SERIES PREMIERE: Queer Eye for the Straight Guy was a Bravo series than ran from 2003 to 2007. When it began, it was a breath of fresh TV air: Even in that early era of reality TV and makeover shows, it was a decidedly and unusually warm-hearted series, with more heart than heat. That made it different from the Gordon Ramsay model, and also came at a time when the show’s very premise – five gay guys advising straight men on fashion, cooking, grooming, decorating and other lifestyle factors – was a welcome and arguably influential advancement in the national perception of gays, like a DIY Will & Grace. The original show was delightful, and easy to watch and support, for those very reasons, at least for the first few years. Then its formula became so familiar, and its weekly emotional peaks so repetitive, that the show just became less compelling – which also happened, after time, with Survivor, The Amazing Race, and other reality shows I used to recommend. All this is to point out that starting today, Netflix has revived the series with a new cast of advisers, and a shorter title: Queer Eye. So if you were faithful to the original throughout, or are nostalgic for it now, or just want to see how the concept plays in 2018, here it is.

Yesterday, Encore showed Parts 1 and 2 of this unsurpassed 1989 Western miniseries. Tonight, it concludes its showing with Parts 3 and 4 – and nearly 30 years after it was televised by CBS, Lonesome Dove remains one of the high points in TV history. Robert Duvall and Tommy Lee Jones star, and both men are fantastic: Duvall with his grand and playful dialogue, and Jones with his quiet reticence, saying so much with so little. In the history of Westerns, you can go straight from the movies of John Ford to the early TV series of Gunsmoke and Bonanza to the miniseries of Lonesome Dove to the HBO series Deadwood and the Netflix series Godless, and pretty much have a great representative history of the genre.

Tonight’s new episode is called “Kitten,” and asks whether the original X-Files duo, Scully and Mulder, should continue to trust Skinner, their original FBI boss and champion. Perhaps the truth is in here – but I wouldn’t count on it being the final word.

This 2015 Disney Pixar movie is being shown in prime time, which broadcast TV doesn’t do as much as it used to. But this is a family affair, and it also happens to be, like almost everything put out by Pixar, a wonderful little film. Amy Poehler provides the voice and personality of Joy, one of several emotions personified within the conflicted brain of a young girl named Riley, who’s not exactly thrilled that she and her family are moving to a new city. Other prominent emotions are played, quite charmingly, by Bill Hader (Fear), Mindy Kaling (Disgust), Phyllis Smith (Sadness), and, most vociferously, Lewis Black (Anger).

Best Visual Effects Winners are being saluted tonight on TCM’s “31 Days of Oscar,” and the prime-time showcase begins with what I consider the most far-reaching, astounding-for-its-time special effects and visual effects movie of all: Stanley Kubrick’s 1968 masterpiece, 2001: A Space Odyssey. It’s an astounding movie in every visual aspect, even before it gets to the part set in the future. Take, for example, that now-iconic black monolith. Not even the latest iPhones are that sleek.

It’s now episode four, and Andrew Cunanan (Darren Criss) gets even more lethal… clearing his path towards the murderous act in this miniseries’ title.

The stock market takes a one-day major dive.  President Trump’s attorneys advice him not to testify before investigator Robert Mueller. The Philadelphia Eagles beat the New England Patriots in the Super Bowl. What will Samantha Bee tackle first? And most emotionally?