Aggressive and neurotic, non-Jewish sex/dating podcaster Joanne doesn’t know what a good relationship looks like and responds to considerate gestures with caustic defensiveness. Hip and cool rabbi Noah is Zen and pragmatic, comfortably old-fashioned yet modern and not the least bit corny. Yet there’s an undeniable chemistry between the two in this rom-com series whose on-point humor is tempered with an undercurrent of seriousness.

This three-part limited series pivots around Prince Andrew’s much-publicized alleged sexual activities with one of Jeffrey Epstein’s sex trafficked young women, Virginia Giuffre (neé Roberts). Specifically, it focuses on the 2019 interview Prince Andrew gave to journalist Emily Maitlis for Newsnight, a BBC television news program.

Exquisitely shot Middle East landscapes, Alia Shawkat’s steely portrayal of a character in perilous danger, Bridges’ pitilessly pugnacious fight scenes, and his sparky chemistry with Lithgow make The Old Man a must watch.

Music documentary plus real-life scandal makes for a heady mix. The three-part docuseries Dirty Pop: The Boy Band Scam focuses on the late talent manager Lou Pearlman, mastermind and master scammer.

Academy Award winner Natalie Portman is narcissistic Jewish housewife-turned-amateur investigative reporter Maddie Schwartz and Emmy-nominated Moses Ingram (The Queen’s Gambit, Obi-Wan Kenobi) is Cleo Johnson, self-sacrificing mother of two who is doing what she needs to “step up” as a Black woman in 1960s Baltimore in this gripping noir thriller based on Laura Lippman’s bestselling 2019 novel of the same name.

The start of the third season of The Bear is more dramatic and melancholy than comedic. The stakes are set high as Carmy aims to attain his fine dining glory. The camera work is unrivaled, and the cast is swiftly and impeccably reintroduced when the new shift starts. The latter is in keeping with the sitcom conventions of yore, but this series defies easy categorization.

Lady Parts are an all-female punk group whose Muslim faith underscores their decisions, their actions and their music. Stereotypes are cast aside. In their place are four distinctive and well-crafted central characters.

Based on the 2015 book of the same name by Stephen Witt, the grammatically incorrect How Music Got Free is in two 42-minute parts, highlighting the outright thieves who changed how consumers access music.

“Loud, brash, confrontational, bitchy,” is how the titular character in Queenie describes herself. That sounds intriguing, except that Dionne Brown, who plays Queenie, a Jamaican British 25-year-old woman working as a social media assistant at a London newspaper, delivers that description in “She’s Royal,” the sixth of eight episodes in the debut season of the series. By that point, Queenie has proved she is anything but those four descriptors.