The doc succeeds in its pacing, its storytelling, and its genuine capturing of such an only-in-America story: that desperate hunger to be (and remain) one of the most influential athletes and public figures of all time, and the ultimate reminder of how someone can have it all, and yet, never enough.

It’s not that The Watch is a complete mess; some elements of the first episode gave us hope that the show will settle down. But the first episode was so jumbled and so proud of how witty it was, it forgot to establish anything about most of the characters we’ll be seeing for the entire season.

The Great North has some work to do to get to the level of its cousin shows, Bob’s Burgers and Central Park. But with a great voice cast and Bouchard overseeing things, it should get there eventually.

Elizabeth Is Missing is a film that will leave you depressed, especially after the final scene, but happy you were able to watch the great Glenda Jackson put in a great late-in-life performance.

We hate to give Call Me Kat a thumbs down, given all the talent in front of and behind the camera. But the show sacrifices character for gimmicks, and the parts that aren’t gimmicky are mostly hacky and unfunny.

Cobra Kai still has a great combination of character depth and self-referential humor that makes it one of the best shows of the reboot era. We’re just a tad afraid that the story has nowhere to go and will get more ridiculous than the first two seasons, but not in a good way (like those first two seasons).

The novelty of the approach here is worth a viewing, and they do sneak a STREAM IT for me just for keeping me intrigued as to what they were going do to next. It didn’t make me want to stop watching after 20 minutes like Death to 2020 did.

The cast is game — in addition to Milioti and Kudrow, Leslie Jones and Samson Kayo also seem to be invested in their characters — but there’s just not enough funny material for their performances to overcome the special’s structural problems. 2020 has been bad enough; there’s no need to relive it via an unfunny special like Death To 2020.

If you’re a fan of The Masked Singer, this show should be just as fun to watch. ... [Robinson] moves the show along without trying to center the spotlight on himself. Jeong is still at his most annoying, which we hate to say because we’re fans, but there’s also a reason why he’s the only carryover from the original show; he’s divisive like a Simon Cowell, but in a happy sort of way.

Just because a show goes in the direction of a procedural-type show doesn’t mean that it can’t be elevated by a good cast and sharp writing. After the ace performances by Millman and Griffiths, we’re looking forward to seeing what direction Total Control goes in.

It’s the quieter parts that make the show truly special. ... You have an emotional rollercoaster that is evocative in the way few other TV shows can hope to reach; but one that is well worth riding. Emily and Sue aren’t the only stand-out characters this season, which finds every member of the cast struggling with growing up in different ways. ... By season’s end, everything — for Emily, for Sue, for all of the Dickinsons, for America — has changed. But in our world, we at least have these two perfect seasons of television to hold on to.

Ultimately what makes Bridgerton such a gem is its adoration of the historic romance genre. The attention to detail in this show doesn’t cater to fussy historic accuracy, but the way the romance genre drowns readers in fantasy. Bridgerton is a swoon-inducing treat that will leave you hot, bothered, and begging for more.

Excuse Me, I Love You is admirably performance-heavy. While the snippets of crosstalk and behind-the-scenes chatter are fun, and will certainly be revealing for fans (the choreography rehearsals are particularly interesting), it’s a thrill to see and hear all of the singer’s most giant singles come to life onstage, complete with that elaborate choreo to go with each one.

Despite our objections, On Pointe is still an interesting look at something we usually only see on scripted TV shows, exaggerated to dramatic effect. It shows that the life of a ballet student isn’t nearly as dramatic as what you see on shows like Tiny Pretty Things.

This new version of The Stand is off to an intriguing start, whether you’re a fan of the book or not.

Even though the case has been settled for almost 40 years — and Sutcliffe died in November — The Ripper is fascinating to us because it will examine the underlying factors that slowed down the investigation, instead of talking about the killer himself.

While Couples Therapy: The COVID Special won’t give you as much insight into its subject couples as Season 1 of Couples Therapy does, it certainly feels like a way to see how the couples Dr. Guralnik treats are coping with lockdown just as poorly as you are.

The women of this family certainly come off well here, and that’s refreshing; they’re not fighting or gossiping, and their stories are still interesting to watch. We should see more of that on reality shows.

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.

Tiny Pretty Things will make you never want to enroll your kids in a ballet class, given how emotionally scarring the art is portrayed to be here. Between that, the cliched characters and the clunky dialogue, you’re better off watching Bunheads over and over instead.

Adult Material is a smart blend of genuinely affecting interpersonal drama, workplace comedy, and it seems like there may even be some crime elements ahead, based on that cliffhanger. It feels like a British Boogie Nights for the digital age, but with a welcome focus on a woman’s experience.

The Wilds is a show that could have been a kitschy disaster, or one that’s so grim that it turns viewers off. But the girls who have to fend for themselves on this remote island are so well-defined that we’re finding ourselves intrigued by how they’ll change during their time together.

Queue up the original 1966 Grinch special, or even one of the two movies before even considering Dr. Seuss’ The Grinch Musical! You’ll never see the Grinch the same way after watching this mess.

The Surgeon’s Cut tries to humanize the surgeons who have pioneered amazing procedures, and for the most part, it succeeds in its mission. Could it be a little less laudatory? Absolutely. But the laudatory nature doesn’t take away from the medical miracles they perform.

It is an absolute joy to watch two excellent actors bounce off each other. Zendaya rightly won an Emmy for her performance as Rue in Season 1, and it’s quite possible she could nab another nomination off this episode alone. ... As an episode that digs towards some truths, illuminates the best parts of Euphoria, shows off two seasoned actors at the height of their abilities, and provides a little bit of light in an otherwise very dark year, “Trouble Don’t Always Last” is a triumph.

Earth At Night In Color gives a fascinating look at nature in a way the human eye has never seen before, and that alone is reason to watch.

Nurses is a Frankenstein monster’s mess of piece-parts from other, better medical dramas.

Bryan Cranston puts in a typically compelling Bryan Cranston performance. It’s really the only thing saving the show from being clichéd and dull.