Truelove is the rare show that can combine elements of a thriller with real emotional propulsion. The fact that it addresses so many issues about aging, illness and death in a way that’s more matter-of-fact than maudlin is an achievement.

Yes, Boots is in many ways similar to many “misfits in the military” comedies that have been a staple of TV for decades. But entertaining characters will always be the key to making a show in this genre work, and this show has plenty of them.

The fact that we have a solid idea of who Kim is at the outset is more than enough for us. ... While Two Weeks To Live needs to deepen a few other characters, it set up its story very well in its first episode, aided by the fine lead performance of Maisie Williams.

The thing that sets this show apart is that so much of the story is told through real video and photos and it doesn’t need embellishment or Dateline-style narration, the facts of the case and Faison’s measured approach carry us through what could have otherwise been excessive or exploitative.

Physical‘s third season is as dark as ever, but thanks to the (darkly funny and decidedly not adorkable) addition of Deschanel, we’re invested and can’t wait to see how Sheila’s story ends.

The third season is challenging but worthwhile.

We learn their names, we see their handwriting, and in their own words we hear how they interpret their own experiences. It’s very personal, and made more so by Etheridge’s own journey, as both a mom who lost her son and as a cancer survivor.

The voice cast is excellent; Hong is especially good as the adventurous Grandpa. .... Gremlins: Secrets Of The Mogwai should be a good entry point into the Gremlins legend for kids, and it’s sophisticated enough that their parents should enjoy it, as well, even if they watched the original movie with their hands covering their eyes.

The mysteries this new version discusses are fascinating and the episodes are well-researched with good storytelling. We just wish they named it something else.

There’s something incredibly charming and, dare I say, empowering about For the Love of DILFs lo-fi aesthetic.

Waddingham knows what her fans – and Ted Lasso fans – want, and she delivers.

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.

XO, Kitty works because Cathcart knows Kitty very well at this point, the story takes turns that aren’t the usual artificial romcom plot contrivances, and there’s enough layers to make the show more than just about its central romance.

We’re not investing in the stakes of the missions Archer and the team take on. We’re investing in all of the goofs, crass moments, and self-involved absurdities that come along with it. That’s what was funny in 2009, and it’s funny in 2023 as Archer prepares to shut it all down.

The tone and pacing of Predators is the key to what makes it a compelling watch. The cinematography is spectacular, as you might expect from a series like this. Hardy’s narration provides lots of tension without sounding foreboding.

Industry is chock full of people being deliciously awful toward one another and making blatantly personal plays for financial gain, making all of their machinations eminently watchable.

Colin In Black & White is a biographical story with a social message to tell, but it’s also a genuinely entertaining series, and it’s worth your time.

The series still makes wonderful use of clean, empty spaces by giving them a foreboding air. Combine this with the evocative music of Yutaka Yamada, pulsing and urgent all at once, and we felt re-immersed in the world the series imagines before we even re-entered the world it imagines.

Ali Wong cuts right to the chase. She wants the chase. She misses the chase. Wong demands your attention from her opening line.

The Beast In Me benefits from a focused story that puts its Emmy-winning leads in a good position to do their best work, especially when they’re on screen together.

Flanagan’s ability to weave this story is helped by the fact that he has regulars like Greenwood, Gugino, Thomas and others in prominent roles, and pros like McDonnell and Lumbly joining his family of players. They know what’s required in a show like this and they make the most of what Flanagan gives them.

Even though Muhammad Ali is getting the “Ken Burns treatment,” the docuseries Muhammad Ali is reverent but unafraid of digging into what made Ali tick and the people who influenced the most.

The unexpected guest spots, like Duchovny as the depressed ice cream truck driver, are also hilarious. But what Dildarian has done a good job of is building the community around Tom, where characters voiced by people like John Malkovich fit in well.

Gunther’s Millions presents an unbelievable story that goes from ridiculous to insane, but in a way that keeps the audience on its toes.

The endearing, energetic Mosley makes Last Chance U: Basketball a compelling watch.

Stephanie Hsu’s dynamic lead performance is the main attraction of Laid, but the quest to figure out why Ruby’s lovers are dying and what this all means to her romantic life will be a funny and interesting journey to take with her.

Packed with humor, heart, and some of the coolest action scenes of the year, it’s a show that will leaving you alternatively screaming at and cheering for your television. Resident Evil is simply a great time.

Like most of Guy Ritchie’s material when he’s in caper and kooky criminals mode, The Gentlemen is a romp. Chippy, funny, stylish, cartoonishly violent, touched with mild absurdity.