Welcome back to Tune In: our weekly newsletter offering a guide to the best of the week’s TV.
Each week, Variety’s TV team combs through the week’s schedule, selecting our picks of what to watch and when/how to watch them. This week, the Netflix wrestling series “GLOW” premieres along with ABC’s “Boy Band,” while “Fargo” wraps up its third season.
“Queen Sugar,” OWN, Tuesday, 10 p.m.
In the series’ second season, the Bordelon siblings struggle to move forward with their lives as they strive to honor the legacy of their father following his unexpected passing. Charley relocates to Saint Josephine, Louisiana to help run the family business. As the only black female sugarcane mill owner, she must fight to regain her independence while rebuilding her relationships with her estranged siblings.
“Fargo,” FX, Wednesday, 10 p.m.
The third season of the critically-acclaimed FX series wraps up this week. Set in 2010, the third installment centers on Ray and his more successful twin brother Emmit Stussy (Ewan McGregor). Their sibling rivalry follows a twisted path that begins with petty theft but soon leads to murder, mobsters and cut-throat competitive bridge. This season also featured Mary Elizabeth-Winstead, Carrie Coon, and David Thewlis.
“Boy Band,” ABC, Thursday, 8 p.m.
This new reality competition series will feature thousands of performers competing for one of 18 spots in three bands, with Timbaland, Spice Girl Emma Bunton and Backstreet Boy Nick Carter as the judges — referred to on the series as “architects.” Over the course of the season, the architects will shuffle members from band to band. After elimination rounds driven by fan voting, five winning performers will be selected to form the final band, which will perform its debut single on the season finale and receive a recording contract at Hollywood Records.
“GLOW,” Netflix, Friday (CRITICS’ PICK)
“GLOW” is feminine, but not precious; period, but not nostalgic. It’s an honest show that is satisfyingly, surprisingly intimate. And — refreshingly — it eschews building up its women as sexualized totems, in order to observe how those women might pursue that process themselves. It’s a smart move; “GLOW” is a smart show. It’s precisely weighty enough, without the bloat and spotty pacing that characterizes other streaming shows. There’s an interesting disorientation to the editing and pacing that keeps the audience on its toes, and the neon lights and bright lycra make for easy, fun viewing coupled with quality storytelling. Much like this era in women’s wrestling, it is glorious and weird and different, and goes by way too quickly. At least with Netflix’s “GLOW,” we can hope for more. (Read the full review here)