Best-bets for Dec. 17: “Carol,” comedies, more

1) “A Christmas Carol” (1999), 8 and 10 p.m., TNT. It’s a three-Carol day, which some people might figure is two – or even three – too many. Freeform has the Jim Carrey version (2009) at 3:45 p.m.; FX has the Guy Pearce one (dark, dreary and way too long) at 8 and 11:30. But give this one a try; it’s sharply filmed and Patrick Stewart (shown here) is the consummate Scrooge. Read more…

1) “A Christmas Carol” (1999), 8 and 10 p.m., TNT. It’s a three-Carol day, which some people might figure is two – or even three – too many. Freeform has the Jim Carrey version (2009) at 3:45 p.m.; FX has the Guy Pearce one (dark, dreary and way too long) at 8 and 11:30. But give this one a try; it’s sharply filmed and Patrick Stewart (shown here) is the consummate Scrooge.

2) “B Positive” and “Mom,” 8:30 and 9 p.m., CBS. After a week of reruns, these terrific comedies have new episodes. First, Drew has a fresh approach to Gina, who will be his kidney-donor if she doesn’t stray: He downloads a tracking app. Then Bonnie frets when her husband tries wheelchair-skiing. A dream scene even includes Kevin Pollak, whose character (Christy’s dad) died six years ago.

3) “Star Trek: Discovery,” 10 p.m., CBS. These are words that you never want to year from a first officer who’s skilled in navigation: “I don’t know where we are.” He said that at the end of last week’s episode; now he adds: “Almost nothing is where it should be.” We’re talking parallel universes; roles must change and the meek must snarl. It’s a tangled but terrific episode, complicated by other troubles: The chief engineer is nearly comatose; the security officer has flashbacks to capture and torture.

4) “Grey’s Anatomy,” 9 p.m., ABC. Shows have been diligent about reflecting current crises. Now the hospital finds itself on surge capacity protocol. Meanwhile, Owen and Amelia face one of their most controversial surgeries.

5) “The Stand,” any time, CBS All Access. Sure, Stephen King’s mega-novel has been filmed before. But that was a four-hour mini-series, 26 years ago; this ambitious version will sprawl across nine hours (one a week), with modern special-effects and a new ending written by King. This is tough viewing at first – partly because it’s set in a pandemic and partly because it jumps back and forth in time. Stick with it, though; the individual characters are intriguing and they’ll gradually merge.

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