Chanan’s concerns, though, aren’t existential ones, as he’s fashioned a murder mystery that laboriously connects modern surveillance to social media, war crimes committed in the Middle East, rising notions of fake news, and whistleblowers like Edward Snowden—all of which are referenced explicitly in the show’s dialogue. Adam. The series is certainly committed to the slow burn, with too much of its running time given over to Sam’s punchy befuddlement as he tries to separate dream from reality. Cast: Gabrielle Creevy, James Wilbraham, Jo Hartley, Poppy Lee Friar, Zadeia Campbell-Davies, Rhodri Meilir, Alexandra Riley, Di Botcher, Aled ap Steffan Network: Hulu. The young woman blows herself up in a building and cuts out all phone services. The twist-a-minute The Capture is compulsively watchable, but we’ve seen much of this before. Are there more sleepers? Gwen’s hope is no match for Beth’s fear, and Beth apologizes in advance for what she’s about to do as she takes Gwen hostage. The series concerns itself with boundaries and the way they blur, namely the differing standards of young adulthood between Italy and the base that technically functions as the United States. Arabella’s assault forces her and her closest friends, Terry (Weruche Opia) and Kwame (Paapa Essiedu), to examine their own sexual encounters, relationships, and histories, leading them to disconcerting conclusions about the various roles they play in relation to each other and their sexual partners.

Any blood, it seems, will do, and it’s certainly easy to imagine another context where another person like Brown points his fanaticism and violence in another direction. But someone threw that man out the fifth story window. Hardly a cowed victim, but shaken and traumatized, Arabella reevaluates and rebuilds her life after her attack. Though viewers may stick with The Third Day to the end to discover what Osea’s deepest and darkest secrets might be, its human drama is more compelling than any suggestion of the unworldly. That her personality shines through at all is both a testament to Creevy’s performance and the character’s determination to make a better life for herself, however misguided. I’m particularly enjoying Ianto’s unleashed sarcasm; it’s so great to hear someone tell Owen to get over his obsession with sex and get back to work with a single, well-worded statement. Brief point-of-view flashbacks to the attack that recur throughout the series complement Coel’s larger fascination with the role that memory and its interpretation play in the formation of identity. Cast: Jack Dylan Grazer, Jordan Kristine Seamón, Chloë Sevigny, Alice Braga, Spence Moore II, Kid Cudi, Faith Alabi, Francesca Scorsese, Ben Taylor, Corey Knight Network: HBO.

In “Ego Death,” the final episode of the British comedy-drama I May Destroy You, actress, writer, and series creator Michaela Coel confidently defies convention and, with it, any expectation that the events of the series, like life, can be tied into a tidy knot. This was a very well-constructed episode, coolly dealing with many difficult issues. The husband is still unconscious and the wife, blood spattered, is still curled up and freaked out, disavowing any knowledge of what happened. With a few exceptions, they’re primarily vehicles for shock and dire twists of fate rather than people to empathize with. Newly free but with nowhere to go, Henry travels with Brown’s tiny militia, acquiring the nickname “Onion” for eating a withered good-luck charm belonging to “the old man.” He’s also given a new way to present his gender, courtesy of Brown mishearing Henry’s name as “Henrietta” and thus taking him for a girl, giving him a dress, and treating him like an adopted daughter. That show’s protagonist, Jack Bauer, was a charismatic hawk who did things that most people to the left of Dick Cheney would find monstrous. For all the lived-in verisimilitude of its world, though, I May Destroy You also smoothly incorporates psychologically subjective and allegorical elements: The bar in which Arabella is assaulted is called Ego Death (a perfect summation of the consequent disintegration of her identity), and the book on sexual assault that she’s writing throughout the series is likely an in-text reflection of the creation of I May Destroy You itself. Triangulating a creepy space located somewhere between Ari Aster’s Midsommar, Robin Hardy’s The Wicker Man, and the TV cult classic The Prisoner, The Third Day works hard to not give too much away while still trying to pull viewers in. Jack is the one who figures out where Beth has gone: to say goodbye to her husband, still in the hospital. Her obsession with crafting a perfect external image of herself makes it impossible for her to form emotional connections with anyone, even people who genuinely care for her. He spends much of the first episode of director and co-writer Luca Guadagnino’s We Are Who We Are in animal-print shorts long enough to function as pants, being restless and fidgety and a detached nuisance in that post-adolescent sort of way, taking pictures of people inside classrooms or running through the middle of a basketball game between recruits. The series invigorates its material with the rousing trappings of a semi-comedic western. The man’s fury is biblical in both a metaphorical and textual sense, dribbling spit down the hairs of his chin as he declares slavery an affront to God while fervently quoting the Bible. As the wife dials the police, the husband suddenly comes flying back through the doorway. It was mostly luck, in the form of Beth, that let Team Torchwood win this round.

In one scene, the Muto patriarch, Koichiro (Masaki Terasoma), uses colored lights to illuminate some trees the way he once did at their ruined home, guiding the family back together.

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