why do we need a new High Fidelity?” The record store (“No CDs”) now belongs to 20-something Rob (Zoe Kravitz), and this iteration is less toxic, more inclusive and just warmer. There’s nothing wrong with a playlist where Lescop and Frank Zappa can co-exist.

Hunters (Season 1 on Prime Video): Critics and Jewish historians alike are appalled by Hunters, a comically bloody fantasy about 1970s New York City Nazi killers—but, as show creator David Weil politely replied, “It’s not a documentary.” (I would have added, “Suck it, fun police.”) Hunters’ pulp fiction is highly Tarantino-ized but features minimal scenery-chewing from Al Pacino. It’s that unpredictable.

Devs (Season 1 on Hulu): Nick Offerman steals the Wig of Shame trophy from The Witcher in Devs, a twisty thriller from Alex Garland (Ex Machina, Annihilation). Software engineer Lily (Sonoya Mizuno) suspects that her company’s CEO (Offerman) had her boyfriend “suicided,” and soon uncovers a sinister tech conspiracy. (Aren’t they all?) The first two episodes premiere March 5, with one episode being released on each of the six following Thursdays. Garland has eight hours to blow your mind, and he will.

Black Monday (Seasons 1-2 on Showtime): Season 1 was a fictionalized, dark-comedy countdown to the stock market crash of 1987, or Black Monday—why continue? Because the cast (Don Cheadle, Regina Hall, Paul Scheer and a yacht-load of comic pros) is too damned good. Season 2 (premiering March 15) follows the fallout on Wall Street, which somehow produces even more obscene wealth and cocaine.

Westworld (Seasons 1-3 on HBO Now): Remember Westworld? It’s been almost two years since Season 2 dropped a megaton of unnerving info about synthetic humans and also set a few loose in the unsuspecting “real” world. Season 3 (premiering March 15) expands the robo-drama beyond its cowboy confines, and we so deserve it—as Futurama’s Bender once said, “You meatbags had your chance.”

Brockmire (Seasons 1-3 on Hulu; Season 4 on IFC): The first two seasons of Brockmire followed the gonzo exploits of alcoholic ex-MLB baseball announcer Jim Brockmire (Hank Azaria); the third sobered him up but sacrificed no profane hilarity. Season 4 (premiering March 18) goes for broke by fast-forwarding to 2035 and naming Jim the commissioner of Major League Baseball (!). Just in time for President Ivanka’s second term, cool.

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Idiotsitter (Thursday, April 6, Comedy Central), season premiere: If you somehow made it through the 2016 “holiday” flick Office Christmas Party, you must concur that Jillian Bell’s bipolar she-pimp character was the funniest part of the movie—really, you must. Earlier in 2016, Bell and comedy partner Charlotte Newhouse dropped the debut season of Idiotsitter, a hilarious, flipped-to-female Workaholics of sorts that looked to be another Comedy Central one-and-done (see also, 2015’s genius Big Time in Hollywood, FL). But! Idiotsitter is back for a second season, and broke “baby sitter” Billie (Newhouse) and heiress “idiot” Gene (Bell) are now off to college. Despite what the Ghostbusters trolls told you, 2016 was a fantastic year for women in comedy—on-demand Idiotsitter Season 1 now, and report back.

You the Jury (Friday, April 7, Fox), series debut: Was Fox News host Jeanine Pirro’s recent spanking of House Speaker Paul Ryan merely a publicity stunt to promote You the Jury, the new legal-reality show she’s presiding over? Since Justice With Judge Jeanine airs in the dead zone of Saturday-night cable, and only your red-cap-sportin’ grandpa knows who the hell she is, probably. And this show seems no less cynical: “The new unscripted series You the Jury will give the biggest jury pool in history—America—the power to decide the outcome of some of the most explosive, real-life, ripped-from-the-headline civil cases,” pitches Fox. “Six top attorneys who’ve represented some of the nation’s biggest celebrities will argue their cases each week for America’s vote.” Via text, of course, as American Litigation Idol brings us one step closer to the dystopia we deserve.

The Son (Saturday, April 8, AMC), series debut: Speaking of the Saturday-night cable dead zone, here’s another Western from AMC to fill that Hell on Wheels void: The Son, based on Philipp Meyer’s novel of the same name, chronicles the rise of Texas oil tycoon Eli McCullough (Pierce Brosnan) by focusing on two time periods, 1849 and 1915. In the earlier timeline, you get Young Eli (Jacob Lofland) being kidnapped and held captive by Comanches; in the later, you get Brosnan in full Texan mode being a hardline bastard in business and a plain ol’ bastard to his children, who each have their own drama. There’s also an uneasy tension with a Spanish family who occupies the land between McCullough’s and Mexico … and, as you may gather, the uneasy tension of cramming a 576-page Western epic into 10 episodes.

The Gorburger Show (Sunday, April 9, Comedy Central), series debut: Great news for those sick of late-night talk shows hosted by white dudes: The Gorburger Show is hosted by a blue alien (puppeteered and voiced by white dude T.J. Miller, but still). After taking over a Japanese variety show and making slaves of its staff, alien Gorburger “settles in as host in an attempt to understand what it means to be human.” The Gorgburber Show, which sprang from an online series, borrows from tweaked talkers like The Eric Andre Show and Space Ghost: Coast to Coast, but never fully commits to the bit. It doesn’t help that Miller’s frequently upstaged by his guests—which could be by design, but I’ve already overanalyzed this show that costs maybe $150 to produce.

Better Call Saul (Monday, April 10, AMC), season premiere: Yeah, yeah—I know: “But I can’t watch Season 3 yet, because Season 2 just came out on Netflix two weeks ago! I don’t have cable, anyway—I only watch shows when they’re on Netflix, so can you puh-leez refrain from dropping any spoilers for, like, a year? And will you remind me when Season 3 comes to Netflix, because Netflix, Netflix, NETFLIX!” Do you realize what a pain in the ass it is to review TV for you cord-cutters? Anyway: Season 3 of Breaking Bad prequel Better Call Saul picks up immediately where the last left off, with Chuck (Michael McKean) plotting to take down brother Jimmy/Saul (Bob Odenkirk) with a secretly taped confession. As for the much-geeked-about introduction of Bad villain Gus Fring (Giancarlo Esposito), like everything else, BCS is in no hurry to get there. Just like you and your Netflix.

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No, not all of the great shows are here; 2016 served up too much quality TV to contain in this space, while not all of the great shows rise to the level of year-end best lists. (Too many other critical lists are surrendering space to Stranger Things; just sayin’.)

These 16 shows are binge-worthy alternatives to holiday family time—Merry Xmas!

Westworld (HBO): This Westworld was smarter, sleeker and more terrifying than its 1973 origin flick, but it also imbued the Wild West park’s androids with a tragic “humanity.” (Evan Rachel Wood and Thandie Newton for all of the awards.) It also reminded us that actual flesh-and-blood humans are just the worst.

Veep (HBO): Now more than ever, huh? Vice president-turned-president-turned-footnote Selina Meyer (Julia Louis-Dreyfus) suffered an exhausting political beating months before the rest of us did in 2016, but at least hers was funny (and slightly more F-bomb-heavy). Forget IdiocracyVeep is our republic’s true guide.

BoJack Horseman (Netflix): Animated series BoJack Horseman has always been about the aggressive shallowness of Hollywood and celebrity, but Season 3 went deeper and darker (and more experimental, including a dialogue-free underwater episode) than ever before. It’s also funny as hell. OK, it’s everything as hell.

Lady Dynamite (Netflix): Maria Bamford’s Lady Dynamite was a meta-comedy that did for bipolar disorder what BoJack Horseman did for depression and Jessica Jones did for PTSD: It made entertaining, thoughtful art out of the usually “too heavy” to talk about. Both way surreal and way real … sounds good, feels right.

Quarry (Cinemax): This overlooked, 1972-set crime-noir series is grittily crafted down to the most minute details, spun with jarring twists, and anchored by Logan Marshall-Green’s intense, mercurial performance as a reluctant hit man. It’s the Memphis-barbecued second season of True Detective you really wanted.

Better Call Saul (AMC): The debut of Better Call Saul was a fantastic surprise that expanded upon Breaking Bad, building its own pre-Heisenberg world. From hilarious to heartbreaking, Season 2 further transformed small-time Albuquerque lawyer Slippin’ Jimmy (Bob Odenkirk) into future legal shark Saul Goodman.

Halt and Catch Fire (AMC): Behind Saul, Halt and Catch Fire is AMC’s best drama, even if it doesn’t generate Walking Dead numbers. The ’80s-set computer-revolution saga moved to Silicon Valley in Season 3, amping the startup fireworks between Mackenzie Davis and Kerry Bishé, who overshadowed even Lee Pace (!).

Mr. Robot (USA): Elliot (Rami Malek) and hacker group fsociety brought down E(vil) Corp at conclusion of Season 1, but it just caused more problems than it solved. Mr. Robot 2.0 was less buzzy, and trickier to follow, but it gave Elliot’s circle (especially Carly Chaikin and Portia Doubleday) space to shine.

Goliath (Amazon Prime): David E. Kelley and Billy Bob Thornton streamed a classic Los Angeles legal-noir drama that overcame a middling plot with killer performances from Maria Bello, Molly Parker, Nina Arianda, Tania Raymonde, William Hurt and, of course, Thornton himself. Binge with a stiff drink—or eight.

Atlanta (FX): Donald Glover’s Atlanta wasn’t what anyone expected. Something far more than a comedy (though there are hilarious moments) or a drama (ditto, heavy moments), it unfolded like an indie flick in no hurry to get any Big Moments, and depicted the flat-broke-and-black experience with unflinching detail.

Better Things (FX): One of the rawest comedic TV portrayals of single motherhood ever, Pamela Adlon’s Better Things swung from sweet to sad to snarky with an assured precision that her creative partner, Louis C.K., never quite nailed with Louie. Subtle jabs at Hollywood’s treatment of women are just a bonus.

You’re the Worst (FXX): The Only Anti-Rom-Com That Matters got back on track after some downer detours last year—which isn’t to say You’re the Worst didn’t take chances in Season 3. Gretchen (Aya Cash) and Jimmy (Chris Geere) may never work out, but it’s sweet (and profanely hilarious) to watch them fail.

Shameless (Showtime): Emmy Rossum, who’s played Shameless’ surrogate Gallagher mom Fiona for seven seasons now, recently got a pay bump to at least equal co-star William H. Macy’s salary. Coincidentally, she also turned in her best, most heartbreaking work this year. ’Merica isn’t Modern Family; it’s Shameless.

The Good Place (NBC): Kristen Bell and Ted Danson are an unbeatable comic combo, and fears that afterlife sitcom The Good Place would be too weird for broadcast TV were apparently unfounded: It’s a (relative) NBC hit and, even better, the Jesus people are mightily offended by this inclusive version of “Heaven.”

Wynonna Earp (Syfy): If you were somewhat disappointed with Syfy’s recent zero-fun heroine epic Van Helsing—I know I was was—look back a little further in 2016 for Wynonna Earp, a Buffy the Gunslinger supernatural series that star Melanie Scrofano tore up with quippy glee. Also: hot Doc Holliday!

Not Safe With Nikki Glaser (Comedy Central): Nikki Glaser’s Not Safe was a sex-and-relationships talk show that combined intelligence, real information and filthy comedy that more than lived up to the show’s title. So, of course, Comedy Central canceled it after 20 episodes to make room for more Tosh.0. For shame.

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May is mostly a dead zone of season finales and reruns as TV gears up for the summer. (There’s no off-season anymore; get used to it.) But! Remember all those shows I’ve told you to watch harder in this very column? You know, the shows that are all readily available in various on-demand forms? Now’s the time to catch up! Here’s 12 to start with:

Wynonna Earp (Syfy): Wynonna Earp (Melanie Scrofano) is a modern-day descendent of Old West gunslinger Wyatt Earp, who was also a supernatural demon hunter (just roll with it), and she’s back in town to re-smite evil souls (or Revenants). It’s all true enough to the comic-book source, and Scrofano is a likable combo of badass and goofball.

Orphan Black (BBC America): In Season 4 of tense clone-soap Orphan Black, Sarah (Tatiana Maslany) investigates Beth, the deceased sister-clone whose identity she stole at the beginning of the series, as well as the origins of the clone conspiracy. Also, there are more clones, upping Maslany’s character load for the season to eight (and still no Emmy).

Hap and Leonard (Sundance): Hap and Leonard is a six-episode tale about ’80s Texans Hap (James Purefoy) and Leonard (Michael K. Williams), a pair of luckless laborers dragged into a get-rich-suspiciously-easy scheme by Hap’s ex-wife (Christina Hendricks). The plan soon spirals into a cacophony of conflicting agendas and colorful characters, with Fargo-like comic-to-violent jolts.

Idiotsitter (Comedy Central): An unemployed Ivy Leaguer (Charlotte Newhouse) takes a baby-sitting job—but the “baby” turns out to be an adult wild-child heiress (Jillian Bell) under house arrest. As the series progresses (or regresses), it’s clear that Bell and Newhouse can do stoopid repartee almost as well as the Broad City ladies. All this, and a Channing Tatum cameo!

Baskets (FX): Chip Baskets (Zach Galifianakis), having flunked out of a prestigious French clown academy, returns to uncultured ’Merica to be a rodeo clown—and then it gets weird. (Chip’s mom is Louie Anderson in drag, for just one example.) Baskets is a funny-to-sad-to-funnier-to-sadder commentary on artistic failure and Western decline, but don’t be afraid.

Better Call Saul (AMC): Better Call Saul continues to be a minor-miracle follow-up to, and expansion on, Breaking Bad in a flawless second season, further transforming small-time lawyer Slippin’ Jimmy McGill (Bob Odenkirk) into medium-time legal shark Saul Goodman. Even better, Rhea Seehorn, Michael McKean and Jonathan Banks get equal time to shine.

Banshee (Cinemax): Season 4 will be the last for this gritty slice of Amish-country crime noir, so there’s hope for eventually catching up on Banshee. The twisted tale of an ex-con/thief (Antony Starr) who assumes the identity of Sheriff Lucas Hood in the small town of Banshee, Pa., has taken many a bizarre turn, but the outcome is always the same (and bloody).

Vinyl (HBO): Vinyl is as excessive and beautiful as you’d expect a collaboration between Martin Scorsese, Terence Winter and Mick Jagger to be, mixing Almost Famous’ music-saves earnestness with Velvet Goldmine’s visceral glam bombast and Boogie Nights’ druggy chaos—and cranking it to 11 in 1974 NYC. It’s not perfect, but neither is rock ’n’ roll.

The Detour (TBS): Jason Jones (The Daily Show) and Natalie Zea (Justified) star as harried parents on a family road-trip where everything that could possibly go wrong does—spectacularly. Sound like National Lampoon’s Vacation? It is, but far funnier than last year’s limp Vacation reboot—and usually dramatic Zea is a comedic revelation.

Billions (Showtime): Damian Lewis (as a charismatic hedge-fund billionaire) and Paul Giamatti (as a troubled U.S. attorney) churn bluster and testosterone Acting! against each other, but they’re not Billions’ most interesting players: Maggie Siff, as a psychiatrist-turned-performance-coach with an invisible, spooky command, could lead this series on her own.

Teachers (TV Land): Teachers is a part of TV Land’s makeover from reheated sitcom repository to smart comedy destination, and six-woman improv troupe The Katydids (their first names are all variations on “Katherine”) gender-flip Super Troopers into an elementary school, dosed with Broad City’s fearless, vanity-free pursuit of so-wrong laughs.

Not Safe With Nikki Glaser (Comedy Central): Comic Nikki Glaser gets right down to topics like “losing your virginity, masturbation and putting stuff in your butt!” Not Safe is a sex-and-relationships talk show with fellow-comedian gab and pre-taped bits—it’s been done before, but Glaser has the smarts and presence to rise to the level of Amy Schumer.

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Vinyl (Sunday, Feb. 14, HBO), series debut: “What? You thought records got played because they’re good?” sniffs American Century Records president Richie Finestra (Bobby Cannavale), explaining away the radio-payola tactics of his marketing right-hand man (Ray Romano), who secures the label’s bands airplay with a little coke and a lot of cash. Thing is, Richie loves good music—he can hear a hit instantly, and gets downright misty-eyed over the artistry. Likewise, Vinyl, an early-’70s-set remix of New York City music-scene fact and fairy tale, loves rock ’n’ roll, cramming real-deal period tunes into nearly every second of every scene (with the exception of the music of Led Zeppelin—glaring, since the band figures prominently, and hilariously, in Vinyl’s two-hour premiere episode). It’s all as excessive and beautiful as you’d expect a collaboration between Martin Scorsese, Terence Winter and Mick Jagger to be, blending Almost Famous’ music-saves earnestness with Velvet Goldmine’s visceral glam bombast and cranking it to 11, the buzz only blunted by the occasional too-long quiet stretch and cliché-weary voiceover. Like a good rock show, Vinyl’s first episode is exhausting—and there are eight more to come, so strap on your most-sensible platform boots.

The Walking Dead (Sunday, Feb. 14, AMC), winter premiere: When last we left The Walking Dead, Team Rick was leading (what’s left of) the Alexandrians quietly though the undead swarm that had breached the compound, disguised by walker guts but potentially exposed by Jessie’s son, who was whining for mommy. (Even in an apocalypse, kids are the worst.) Meanwhile, outside Alexandria, Daryl, Sasha and Abraham had a not-at-all-cute meeting with the Saviors, a new band of grandiosely named road goons—but these goons are in league with mucho-hyped baddie Negan (incoming guest star Jeffrey Dean Morgan), who’s being built up as the closest—thus, most dangerous—equal to Rick that the group has ever encountered. Not to mention all of the possible, comic-book-preordained character deaths—Happy Valentine’s Day!

Better Call Saul (Monday, Feb. 15, AMC), season premiere: The 2015 debut season of Better Call Saul was a minor miracle that not only borrowed elements from, and expanded upon, a seemingly impossible-to-follow milestone TV series (Breaking Bad—like you needed to be reminded), but also built its own world in the span of 10 episodes, and proved Jimmy McGill/future Saul Goodman (Bob Odenkirk) could headline his own show. Rather than sweat the follow-up to that follow-up, BCS jumps right back into the business of incrementally transforming small-time Albuquerque lawyer Slippin’ Jimmy into medium-time legal shark Saul Goodman. None show up early in Season 2, but it’s rumored that some (more) Breaking Bad characters will be making appearances on Better Call Saul—I know the odds-on favorite is Gus Fring, but I’m holding out for Badger and Skinny Pete.

Broad City (Wednesday, Feb. 17, Comedy Central), season premiere: Between Full Frontal With Samantha Bee and Angie Tribeca on TBS, Younger and Teachers on TV Land, and Idiotsitter, Not Safe With Nikki Glaser and now, returning champions Broad City, on Comedy Central, it’s a great time for female-led comedy on cable—and that’s not even counting the resurgence of Sarah Palin on the news channels. Ilana Glazer and Abbi Jacobson’s stoner Laverne and Shirley was already renewed for Seasons 4 and 5 ahead of tonight’s Season 3 premiere, which means at least 20 more episodes of Brooklyn misadventures with the other Girls, and the occasional Hannibal Buress sighting sans subtitles. But right now, the biggest news of BC3 is that presidential still-a-candidate Hillary Clinton will drop in on Ilana and Abbi, which may or may not prompt a Bernie Sanders guest rebuttal on Workaholics.

Teachers (Wednesdays, TV Land), new series: When Teachers was mentioned above, it’s entirely possible you thought to yourself, “What the hell’s that? Something else I have to catch up on?” Yes, it is—remember, There’s Too Many Shows. Along with The Jim Gaffigan Show, Impastor and Younger, Teachers is a part of TV Land’s makeover from reheated sitcom repository to smart comedy destination, and six-woman improv troupe The Katydids (their first names are all variations on “Katherine”) have inadvertently edged out Gaffigan on the funny front. (Sorry, Jim—it’s six against one.) Imagine Super Troopers gender-flipped into an elementary school, dosed with Broad City’s fearless, vanity-free pursuit of so-wrong laughs. We’re only six episodes into Season 1—catch up on Hulu and TVLand.com, now.

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Allegiance (Thursday, Feb. 5, NBC), series debut: Decades ago, KGB agent Katya (Hope Davis) was given the mission to seduce and recruit an American businessman (Scott Cohen). Instead, she fell in love with him, and the Kremlin just said, “Go ahead and move to the U.S.; we’ll be in touch.” Guess who now wants a favor from the couple and their newbie CIA-analyst son? Allegiance sounds ripped from today’s headlines about The Americans, but there are differences: It’s not the ’80s; theirs isn’t a KGB-arranged sleeper-cell marriage; and Davis can’t maintain a Russian accent. Still, it’s a solidly acted drama that somehow paints spy drama as dull as family drama, and like everything else NBC cranks out these days that isn’t The Blacklist, it will probably never be seen again after 13-ish episodes.

Helix (Fridays, Syfy), new season: So … what happened? Season 1 of Helix was a tense, claustrophobic Walking Dead/Andromeda Strain mashup set in the frozen Arctic that, while imperfect, still delivered a rush of dread and consequences. Now, I’m four episodes into Season 2, and it’s like a whole new show is taking an uneventful walkabout on the island of Dr. Moreau, with two storylines (one in the present, one in the future) competing for my indifference. Did creator/producer Ronald D. Moore (Battlestar Galactica) think the jumping timelines would work here as well as on his other current series, Outlander? Maybe TV has hit the ceiling of apocalyptic dramas, and it’s time to make some cuts, starting with Helix. Sorry, Ron.

The 57th Annual Grammy Awards (Sunday, Feb. 8, CBS), special: The good news: This year’s rock nominees do, for the most part, actually rock—there’s nary a banjo-beardy in the bunch, and as a bonus, what’s left of AC/DC is going to perform. The old news: The Grammys is still an utterly useless barometer of quality music, and LL Cool J is hosting again. (Is it part of his NCIS: Los Angeles contract, or what?) Also: Does Ariana Grande have to perform on every TV special ever from now until her 2016 expiration date? She does? OK, understood.

The Walking Dead (Sunday, Feb. 8, AMC), midseason premiere: When last we left Rick’s Rollers, the traveling band of survivors had lost what hope they had for a “cure” for zombie-ism, as well as poor lil’ Beth (oh yeah, spoiler). As of press time (a folksy remainder from the good ol’ days of print—oh, we’re still doing it), AMC had only provided this synopsis for the ninth episode of The Walking Dead’s fifth season: “After all the recent trials the group has faced, a slight detour might prove to be the solution they’ve been looking for.” The Grammys?

Better Call Saul (Sunday, Feb. 8, AMC), series debut: While the early click-bait reviews touting Better Call Saul as “better than Breaking Bad” may have been premature (only two episodes were made available for preview, fergawdsakes), the BB prequel/Saul Goodman origin story does arrive with more dramatic confidence and stylistic swagger than the introduction of Walter White did all those years ago—showrunner Vince Gilligan knows he’s earned all the creative freedom in the world now, and he’s not afraid to use it. After a somber glimpse at present-day Saul (Bob Odenkirk) in deep-cover, post-Walt anonymity (Saul did at least achieve the “best-case scenario” he mentioned in Breaking Bad’s penultimate episode), we’re back in early-2000s Albuquerque with small-time attorney Jimmy McGill on the cusp of becoming medium-time local-TV “celebrity” lawyer Saul Goodman. Gilligan and Breaking Bad writer Peter Gould have cooked up an unexpectedly rich back-story for Saul’s seemingly one-note comic character; the first episode alone should convince any doubters who saw no sustainable show here. It has all of the panoramic skies, lingering silences and occasionally jarring camerawork (as well as a couple of familiar faces) that the Breaking Bad faithful have been missing, just with the drama-to-comedy ratio tweaked slightly. But really, don’t sweat the Bad comparisons: Better Call Saul is its own thing, and it’s pretty damned fantastic. Better Call Saul continues Feb. 9 on its regular night, Mondays. See a trailer below.

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