Down For Love is warm and funny, and shows yet another example of how universal the concept of looking for love is.

Bodies takes what could be a confusing premise and crafts four distinctive stories that will eventually be linked together.

The Forsytes might be a little bit more sudsy than classic takes on the Saga, but it’s still incredibly well-acted and gorgeous to behold.

By flipping the perspective, Payback gives the traditional British crime thriller a somewhat fresher look, but it’s the show’s leads that really get our attention.

Despite the fact that Buying London feels very familiar, the new personalities and the unique homes serve up everything we want in a show like this.

Even if you haven’t seen any clips of Jeselnik before, this serves as a perfect introduction to him.

Wolf Like Me solidifies its surprisingly warm story about a family that rallies together despite some pretty significant baggage, not the least of which is the fact that one of them is a werewolf.

While not hilarious, The Residence has funny moments. Paired with Uzo Aduba’s mesmerizing performance as Cordelia Cupp, the show is very watchable.

I Just Killed My Dad is the rare true crime docuseries that tells a story that hasn’t been picked apart and retold over decades, and tells the story in a brief, relatively compact manner.

Mary & George takes bold swings, with regard to its approach to the period’s details and to its depiction of history. These swings are wild enough that it could off-put purists of the genre, but I was delighted. Mary & George is the type of show pushing the period drama genre where it needs to go in the future: to a vision of the past that shows us how similar it really was to our present.

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.

Love Is Blind Season 2 reveals what the show really is, what the producers want to focus on and what kind of applicants they want to cast. The result is a show that is a bit more structured but infinitely more chaotic — and yet somehow still uncomfortably genuine.

Despite some stylistic touches that sometimes distract, The Andy Warhol Diaries is a fascinating look inside the mind of one of the 20th century’s most famous figures, a person who had no intention of letting anyone but his closest friends and family see his real self.

The final season of The Comeback is as funny and self-aware as the first two seasons, mainly because Kudrow continues to make Valerie Cherish one of the least self-aware characters on television.

George Carlin might’ve beaten Gaffigan and most everyone else to the punch 15 years ago by joking about how long to keep your dead friend’s phone numbers, but only by now could you also find a comedian such as Gaffigan to remind us that strangers will invariably inherit those phone numbers, and might wonder how they ended up in your family’s group chat.

Yes, Should I Marry A Murderer? is completely one-sided. But Caroline Muirhead is so compelling to listen to as she recalls this harrowing story that we hung on her every word.

The return of Scrubs works because it acknowledges that its characters have changed with age, and while it struggles to integrate its new generation of characters, there’s still more than enough laughs to satisfy the original’s most ardent fans.

Good Omens returns after a four-year hiatus with a good story and the same funny chemistry between its stars.

Ludwig is a fun mystery series to follow, mainly because of David Mitchell’s performance as a reluctant detective who’d rather just create puzzles alone in his flat than solve murders.

Instead of making Diane Dunbrowski a walking Chicago joke machine, the creators of Chicago Party Aunt have actually given her a heart and a rudimentary moral code. And that will be how the show will be able to sustain itself for multiple seasons.

Despite the scope of this final season, though, the show is still accessible to fans and non-fans.

Dollface gives viewers one of the coolest experiences of all: watching someone find their passion. This season is littered with little moments like these, honest parts of everyday life that only feel profound because we never see them portrayed.

The House Of The Spirits is a well-acted, beautifully-shot adaptation of Allende’s classic novel that takes its time to luxuriate in the lives of Clara and Esteban but keeps things moving as the story progresses through over 50 years.

Coastal Elites offers enough talent, laughs, pathos and outright venting to warrant watching it.

Calamy’s performance as the delusional Chris makes The Confidante a very intriguing series. We just hope that the Bataclan attack is more of a factor in the show than just being the launching point for Chris’ lies.

Jentry Chau Vs. The Underworld boasts a good story, a fun visual style and fine voice performances from Wong, Yang and Chinn.

The drama (all eight episodes were provided for review) never seems to settle on whether this corrupt and eccentric woman is the hero or the villain of her own story, the aggressor or the victim. Watching Sarah Paulson navigate those extremes is chilling. ... These inconsistencies work together to make Nurse Ratched more terrifying in her unpredictability. ... But where Ratched really shines is through its stylized love of gore.

The second season looks like it’ll be more complex than the first, but we’re confident that the second season will be as cohesive as the first.