Sarah Larson

“Knight”’s episodes are shorter and fewer than “Game of Thrones” episodes, and its scope, which allows for reasonable pacing, succeeds in all ways but one: the show, which was created and written largely by men, can feel like it. .... But if you love and miss this seven-kingdomed world, Dunk and Egg make excellent companions for the return.

The comedic possibilities of social awkwardness have been explored thoroughly in the past couple of decades in British and American entertainment, but Mitchell is especially good at evoking it, and the way it happens in “Ludwig” feels new. The series manages to function as a comedy, a drama, and a mystery procedural at once, and the awkwardness isn’t only for fun.

“In the Know,” packed with good writing and performers, could be a great show if it wanted to. More interesting subjects in and around NPR are there for the mocking. The question is whether the creators want to keep hitting soft targets—or whether, as Butt-Head once put it, they “just came here to break stuff.

For the most part, the storytelling in Season 2 continues to be masterly—plot arising from character and observation, almost all of it tremendously satisfying. But as Otis’s behavior deviates farther and farther from what he might advise others to do, culminating in an excruciating scene of drunken public jerkiness, I found myself wishing that the writers had made different choices, my suspension of disbelief pierced. Other elements help compensate.