"We Hunt Together" is a British television series that premiered in 2020. The show is a psychological thriller that follows two detectives, Jackson and Lola, as they investigate a string of murders in Bristol. The twist? The murders are committed by a young couple who believe they are in love and hunt together.

The X-Files is a popular American science-fiction TV series that originally aired from 1993 to 2002. The show followed two FBI agents, Fox Mulder and Dana Scully, as they investigated cases that involved paranormal and supernatural phenomena. The overarching plot of the show revolved around Mulder's search for his sister, who was allegedly abducted by extraterrestrial beings.

Creator and writer of The Wire TV show, David Simon (Homicide: Life on the Streets) knows about crime dramas after spending twelve years as a reporter at the Baltimore Sun's City Desk. His writing is honest and penetrating as he searches out the dark and seamy side of life that is part of any old and large city lifestyle. The Wire ran for sixty episodes and spanned five seasons with top acting, writing, producing, and high ratings all the while. Episodes covered a wide variety of occurrences and facets of Baltimore including the city's illegal drug trade, corruption in city government, the system within a seaport town, news in print media, and school system issues. The Wire is a crime drama all about a typical large American city and how we each cope with events that make up our lives. Demonstrating how life can be complicated no matter if you are a cop, a lawyer, a judge, a politician, or a low life drug dealer, and how the many institutions involved in our livelihood affect each and every one of us. Cops get the bad guys and the lawyers and judges just turn around and set them free.

Think of "The Mentalist" as USA Network's "Psych" with prettier people, more money, slightly more upscale locations, and shorter sentences. Working as a consultant to the California Bureau of Investigation, Patrick Jane"”expertly played with appropriate style and savoir faire by Simon Baker"”uses his exceptionally well-honed powers of observation to solve big-time homicides. As the "The Mentalist" series unfolds, we learn more about Jane's con-man past: he once made a spectacular living as a television psychic, who used his command of "tells" or nuances of expression, body language, and intonation to put willing patsies in touch with dead relatives and future lovers. Of course, a life-changing tragedy inspired him to use his (almost) super-powers for good. Summing-up his new-found crime-fighter philosophy, Jane flatly declares, "There's no such thing as real psychics. Anyone who claims to have a sixth sense is either deluded or dishonest." Like all of television's elite criminalists, "The Mentalist" shows that refined powers of observation are at least as rare and valuable as ESP. Best of all, "The Mentalist" always looks wonderfully fashionable as he nabs the bad guy.

Like fine red wines, pate de foie gras, and escargot, Criminal Minds probably is an acquired taste: The crime drama psychoanalyzes the psychoanalysts, definitely building tense drama, but ironically downplaying the crimes. The New York Times has described Criminal Minds as "cerebral," a euphemism for "nerds with guns." Brilliant writing and compelling characters, however, make it work. The stories represent an elite team of specialists"”the FBI's "Behavioral Analysis Unit" "” who, in just forty-four minutes, can deconstruct a crime, profile a criminal, and bring everything to a profound resolution complete with quotation from literature. Naturally, the feds encounter resistance from local enforcers eager to protect their turf. Just as naturally, many of the stories spark viewers' recognition, because they are "ripped from the headlines." Two features sustain viewers' interest in this sometimes too-heady-for-primetime series: First, every audience loves a good hunt for a psychotic serial killer; and, second, in Criminal Minds, many of the good guys are almost as twisted as the bad guys.

"The Chicago Code" has nothing to do with deep-dish pizzas or the cruelly cursed Cubbies. "The Chicago Code" openly, unabashedly, plain and simple, is all about good versus evil. The good guys following "The Chicago Code" are very very good, and the bad guys breaking the code are very very bad. The windy city itself, definitely a critical element in the drama's development, lives somewhere in-between. Chicago may be "the second city," but it stands out as America's number one oxymoron. "Hog-butcher to the world," Chicago also brought us Hemingway and Frank Lloyd Wright. Home to Picasso's breathtaking artistic monument, Chicago also has been home to some monumental con artists: Rod Blagojevich comes immediately to mind. "Blaggo" is to Chicago scams as the Picasso is to the city's art and architecture. More to the point of "The Chicago Code," in just over thirty years, thirty-one second city aldermen have been convicted of violent crimes or corruption. In Chicago, graft greases the wheels and gets your streets ploughed. Although corruption may be common as camel-hair coats on the Magnificent Mile, Chicago cops still want to collar the bad guys. "The Chicago Code" attempts to dramatize how and why they do it, and it packs a pretty good punch for a network production. Critics and home-grown Chicago viewers strongly suspect "The Chicago Code" would achieve its completely gritty potential on cable, but it's hard to complain about Jennifer Beals, still fit and fabulous all these years after Flashdance, going balls-to-the-wall against the bad guys in Monday night primetime.