It definitely suffers from a bit of bloat. (Not everything has to be a ten-part series, I swear.) Still, it’s comforting, well-crafted off-season sports content, a perfectly nice thing to spend your time with if you’ve got the time to spend.

The New Years keeps its storytelling relatively simple, focusing on the main characters as we peek in on their evolving relationship over a decade.

We enjoyed Penelope because Megan Stott’s performance is a clinic in solo acting, and we appreciate the story’s fantasy aspects. But those nagging questions that pop into our heads while watching it just don’t go away.

The scripted visuals here fill things in quite well because Berlinger keeps them weird and odd, like the hotel itself. ... Considering the complexities of the Lam case, plus the Cecil Hotel’s history, no one can claim that Crime Scene: The Vanishing At The Cecil Hotel is padded out. We’re actually wondering how they’ll cover everything in 4 episodes.

Season 3 of The Witcher has enough story and action to satisfy fans of the show. We just wish the characters had a bit more to say.

The second season of The Four Seasons doesn’t quite have the same fun group dynamic that the first season had, but it still has funny moments and more than enough chemistry between its cast members to be very watchable.

Guadagnino concentrates so much on the teenagers that the adults might get the short end of the character stick. ... The first episode of We Are Who We Are takes its time to get to where it wants to go, but the ride is pleasant because we’re so intrigued by Fraser and his various relationships.

The Beauty is focused, gruesome and just funny enough to keep things moving. All of this is miraculous, given Ryan Murphy’s recent track record.

Murder In A Small Town is both a murder mystery series and a romance series. Can the two mesh? So far, it has, mainly thanks to the chemistry between Sutherland and Kreuk.

The Hunt For Raoul Moat is a pretty by-the-numbers limited series about a real-life manhunt. However, the performances are compelling enough, and the runtime short enough, to keep viewers engaged.

The conceit is executed well; we don’t feel manipulated by Barrett, Kelly and their writers deliberately hiding things or throwing us red herrings. But we’re not 100 percent engaged by Sam’s story, either. ... The performances of Law and Waterson, as well as the chemistry between Watson and Considine as the weirdly gruff and cheery Martins are keeping us interested.

We’re unsure how the cold case ties in with the domestic homicide case that brings Collins and Adama together. It may not, but it seems that having a second, unrelated case taking Collins’ time would be a waste of plot if it didn’t tie into the other case somehow. We also are curious to see if Collins’ personal issues, plus her anger with Bradshaw, will factor in.

While the plot of the second season of The Good Girl’s Guide To Murder feels a bit less focused than the previous season’s story, it’s still watchable because Emma Myers and the community of friends that help Pip investigate things.

While we were annoyed at the first episode of The Sons Of Sam: A Descent Into Darkness, we’re looking forward to digging into what Terry found and how the investigation affected him.

Love In The Time Of Corona isn’t telling any stories that’ll blow you away, but the couples have understandable chemistry, and the production values are surprisingly high, given the restrictions the producers and crew were under.

Just in the first episode, the guest voices all stole the show, but there was definitely enough going on with Keef, Clovis and even Gunther to keep us watching. We just hope that as Keef gets more “woke,” his character becomes more well-rounded.

Hawke’s titanic presence as John Brown makes The Good Lord Bird move along quickly and keeps its comedic undertones intact. The rest we can take or leave, but we’ll keep watching mainly because of the show’s star.

Stillwater is a nice Zen alternative to the noisy and grating kids’ shows out there. If you’ve got a kid who doesn’t mind calm TV, this will give both of you a break for 25 minutes.

Boo, Bitch is a show whose main characters do more than enough to carry a show that has mostly generic secondary characters in an overdone genre. Without Condor and Colletti playing the main roles, the show would have been very forgettable.

The Lincoln Lawyer is one of those shows that won’t leave a big impression on you after you watch it, but it’s got enough good stuff going on to make it an enjoyable, pulpy watch.

Chucky adds some fun story elements to the “murdering doll” dynamic, bringing the franchise back to it’s earliest days, when we found out how Charles Lee Ray became a belligerent, knife-wielding, redheaded doll.

Son Of A Critch is funny and generally sweet show about a kid who didn’t fit in, but finds a way to find friends and a life in junior high, anyway.

The Hardacres is an enjoyable period drama that stays light on the drama and goes heavy on establishing how solid the family unit is, whether they live on the docks or on a country estate.

The murder mystery stuff is satisfactory, and could lead to unexpected reveals. But in Nine Bodies, it’s the suspicion and what’s left unsaid among its plane crash survivors that has us hanging with them in their jungle clearing.

If you’ve been a fan of this show over the last quarter-century, you’re going to watch these new episodes, and they’re going to be as funny and sometimes frustrating as they’ve always been.

The Pale Horse looks great, and has fine performances. But Sewell’s slimy protagonist is the lynchpin that makes this one of Amazon’s better Christie adaptations.

The conspiracy aspects of The Capture are intriguing enough to keep us watching. We just hope we don’t get manipulated as much as we did during the first episode.

Treason has more than enough tension and intrigue to span its 5-episode season. As long as it doesn’t get too bogged down with unnecessary side stories, the show should be very entertaining.