Welcome to Now See This, THR chief TV critic Daniel Fienberg’s weekly viewer guide newsletter dedicated to cutting through the daunting clutter of the broadcast, cable and streaming TV landscape! Comments and suggestions welcome at daniel.fienberg@thr.com.

Mormon This/ You Know There's Nothing/ Mormon This

Adapted by Oscar winner Dustin Lance Black from the book by Jon Krakauer, FX's Under the Banner of Heaven — only available on Hulu and not actually airing on FX — is one-third true-crime murder mystery, one-third history of the LDS Church and one-third exploration of the origins and price of religious fundamentalism. Our Angie Han calls it "a powerful portrait of violence and faith." The seven-part series is unsettling and evocative, and the superb cast — standouts include Andrew Garfield, Daisy Edgar-Jones and Wyatt Russell — sells the tough material. Check out this week's  TV's Top 5 podcast as Black discusses the decade-long journey from feature to limited series for Under the Banner of Heaven.

The Time Has Come, the Walrus Said, to Talk of 'Better Things'

Speaking of TV's Top 5 podcast — and I do every chance I get — we had a double-episode week, with an 80-minute stand-alone conversation with Pamela Adlon about the five-season journey of her remarkable FX comedy  Better Things . Be sure to watch Monday's series finale first, mind you, because we discussed many of the elements that made me laugh, cry and, when it comes to the last shot, scratch my head in pleasure. It’s truly one of the best shows of the past decade, and Adlon is a candid and hilarious interview subject.

'Ozark,' the Great and Terrible

If Better Things is and has been one of my favorite shows, Netflix's Ozark has been one of my most infuriating shows, a mixture of fantastic performances (Julia Garner and Laura Linney, especially) and somber, unearned prestige-TV self-importance. All I'll spoil about the last seven episodes is that they're fairly eventful, they bring back some familiar faces, and the finale makes a lot of sense in the context of the series. Already missing Ozark? Allow me to recommend Apple TV+'s  The Morning Show, which is Ozark for the media elite. And no, I'm not sure I mean that as a compliment. Assuming you're already watching The Morning Show, check out Apple TV+'s Mosquito Coast, which is Ozark for the electric car set.

When You Come 'Undone'

It's a golden age for TV shows about women battling time travel, time loops and other forms of shifting reality. First, Natasha Lyonne found a subway car to the past in the second season of Netflix's Russian Doll. This week, Elisabeth Moss begins to notice unexplainable changes in her life related to an untraceable serial killer in Apple TV+'s  Shining Girls, which uses the conceit as a way to explore trauma. Finally, the second season of Amazon's Undone puts our rotoscoped heroine (played by the wonderfully expressive Rosa Salazar) through new adventures in the multiverse in a more plot-driven run of episodes focusing on exploring family secrets.

Leave 'The Offer,' Take the Cannoli

The best thing about The Offer, Paramount+'s 10-part limited series about the making of The Godfather, is that Paramount+ has also made the Godfather trilogy available to stream for the first time in a while. Other good parts of the overlong Wikipedia entry brought to life? Matthew Goode is pretty decent as Robert Evans. And… it'll make you want to watch The Godfather again. For new entertainment industry satire, you're probably better off watching Ten Percent, the British remake of Netflix's Call My Agent! , which hits Sundance Now and AMC+ on Friday and BBC America on Sunday. Or watch Call My Agent!

This Week's THR Staff Pick

Senior editor of diversity and inclusion Rebecca Sun raves, "Soo Hugh's adaptation of Pachinko  for Apple TV+ is structurally so different from Min Jin Lee's best-selling novel that I recommend treating them as distinct works that play to the strengths of their respective mediums. For Asian Americans, our connections to our ancestors are too often severed by geography, language and the cruelties of history. So the decision to interweave the generational plotlines, enhanced by the sensitive performances of the uniformly excellent ensemble, creates an especially poignant juxtaposition and an alluring sense of familial continuity."