Despite the series’ scattershot focus, America The Beautiful has more than enough spectacular footage to satisfy fans of nature docuseries.

Down In The Valley finds joy and power among the people who do sex work or sex-adjacent work in the Deep South, and Nicco Annan brings the energy to match that objective.

Transatlantic takes a serious story and gives it a bit of a bouncy, adventurous edge, thanks to some crisp writing and a fun lead performance by Jacobs. But it still pays reverence to the people who risked everything to help Nazi refugees, as well as the refugees themselves.

Born In Synanon is unique among cult-related docuseries because it shows that not all cults start because of one person’s narcissism and messiah complex; some actually have good intentions. Of course, it makes it all the more fascinating to watch it all go wrong.

Jack Ryan has successfully evolved its formula of spycraft and gunfights to accommodate John Krasinski’s brand of charm. In other words, it’s solidly-built, with just enough of everything that a show in this genre requires.

The Beatles: Get Back is clearly a labor of love for director Peter Jackson, but it plays as one of the clearest forms of fan worship there ever was, letting the band members act and speak for themselves in a natural format true to even the smallest moments of this crucial period in their history.

Win Or Lose manages to tell detailed stories about each of its characters, with emotions rooted in reality while taking advantage of Pixar’s ability to create a fascinating visual landscape.

Rain Dogs promises to be an interesting examination in a certain kind of found family that’s by turns darkly funny and warmly inspiring.

Just because a show goes in the direction of a procedural-type show doesn’t mean that it can’t be elevated by a good cast and sharp writing. After the ace performances by Millman and Griffiths, we’re looking forward to seeing what direction Total Control goes in.

While not hilarious, Sunny Nights works because of Carden’s performance, the premise’s clash of sensibilities, and its ability to give viewers a glimpse at Sydney’s seedier side.

Starz’s latest female-focused costume drama does excel at showing audiences that the formidable Queen Elizabeth was not the only extraordinary woman vying for power. The best part of Becoming Elizabeth might not be what it tells us about the legendary ruler, but how it lets the complex women in her orbit shine.

Harry & Meghan feels like a genuine and honest story of what it’s like behind palace doors.

The South Westerlies is as refreshing as an ocean breeze, with a fine cast that has great chemistry from their first scenes together.

Justified: City Primeval will satisfy both fans of the original series and people who are just looking for a well-written, sometimes-funny cop drama to watch.

Little Demon makes sure to root most of its humor in character and situation instead of gags. Sure, there are plenty of gags, but we just love the idea of a seemingly relatable story being layered over by ridiculous circumstances.

One Piece’s storytelling compass remains pointed in the right direction.

Groundbreaking it sure is not, but cozy, it most definitely is. The Marlow Murder Club features a charming ensemble of British actors doing what they do best: countryside murder mysteries with low stakes and high quality. Pour a cuppa and get comfy under a blanket because this is peak cozy murder mystery material.

Hysterical isn’t the be-all, end-all for documentaries about women in comedy. But it’s a step in the right direction. ... f you’re not already a comedy nerd and need an awakening, this is a good start. But for a deeper dive, I’d recommend the singular documentaries of legends such as Joan Rivers: A Piece of Work, or Whoopi Goldberg Presents Moms Mabley.

The Patient delivers a good story and dramatic tension in a compact package. It’s an exercise in “less is more”, and Carell and Gleeson are especially good at reining in their characters’ extreme emotions.

Three Little Birds is intended to be a feelgood series, but it’s not schmaltzy and doesn’t shy away from the issues Jamaicans and other Black people faced in England in the 1950s.

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.

Atlantic Crossing has its dry moments, but it’s lavish scenery and fine performances more than make up for that. We’re especially excited to see more of MacLachlan and Harris as Franklin and Elanor Roosevelt.

The final frame of the pilot challenges your notion on how the rest of this journey will go. ... These two slaves are going to be free at some point, but what they will encounter on their way north will create enough tension and empathy to keep viewers’ attention beyond the first episode.

The White Lotus should be an interesting six-hour look at how privileged people mess things up with that privilege. It’s a fine marriage of smart writing and a fantastic cast.

Even if you didn’t catch Renée Ballard working with Harry Bosch in the Legacy finale, Ballard’s arrival feels fully formed. Maggie Q brings her serious-minded, action-oriented capacity to the lead role.

Warrior Nun feels revived and reenergized as it begins the second season nobody was originally sure it would receive. There’s a lot to sort out, like Adriel’s true lineage and who will survive the continued bloodshed. But as Ava, Alba Baptista is ready to lead the charge.

Heron has come into his own as the hero of Olympus, and watching him grow into much more of a hero than a confused lead who doesn’t know what he’s capable of. That makes for a much more exciting narrative overall, and now that we know more about Heron’s lineage, there’s so much more that can be done with the story’s direction from here.

John Wayne Gacy is certainly more empathetic of Gacy’s victims and their families than many other serial killer dramatic series have been. The approach is enhanced by Michael Chernus’ excellent portrayal of Gacy.