Buried in their renewal news the other day was an NBC nugget: while “Law & Order” and “SVU” each got 22 episode orders for the fall season, “Organized Crime” got only 13.

Huh? “SVU” and “Organized Crime” have run in tandem every since the latter show arrived as a spin off. “OC” has never aired on its own independent of the 25 year old “SVU.” It’s just been used as an opportunity to milk the pseudo romance between Mariska Hargitay’s Olivia Benson and Chris Meloni’s Elliot Stabler. They even killed off Stabler’s wife to achieve that goal.

But “OC” has never caught on. Its ratings are way below the other two shows. The Meloni show is now on its fifth show runner and never has achieved its own identity. No one knows what its purpose is, why it exists other than to have Stabler ready to flirt with Benson at a moment’s notice.

The idea was that “OC” would be the third part of an all-Thursday Dick Wolf block on NBC, the way he has the “Chicago” shows on NBC Wednesdays and “FBI” night on Tuesdays on CBS. To get “OC” on the air, NBC had to knock off the popular “Manifest,” which led to protests and Netflix taking on the other show so it could play out its cliffhanger plots.

So now what? What happens when “OC” runs out of shows? Will Wolf cede his third hour on Thursdays? Will Meloni move to “SVU”? Will all of “OC” be used as crossovers with “SVU”? And will we ever know what “Organized Crime” was about?

Literally, stay tuned…

I’m going to start backwards here.

The final episode of “The Marvelous Mrs. Maisel” doesn’t come until the end of May. We’re not allowed to say much about it yet. Only you should know that the Emmy winning show comes to a glorious ending, the kind you hope for in every beloved TV series. The voices of both Bob Dylan and Barbra Streisand are heard and the final thank you is to Kitty Bruce, daughter of Lenny. Amen.

On the 14th of April, first three episodes of the last season pick up where we left off: Midge, returning from walking around in a blizzard, comes home and has to make decisions about her career. She’s burned a lot of bridges. Nearly always self-destructive in her quest to become a famous female comic, she has to figure out a way to make it work.

This much I can tell you: each episode of this season begins with a flash forward. We learn what happens to all the characters in the future, a neat little device that tells its own story over nine installments. I won’t tell you their fates, but it;’s enough to say almost everyone gets what they want, which is nice. It’s not all perfect, and it’s kind of realistic in a Maisel-type way.

Throughout this season, as in the past, the writing and direction are superb. All the group scenes, musical numbers, and so on are like mini productions within “Mrs. Maisel.” They are choreographed with wit and intelligence, and designed to the nth degree. Every single below the line artisan deserves an award. Daniel Palladino’s direction if it were on Broadway would get a Tony Award. The precision of these executions is mind blowing.

The acting, though, and the writing that informs it what gives the show charm and heft. Rachel Brosnahan is like a combination of Mary Tyler Moore and Marlo Thomas from the 60s. She sails through her scenes, making the light and dark seem easy. Alex Borstein’s Susie is a wise cracking fluid Rhoda and Ethel Mertz. Tony Shalhoub — especially in an episode where he has a Woody Allen like sit down dinner with four colleagues — is wise and wonderful.

The rest of the cast deserves every ensemble award. The Maisels– Caroline Aaron and Kevin Pollack, Rose Weissman, played by Marin Hinkle, all the supporting people are so sharply drawn, each pulling out new unexpected textures. The Palladinos manage to give everyone something to do — Susie’s sister appears in a live industrial musical, the Maisel maid gets married in the Weissman living room.

Some info: Stephanie Hsu, who made and got nominated for an Oscar in “Everything Everywhere” between “Maisel” seasons, has a farewell scene and leaves Joel high and dry. It’s a little awkward to move on. Joel. who’s always a bit of a rat, acquits himself by making a life changing sacrifice for Midge. Other guest stars wander in and out, like Hank Azaria and Sutton Foster. The very good Reid Scott, from “Veep,” becomes Midge’s foil as Gordon Ford, a New York talk show host a la Jack Paar. Jane Lynch makes a cameo as Sophie Lennon. There are nods to pretty much everyone we’ve seen in the series. The whole enterprise is more than just satisfying.

This is pretty weird.

Of course, no one wants to be associated with Mel Gibson. So it should come as no surprise that neither Gibson’s face nor name appear in the teaser trailer for a new Peacock three part series called “The Continental.”

The show actually stars Colin Woodell. It’s set in the New York in the 70s where the only Continental was a gay bath house. It’s unlikely Mel is the proprietor. The Holocaust denying anti-Semite and racist doesn’t seem like he’d be doing that.

There’s plenty of gun play, as seen below, but no hint of Gibson, Hollywood’s most reviled Public Enemy Number 1. I can’t believe anyone agreed to work with him at all.

The biggest spoiler in “Succession” is from this past Sunday: Logan is dead.

Well, he’s still in the room and present as ever in Episode 4. All the talk is about him, good and bad. Mostly bad. The man is not in his grave yet but his memory and reputation are being used as ping pong balls and bargaining in chips at the board of Waystar comes to pay its respects in his lavish Park Avenue apartment.

The whole episode should be titled “Sitting Shiva, with Swords.”

Everyone who should be in this episode appears or is mentioned except for Logan’s brother, Greg’s father, played by James Cromwell.

There are many revelations and plot twists. The conversation seems more raw and brutal as characters appear to be telling each other off in more unguarded ways than ever. Tom and Greg are particular targets, which leads to Geri giving my favorite line of the show to Tom, who has just taken an hors d’oeuvres from a tray: “You might want to put down that fish taco. You’re getting your melancholy everywhere.”

Shiv gets a few surprises, Kendall gets one, and special kudos go to Peter Friedman, who is quite touching, and Zoe Winters, very moving work.

Much more cannot be said til Sunday. But if this is a foreshadowing, the funeral episode — presumably a week from Sunday — should be titled “Monster’s Ball.”

PS This year HBO should bring back their Emmy party. They’re going to have truckloads of them when you factor in “House of the Dragon,” “Hacks,” “Barry,” and “The Last of Us.”