The formula of one death per episode does get belabored eventually, but Martin and Carpenter perk it up with flashbacks that dig into the twisted backgrounds of each motel guest.

You never quite know where “Sunny” is heading and that’s a good thing. The series leaves the door wide open for a Season 2 and I’d gladly walk through it.

Every character in “Shrinking” is worth getting to know. The biggest surprise is how great Ford is at just letting loose in a comedy. (Trust me, he’s hilarious). “Shrinking” deserves to become a huge hit.

“Lessons in Chemistry” could have been tighter (trimmed to six episodes), and a subplot about Black neighbor Harriet (Aja Naomi King) fighting racial injustice could be more developed. Still, “Chemistry” comes up with a winning formula in the end.

“Win or Lose” notches another Pixar win and proves yet again how the studio remains an animated champ.

That’s a lot of names and narratives to keep track of, but the story lines intertwine nicely, even if you might need a list of the characters to reference. No matter. If you’re a kaijū fan and prefer jigsaw-puzzle-like storytelling, not to mention great action sequences, this one — or at least the eight episodes released for review — crushes it.

It’s a well-made series that exposes corruption, trafficking and injustices perpetrated on families.

This is an extra-busy series that hopscotches too often. Carrel and company are all stellar and worth crowing about but plucking out a few side stories might well make this a smoother, more tonally consistent show.

As Desiree, Cox radiates charisma, a quality that pairs perfectly with her dad Wallace.

“The Perfect Couple” does walk down a crime-solving aisle many mysteries have traveled before, but this one does it with so much class and sass you just won’t care.

“Half Man,” as you probably can guess, is a bit of an endurance test. But it has a storytelling mightiness and an acting fury you can’t deny or ignore. It wrings you out, and leaves you in awe of all involved.

Showrunner Marco Ramirez’s setup bites off a lot to chew on in six episodes, but even when “La Máquina” doesn’t connect, it bobs and weaves with style and fire whenever Luna and Bernal take center stage together.

Nesbø realizes the importance of showing all the shading of a character he obviously feels strongly for, and that comes through in the poignant scenes between Harry and his lover’s (Pia Tjelta) son Oleg (Maxime Baune Bochud) who feels a strong connection to Harry. It is those decisions that elevate this series above traditional mystery fare and makes us hope that this team will reunite to adapt more of Nesbø’s addictive novels.

“The Residence” never achieves the same frothy fun that Rian Johnson’s “Knives Out” series so effortlessly does except for its last Christie-perfect episode, but it’s still quite a bit of fun.

Showrunner Joe Barton’s production isn’t in the same leagues, but it’s good enough thanks to the dedication of its two leads — Paul (“Wandavision”) Bettany as the conniving and cruelly envious Salieri and Will (“The White Lotus” season 2) Sharpe as the bad boy 18th century groundbreaking composer with daddy issues.

While this streaming version could have been told in less than eight hour-length episodes, showrunner Nikki Toscano’s compelling take gets everything else right.

It’s a spellbinding horror story about our fascination with celebrities and the loneliness and isolation many feel when they are stuck on the outside of a star’s inner circle. ... Expect Fishback to be collecting awards for her take-no-prisoners performance.

It’s cheeky, irresistible and undemanding from start to finish. Hopefully, there will be a Season 2.

While nothing in “A Very Royal Scandal” is particularly eye-opening (except for what happened to Maitlis after that interview), it’s worth the watch to see two actors at the top of their game.

Mythology, feminism and three terrific female performances intertwine to defy predictability and expectations.

The three lead Latino characters, and the actors who play them, in Netflix’s breezy, Miami-set comedy/drama are so likable and charismatic you can’t help but kind of fall in love with them. I defy you not to.

“Murder Before Evensong” has just enough edge — including a zinger of a finale — to keep us hooked.

Created by George Kay (“Lupin”), the tightly wound seven-episode series doesn’t waste a moment. It’s a shot of pure adrenaline.

Knockout. ... A shocking opening sequence establishes an unsettling tone that grabs you from the start, pushing you to gobble up future episodes as if they were leftover salt-and-vinegar potato chips. Christoph Waltz is the show’s ace up its sleeve. He gives his all to create one of the most distinctive villains to grace any series.

Like its predecessor, “Hijack” is a fun escapist thrill-ride, though it does go off the rails and sticks too closely to the same playbook as Season 1 — trading air passengers for Berlin train commuters.

It’s Aniston and Witherspoon who really anchor the series. Both actors are on top of their game and not for one second lose sight of who their characters are and how they should react in dicey, unexplored situations.

“Vladimir” works because it is indeed funny and sexy but also because it has fully developed, complicated characters — the too-smart-for-their-own-good sort that are having a hell of a time sorting out their lives.

The first four episodes sew with the same pattern, and while that’s comforting, the seams are starting to fray.