While the first episode of Legends could have fleshed out some of the main characters a little better, it does just enough — with enough restraint — to keep us watching.

Shows like How To Die Alone completely depend on the charm of the star and the cast. And Natasha Rothwell is definitely charming. But she has also built a cast around her that we want to see more of.

Ultimately Only Murders in the Building doesn’t break new ground so much as it deftly embraces what makes the mystery genre so universally compelling.

The Boys continues to build towards a climactic confrontation, but with a story that has reached the point where it’s become personal and intimate. We hope that continues, even if it exists alongside the action and funny moments.

Sasquatch may not prove to you one way or another that sasquatches actually exist, but it’s an entertaining true crime story with some interesting twists and turns.

Oswalt’s comedy will put you at ease for an hour.

The dialogue is as snappy as ever, and the spying scenes are just as tense as you’ve come to expect. If anything, these elements have only been sharpened in Season 2.

Your Friendly Neighborhood Spider-Man is a visually-stunning animated series that has a fresh take on Peter Parker’s early days as New York’s only webslinging crimefighter.

Because The Recruit is at its heart a silly action series, its success really leans on Centineo’s charm and the comedic vibe of the show’s writing, and that continues in the second season.

Our Flag Means Death continues to emphasize story over gags, and manages to be both funny and touching at the same time.

By shifting its focus from Dev to Denise, Master Of None gives us a third season that’s fresh and poignant and makes us want to see more after its first episode. Does it trip over its own pretentiousness at times? Sure. But that’s not a deterrent for us.

Queens is one of the best new fall network series because it’s smarter than it needs to be and leans hard into its frothy premise.

The series is only getting more ambitious as it moves into season 3, which rewards the viewer with greater stakes for core characters we’ve come to know.

While we’re a bit disappointed in the dark turn The Boys has made as it goes into its final season, we’re looking forward to seeing how Eric Kripke and company bring the story to an end.

In the second season of Shrinking, Lawrence’s patented “found family” vibe is in place, with different segments of the excellent cast mixing and matching easily in storylines that feel earned and unforced.

This new take on Mr. & Mrs. Smith is funny and full of surprises, with great chemistry between Glover and Erskine that may lead to some interesting sexual tension as the series goes on.

If you give Flanagan’s new miniseries the time and respect it deserves, you’ll be treated to a soulful and gorgeously acted novel about what faith, religious or otherwise, means that concludes with a truly spectacular finale. Seen in its entirety, Midnight Mass is haunting, one of those shows that threatens to lurk in the corners of your mind and question your long-held beliefs long after you finish the last episode. But if three hours of buildup seems like too much, you may be better off rewatching The Haunting of Hill House.

There are a lot of elements that make Welcome To Wrexham a fascinating watch, namely how two Hollywood superstars are going to come into a small Welsh town and try to turn around its football team without making like they’re saviors.

Hillary gives viewers the chance to go beyond soundbites and stereotypes, if they dare.

Wonder Man is a Marvel show that’s accessible to even non-Marvel fans mainly because it’s less about the MCU and more about an actor who is trying to land the biggest role in Hollywood while not getting too lost in his own head. If that includes his superpowers, all the better.

Matthew Macfadyen is quite good as the somewhat vapid, wholly incompetent John Stonehouse. The rest of Stonehouse feels like it’s a bit light and trivial, but it wisely puts Macfadyen front and center in just about every scene.

If you’re in the mood for a lighthearted giggle, this is not the special for that and Netflix is packed with dozens of others that do provide this service. It didn’t make me laugh and I believe the intention was to do so, even more than her previous special.

Ultimately it’s the characters who shine this season, and that hold the show together. The ensemble has hit its groove in Season 3, and everyone gets time in the spotlight. ... The first four episodes feel sleeker and breezier; lighter, like Burnham.

Jones and Oyelowo carry the first episode of Silo with great performances. But the rest of the cast, as well as the hopeful ending and Yost’s proven storytelling ability, tells us that the show won’t be a typical depressing dystopian drama.

Obviously the series will be of interest to anyone familiar with the playable characters. But we feel like this Devil will work just as well for those who’ve never played the video game on which it’s based.

The new version of The Wonder Years doesn’t try to be like the original, and that’s a good thing. It doesn’t have the impact the original one had, but we’re confident that it’ll follow its own comedic path and become one of the better network comedies.

Losing Alice is setting up to be an interesting erotic thriller. But, more than most shows, it hinges on its main character. And Ayelet Zurer absolutely hits the right notes as Alice.

While we still enjoy High Potential, especially now that Olson and the rest of the cast have settled into a nice rhythm with each other, we hope that the continuing Game Maker storyline doesn’t disrupt the show’s flow as much as it does in the first episode of Season 2.