We do admit that Ripley gets off to a bit of a sleepy start. But we’re intrigued by both Scott’s take on Tom Ripley and Zaillian’s decision to give Patricia Highsmith’s story a noirish patina.

Murderville isn’t a show you watch for any sort of story; you watch it to see how the guest stars react to what’s going on around them. And you watch it to laugh. And you’ll laugh a lot.

We’re definitely on board with watching how The Miniature Wife is going to pull things off, both technically and storywise, but mainly because we’re confident that Banks can handle the challenge of playing someone shrunk down to six inches, and Macfadyen is always so good at playing weasels.

Cold Case: Who Killed JonBenét Ramsey fills in blanks in the JonBenét Ramsey case that have faded over the decades, and brings information to light that gives an indication that the case could still end up being solved.

With a top-notch host in Alan Cumming, tricky, high-level game play, and a tantalizing cross-section of reality show talent as its players – competitive Survivor styles up against Real Housewives wiles, or reality randos confronting established format schemers – Traitors is taking reality competition to stylishly outrageous new levels.

Life In Color With David Attenborough is informative and visually stunning, of course, but the technology behind some of its more interesting scenes is what makes us want to keep watching.

It helps that Favreau is heavily involved in this series, because it was his initial vision that brought this series to fruition, and his acting chops help him move the interviews along with a funny line or keen observation. The first episode is also helped by the fact that the season’s directors are such a dynamic bunch.

There’s some genuine big laughs and a few story questions that should keep us intrigued.

The series has a sly, puckish humor and inexhaustible bravado that more than makes up for some of the more ridiculous aspects of the plot. Reacher succeeds thanks to an abundance of charm, an interesting central mystery, a slew of exhilarating fight scenes, and dynamic performances and undeniable chemistry from Ritchson, Goodwin, and Fitzgerald.

Social Studies doesn’t tell you anything you haven’t already heard about teens and social media. But the sheer volume of what Greenfield shows teens being up to will scare any parent more than any blood-and-guts show Ryan Murphy can come up with.

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.