Creator Howard Overman understands that an action film can’t stand on the merits of its thrills alone and needs interesting characters to make it all that more involving.

She [showrunner/executive producer Haley Z. Boston] makes the anxiety-ridden upcoming nuptials of the doubting Rachel (Camila Morrone) and the devoted Nicky (Adam DiMarco) one of the most malevolent and surreal events of the streaming season.

This is a grand adventure and cracking good mystery awash with gaslighting, brawls, murders, red herrings and a secret society. Better yet, it provides a better understanding of how the past and Sherlock’s dysfunctional parents (played by Natasha McElhone and Joseph Fiennes — Hero’s actual uncle) and his ardently disappointed brother Mycroft (Max Irons) ushered in Sherlock’s anxiety and neuroses.

The writing, casting and acting add up to a show that is so good you’ll be inclined to give it multiple viewings. There’s no word yet on Netflix ordering a follow-up season; let’s hope that happens.

Centering it is Stanfield, who gives maybe one of the most nuanced and gut-wrenching performances you’ll ever see in a horror series or film. Few actors can make you feel the pain and anguish inside of a character with the ferocity that he can. He is the one driving this series over the finish line.

“Griselda” doesn’t necessarily elevate the bar for drug-running dramas — except for Vergara’s performance, Knut Loewe’s exceptional production design and the dead-on costume designs and hairstyles. But its mission is accomplished with such ferocity and clarity of purpose. Dig out that old pair of angels flight pants and just enjoy.

It’s been compared to “Game of Thrones,” and while it’s an apt comparison, “Dune: Prophecy” exists in its own universe, and is a strategizing sci-fi headtrip with outstanding effects and production values. I’m certainly hooked.

“Running Point” is far from perfect but it still has Hudson and she’s sinking three pointers every time.

Is this great TV? Oh, no. But it is undemanding, enjoyable, and has potential for further development. It’s easy on the brain and, oh yes, the eyes. Which kind of makes it perfect post Super Bowl viewing.

The concept might seem silly, but the story by author Blake Crouch — who serves as showrunner and executive producer here and who also wrote many of the episodes — works, and challenges us to ponder what lengths we would go to if we were in not only Jason’s shoes but his wife Daniela’s as well (Connolly gives the role more dramatic shading than usual).

It’s a better and more cohesive series than Murphy’s “Grotesquerie” and slams home a harsh point — that we are all to blame when it comes to worshipping beauty.

The eventual big reveal leaves you with more questions than answers. No matter, this is a tightly wound, decent financial thriller worth a binge. It’s made all the more suspenseful for its lead characters’ honest and realistic antics.

You’ll get sucked in from the start, and will continually waffle over Rusty’s innocence and the list of potential suspects. “Presumed Innocent” makes a strong case that Kelley needs to stick to making legal thrillers. It’s what he excels at.

Sometimes veers toward the overstated and melodramatic. .... “Love Story” is best at showing how damaging and merciless the scrutiny can get for the rich and famous and those thrown into it all without a life vest.

Marvel buffs will be able to collect their fair share of Easter eggs, but this one can be enjoyed by a PG-13-suitable crowd that prefers action (this one is pretty violent, though) with a relatable plot that doesn’t require you to watch all in the MCU canon to understand what is going on. In supporting roles, Kingsley Ben-Adir stands out in this promising leap forward for Phase 5 of the MCU.

Tropper’s series does meander, but even if it’s not run as tightly as a ship as it could be, its original premise and its ability to make many of these characters interesting as they show flickers of humanity and then do something appalling keep you watching. The primary reason remains Hamm.

While I appreciated many elements — particularly the look and surreal vibe — “Cowboy” moseys a little too slow for my tastes. That said, Winding Refn is a true original.

These rich folk are hiding scandalous secrets – some that don’t make much sense upon closer inspection. That illogic is part of the guilty fun of “All Her Fault,” which provides a decent enough diversion along the lines of Netflix’s equally star-studded bit of domestic thriller ridiculousness “The Perfect Couple.”

Netflix’s eight-episode black comedy series doesn’t grab you with the audaciousness of “Dead to Me” and it doesn’t always realize the full potential of its characters, but does it ever have one killer cast and an intriguing premise that takes a good twist near the end.

It’s a lot to stuff into one series and sometimes “The Audacity” does suffer from trying to do too much. But what it does accomplish is to deliver a solid right hook to the tech world and that hit proves to be acerbic, relevant and unbelievably on target, as are the performances from Magnussen and Goldberg.

Prime’s eight-episode thriller from creator Ben Winter takes a creepy premise and makes it violent and watchable, even if the plot does doughnuts around logic. What saves it is that Hodge and Winters allow novelist James Patterson’s well-known character to be more of an anguished soul than the actors who previously portrayed him.

Fine tells the story well, except when he dumps in video of Pearlman and doctors it up so it appears the late businessman’s reading (a voice actor is used) excerpts from a book he co-authored.

“Daisy Jones” features exceptional performances throughout, but there are a few standouts — a never-been-better Claflin, a mercurial Keough and an entrancing Morrone. It all makes for one Amazon Prime’s best series yet. But heed these words of advice: Episode 10 will wreck you when it drops that mic.

What distinguishes this is how it opens a window into American Indian culture and heritage while telling a brisk, exciting mystery that steers Disney+ to a new horizon of not only more complicated and edgier storytelling but one told from an often overlooked perspective.

Any mother with a newborn will feel like they’ve stepped into their worst nightmare when watching this well-done Paramount+ six part series based on Sarah Vaughan’s novel.

The premise promises more than what ultimately gets delivered in this disjointed, semi-compelling six-part series.

At seven episodes, the HBO Max series overstays its own welcome but its two aces in the hole are Elizabeth Olsen as the to-the-point Montgomery, who has it all but desires to spice up her life, and Tom Pelphrey as flashy attorney/church member Don Crowder.

“The Brothers Sun” does ramble on, but when Yeoh and Chien bust out those fancy moves and gather around the family table with Song Li, its pure action/drama magic.