While the writing in Time is strong, the performances by Bean and Graham are what will connect with viewers.

While it won’t win any points for originality, its ambition, creativity, beauty, and slightly menacing tone will keep your attention, and its moments of “whoa!” deliver. You can tell from one episode that this is going to be a lot of people’s favorite animated series of the year, even if it’s unlikely to be mine.

There’s just enough archival pictures and footage, along with the traditional talking head interviews, though, to give the series the right amount of docuseries legitimacy. But the lip-synched reenactments, combines with the access the recordings from Grosse, Playfair and others provide, paint an appropriately scary picture of a house that seemed to either be legitimately haunted or suffering through lots of scary, unexplainable natural phenomena.

While some aspects of Everyone Else Burns might get repetitive in a hurry, there is more than enough stories revolving around the Lewises trying to live in the world while prepping for Doomsday to make for a pretty funny show with well-rounded characters.

Life On Our Planet is a fascinating look at how life evolved on Earth, with stunning visual effects that show how long-extinct species might have lived.

hat it brings to mind the most? The hyperbolic sleaze of TV “newsmagazine” Hard Copy. Get Gotti is slick and sensationalist and tiptoes right up to the edge of bad taste, occasionally dipping the tip of a toe in it. It’s also tonally conflicted.

The Gilded Age Season 2 is a fine, fizzy treat. Julian Fellowes has once again crafted a perfectly elevated soap opera for the masses.

Welliver’s ability to keep the quaking emotions of his character consistently interesting – has always been a highlight of Bosch: Legacy and the series it emerged from. And with Bosch as PI existing untethered by department rules and regs, it’s enticing to consider what walls he’ll run through next.

Season three proves that the show is still as reliably funny and original as ever thanks the array of funny supporting characters and an intriguing plot refresh.

Crush is just damn good, effective journalism.

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.

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.

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

The ghost hunting part is sometimes played up for camp and at tother times taken very seriously by members of the team. Listen, those parts are going to either be wildly entertaining or come off as complete horseshit, depending on what you believe about the presence of spirits. But the emotions expressed by the team and the bond they’re forging with each other and the people they help is real.

We’re giving The Ex-Wife a marginal recommendation because we’re not sure if the characters or story are going to get any deeper than what we saw in the first episode. We’re pretty sure it won’t, but at least Buckens and Montgomery are compelling enough to keep us watching.

Serrano and Searle manage to give their four main characters enough layers in the first 30 minutes to hook viewers in and see just how Santi’s story plays out.

The world doesn’t necessarily need one from Coleen Rooney’s POV in order for us to understand the situation better. If you’re a fan of football or WAG culture, you’ll certainly appreciate the level of access this series gives to the Rooneys and their inner circle, but general audiences can safely SKIP IT.

Lessons In Chemistry contains layers of ingredients that build on and play off of each other: romance, drama, history, the second wave of feminism, all snuggled neatly into a 13 x 9 pan. When combined, they’re all greater than the sum of their parts.

The Greatest Show Never Made is a fun docuseries about a scam that could only have seemed to happen in 2002, at the start of the reality TV frenzy.

The first episode of Little Bird progresses a bit slowly, but sets up a powerful story about an Indigenous woman who wants to find the family she was forcibly taken from when she was a child.

Pat’s psychiatric facility, with its generically inky green light, screaming patients strapped to gurneys, and generally depressing air is pretty over the top, and a house creaking in its joints and beckoning people through suddenly open doors doesn’t really grab us. It’s almost like Shining Vale needs to go for the horror jugular first, before it integrates its solid jokes and noteworthy themes.

While, like most anthologies, the stories are uneven, Creepshow still has good stories that combine creepy, scary and funny in the right proportions.

John Carpenter’s Suburban Screams leans far too heavily on docuseries and true crime mechanics to really consider its horror elements, which ultimately just feel like window dressing.

This version is updated with interesting plots, clever dialogue, and lots of pop culture references. While some pre-teens will enjoy it, it feels like the target audience skews a touch older thanks to some genuine creepiness throughout.

The first two episodes are off to a promising start, and we hope that the quality carries through to the end of the season. Based on what we’ve seen, we’re confident in saying that Rick and Morty is back and better than ever, broh.

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.

The storytelling chaos that Loki sews can cause headaches. But this series remains worthwhile and entertaining because its cast is so great. Tom Hiddleston, Wunmi Mosaku, Gugu Mbatha-Raw, Owen Wilson, and Sophia Di Martino keep us in this thing even as the premise sometimes skids along the edge of a deep, unknowable chasm.

It’s one thing to say that the new Frasier is missing the chemistry between the cast members that made the original series so special. But it also tries way too hard to parallel the original in the most crucial spots, making it painful to watch at times, and not nearly as funny as it could be.