It has the look and feel of a sweeping “Game of Thrones” kind of epic filled with romance, intrigue and violence.

The thrill comes not from the actual computer building, but the people doing the building. These characters are complex and well-developed, especially Pace’s fiery exec, who is a mesmerizing manipulator.

StartUp is a thinking-person’s thriller, along the lines of USA’s “Mr. Robot.” Ketai delves into greed, corruption, violence and more, and none of his characters are immune to any of it.

While the first episode lacks development of any of the characters outside of Kunta Kinte, a young man taken from Africa and sold into slavery in the United States, it still resonates. It’s a story that needs to be told again.

[A] clever comedy.

In “Fargo,” Thornton’s character was pure evil, but in Goliath he's just flawed--despicable at times, but with a good heart that shows often as he pursues justice against his old law firm and partner. This one’s quite bingeworthy.

George is the reason to tune in. She’ll be the reason why you keep coming back.

The humor results from its realism and the blossoming relationship between father and son. Here's hoping this one sticks around.

Turn is a heart-racer at times. That’s the sign of a thriller done well.

What’s extremely effective is the relationship (and chemistry) between Sequoyah and McLaughlin. You will find yourself rooting for them and hoping nothing comes between them.

There are lots of sight gags here, with many of them involving the very funny Rhys Darby.

The story is an edge-of-your-seat kind of thriller. Clues are dropped, but you never know what’s coming next.

For those of us 40 and older, it’s a bit of a hoot watching Foster navigate these waters, from learning how to use Twitter to deciphering texts IRL (in real life) to explaining away those crow’s feet, among other things that aren’t mentionable in a family newspaper. But it’s the personal relationships--with the hunky Tortorella and with Duff--that hold the most interest here.

The early episodes lack depth because there are so many characters and so many stories to tell.

It’s difficult to like or root for any of the four, making this one difficult watch. Still, creator and writer Nic Pizzolatto has a knack for storytelling and character development. Especially intriguing is Farrell.

Johnson, in a non-action role for a change, is surprisingly good, offering up a multi-dimensional character.

The drama is light-hearted, perfect-for-summer fare. It’s a procedural that relies on its setting--you can expect other historical figures such as Bram Stoker and Thomas Edison to make appearances--and comic banter between the three main characters to make it attractive to viewers.

The performances, especially Gooding’s and Travolta’s, are over the top, but, heck, so were the real-life events. Gooding and Travolta show just how sensational the whole thing was. The trial captured a nation’s imagination, and, more than 20 years later, it still does.

If you’re a fan of “Fire” and “PD,” you’ll like this one, too.

Schwimmer and Sturgess are so darn good in their roles you forgive the writers. Schwimmer, for instance, uses those sad, puppy dog eyes of his to play up his grief, and Sturgess really has the charming cad thing down. They really cook up some chemistry in the scenes with just them.

We not only see how those stories [of her patients] play out, but how Black’s story does, too. We see how her ailment affects her relationships with her boyfriend (David Ajala) and her family, and what little control she has over her life.

The first episode is a white-knuckle ride.

UnREAL is way over-the-top and trashy, but in an entertaining way.

This is a good summer mystery to take your mind off the heat.

The humor is biting, which you would expect from Meyers, Michaels and Howerton, whose been at his biting best for 12 seasons on “Always Sunny.” And while Howerton is the star, it’s really the supporting players, especially the nerdy kids, who make this one kind of fun.

The opening is a groaner, but after that it’s a wonderful journey back to an era when Carson was king.

The main storyline involves a nefarious crime lord, played by Marvin “Krondon” Jones III, whose gang, The 100, is terrifying the city, but it's Black Lightning’s journey into social issues--the character quotes Martin Luther King Jr. at one point in the premiere--that separates him from the rest of the superhero pack.

Braga is compelling as the woman who eventually will team with someone from her past to take down the drug trafficking ring that has her on the run. This one is violent and frenetic, kind of like a video game.