It’s April, so I must be writing about “Bosch.” This is the fifth straight year I’ve taken note of a new season (now the sixth) of Amazon Prime Video’s Los Angeles cop show based on Michael Connelly’s Harry Bosch novels. It’s an indulgence in a time when many worthwhile series go unremarked. This year, I can rationalize it as coronavirus-related: “Bosch” is my comfort show, the one I binge the day it’s available. On Friday I’ll be quarantined in my happy place.

The show adheres to a tough-guy ethic from another era of television — you wouldn’t be surprised to see a “Cannon”-vintage Quinn Martin credit pop up onscreen — and there’s something a little retrograde and formulaic about the conception of Bosch, a non-dirty Harry who plays it mostly by the book but sits on deep reserves of righteous anger. In practice, though, nuanced writing (under the showrunners Eric Overmyer and Daniel Pyne) and a marvelous performance by Titus Welliver make Harry a singular character, a California combo of stone-faced avenger, laid-back hipster and tireless gumshoe.

Strong, silent types take up a smaller share of the TV landscape than they used to, but another prime example also returned this week: Doron Kavillio (Lior Raz) in the Israeli drama “Fauda,” whose 12-episode third season arrived Thursday on Netflix.

“Fauda,” about an undercover Israeli counterterrorist unit, is set in the claustrophobic environs of the West Bank and Gaza and continually rattles with the sound of automatic weapons; it’s a very different show from the quieter and more deliberate “Bosch.” But at the core of each is that same laconic hero, the volatile outsider who bends the rules (in Harry’s case) or shatters them (in Doron’s) in order to uphold a status quo that’s showing serious signs of wear.