Really, the only reason to watch A Man In Full is to see Daniels swagger his way through six episodes as Charlie Croker. The rest of the show has some fine actors, but we have no idea if they’ll get any kind of meaty stories in such a brief series.

The alchemy of Season 1 was the intense chemistry Anderson and Reid shared. Zaman, Hayles, and Bogosian are all ferocious scene partners for Anderson, but none of them come close to capturing the lightning storm that is Louis and Lestat. That said, Interview With the Vampire remains the rarest of treats on television. It’s a soapy, gothic fairy tale full of sensuality, gore, and incredible performances.

The jury is still out for us whether The Veil will be worth the time investment; on first glance there doesn’t seem to be enough story there, but Moss, Charles and Knight give us hope that things will pick up.

It’s Bon Jovi’s own decision-making that figures into the biggest dramatic hook in Thank You, which is the whys and hows of Sambora’s departure, and that will certainly keep us watching.

Knuckles is a fun, light show that has just enough edge to keep parents engaged, but is completely suitable for the whole family.

Despite our reservations, Dead Boy Detectives is mostly fun to watch, and the flaws we saw in the first episode might be smoothed over as the season goes along.

The Big Door Prize works because it allows us to spend time with a group of appealing characters that have become a “found family” as they try to figure out just what they want to get out of their lives. That vibe continues in Season 2.

While The Jinx – Part Two is still worth watching, it feels not nearly as essential and compelling as the original series was, and some of its more meta moments left us scratching our heads.

Every aspect of Big Mood, from the chemistry between Coughlan and West, the sharp, comedic commentary on pop culture and social media, and the nuanced handling of mental illness is responsible for this show being a must-watch.

Dinner With The Parents is one of those shows that is elevated by the cast. Nothing about the show is particularly fresh or inventive, and some of the writing is maddeningly inconsistent. But the cast manages to take the material and make it funny.

The Spiderwick Chronicles isn’t scary enough or wonderous enough to hold our interest, and we get the feeling that kids who watch the show will seek out other shows that are either scarier or more whimsical.

Despite some missing context, Grant Amato’s strangely normal interview footage and audio effectively drives the narrative in CTRL+ALT+DESIRE.

The producers of Our Living World take a novel approach to the nature docuseries, showing different ways living beings on this planet are connected. Sometimes those connections are a bit strained, but the footage that is being used outweighs a lot of those flaws.

Under The Bridge has more than enough complications to make for compelling drama, and the first episode gives viewers just enough information about the case to hook them in without getting them frustrated.

Parasyte: The Grey has enough action to hold viewers’ interest, but the story of Su-in’s mutant existence is also what’s going to keep us watching.

There’s going to be a lot of quirky characters, a lot of stylistic filmmaking techniques used, and a very solid sense of place and time that permeates the entire narrative. That tends to be a good thing, and it will serve this narrative well. We just hope that The Sympathizer doesn’t get distracted by its gimmicks and focuses on Captain’s story.

We’re recommending Franklin because we were pleasantly surprised with how well Michael Douglas slipped into the role of Benjamin Franklin. But the rest of the show left us mostly bored.

There is actual potential in the new animated version of Good Times, but Shepard and her writers are too busy pushing the envelope to take advantage of that potential.

There were some parts of Crime Scene Berlin: Nightlife Killer that we wished got some more time, like the general cluelessness from the cops about LGBTQ club culture, but the show’s brief running time and straightforward storytelling is a good trade-off for the lack of self-examination.

Baby Reindeer is a very bingeable show because it’s funny while being incredibly dark, and it doesn’t take the easy way out when it comes to its characters. So, while we cringed every time Martha further wheedled her way into Donny’s life, we also wanted to know what would happen next. That’s not something we’ve said about a lot of shows lately.

Fallout does a good job drawing viewers into its expansive world without needing a ton of exposition to explain what’s going on. It helps that the show is visually stunning and filled with fine performances by Goggins, Purnell and others.

Despite the languid pacing, Sugar had us engaged for the entire first episode, mainly because Colin Farrell embodies the character of John Sugar so well.

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.

Our mild recommendation for Loot continues from its first season to its second. The relationships between the characters are growing, which is great, but the show is just not as funny as it should be, and that’s always disappointing.

While we didn’t see a lot in The Synanon Fix that we didn’t see in previous Synanon-centric docuseries, the whole phenomenon of Synanon is just so fascinating to watch that we didn’t mind exploring it again, with some new voices to describe their experiences.

A little zany and a lot of heart, the show has enough well-timed jokes to keep you entertained and asking for the next episode.

It’s entirely possible that this show and its cast will evolve to a group we want to invest in, but this first season feels tired. Might as well hang a DO NOT DISTURB sign on it.

If you don’t consider yourself the biggest Steve Martin fan or you need a refresher course on how he became the most popular comedian of the late 1970s, then by all means STREAM IT to the first episode, but everyone should make sure to watch the second part, which provides a much richer, fuller portrait of the comedian, actor, playwright, art collector, and in his later years, husband, father and comedy partner.