There are few revelations that justify the four-hour running time. ... The fourth hour is the strongest, showing how members of the investigation commission used “bureaucratic jujitsu” to thwart efforts to protect NASA’s image.

The results improve on the original.

“Murder on Middle Beach” proves affecting in its portrayal of a grieving family and a questioning son seeking to root out the truth. But it doesn’t have enough germane material for four installments – the second episode goes off on a tangent that proves largely fruitless – and it ends at a seemingly premature juncture.

“Strange New Worlds” is at its best in its fifth episode, which delivers more cheeky fun and short bursts of character development with economy that are more meaningful than the paragraphs of breathless character exposition found in the first four episodes.

“Reggie Dinkins” uses quick cuts and cartoon-like tangents in a manner that will feel familiar/comfortable to “30 Rock” fans. The return of “Scrubs” and the debut of “Reggie” offer solid evidence that with the right talent involved, comedies still have a place on broadcast TV.

Other than unnecessarily elongating the story and filming it in black and white, Netflix’s adaptation does nothing to improve on the Oscar-nominated film that already exists.

Mel is a great friend. She’s smart, funny and has a great personality but her insecurities lead to bad choices that make “How to Die Alone” less fun and enjoyable than it could be.

It’s a cute, novel trifle that could have used some punching up but worth watching for its comedy legend stars.

What’s great about “The Flight Attendant” is that it’s airy fun but it’s also well-plotted with an eye toward satisfying viewers. Many characters from season one pop in, often in the most unexpected moments, and it’s a delight.

By the end of the first hour the characters come into better focus as the pilot sets up what could be a soapy, fun, ongoing series.

“Mr. & Mrs. Smith” is a slow-burn series that’s smart and attentive to its characters’ psychological details, but it’s only fun in drips and drabs.

It’s heady, highbrow horror that, though talky, grows more engrossing the longer you stick with it.

Through its first five episodes, the show’s final, sixth season is stronger even as it gets stranger.

It’s fine? I guess? ... Thankfully, “Discovery” doesn’t seem to be pulling-a-“Voyager” and jettisoning its “far from home” premise.

Both nostalgic and a painful reminder of the violence visited upon Black Americans, this “Wonder Years” capably walks a narrative tightrope in its premiere.

“Wonder Man” stands on it[s] own, although fans who know the character may have a better grasp on Trevor’s background. For Marvel, “Wonder Man” is a slight story with limited action sequences and at times feels too subtle for its own good. But credit Marvel with taking a risk and trying something different that often succeeds.

HBO Max’s “Tokyo Vice” looks gritty and authentic, marinating in its setting physically and culturally. But it’s also a little slow-paced.

For “Trek” aficionados, hewing to canon is important and necessary, but the episode’s A story is something “Trek” fans have seen too many times before. Episodes three and five are episodic away team missions, a welcome return to the show’s roots. .... The best story so far is found in episode four, an offbeat outing directed by Jonathan Frakes.

What “A Man on the Inside” lacks in laughs it makes up for in a humane, occasionally depressing but realistic depiction of the ravages of old age.

While early episodes are heavier on “300”-style bloody fights and full-frontal male and female nudity – sometimes in the same scene! — the franchise’s delicious character drama amps up a few episodes into the season. This is the good stuff that makes “Spartacus” more than the sum of its arguably gratuitous parts.

“The Gold” proves less compelling than “Hijack,” but perhaps more cerebral with a greater emphasis on character development and the stratified nature of England’s social classes.

It’s more like soapier, sexier Jane Austen-lite that would benefit from a dash more wit.

These characters offer a fresher take on “Star Wars” lore than Andor’s story, which is a rote rebel mission. If the series finds a way to further blend familiar storytelling with the more-unusual-for-“Star Wars” vibe of palace intrigue, “Andor” might yet prove itself to be a favorite among fans much the way “Rogue One” has become embraced in the eight years since its initial theatrical run.

The show piles on enough mysteries to make it intriguing and then answers some questions fast enough to be satisfying.

Thanks to Voisin’s charisma, “Carême” entertains consistently through its first three episodes, though it loses some points for its blatant rip-off of “The Good Fight’s” exploding-objects opening credits.

A tension-filled, character-driven psychological thriller that's a worthy successor to their early 1980s Soviet spies drama [Joel Fields and Joe Weisberg's "The Americans"].

“The Falcon and the Winter Soldier,” is a bit of a come down from “WandaVision.” “Falcon” isn’t bad, just more familiar.

While there are some nice small moments – a few Will (Noah Schnapp) scenes indirectly address his sexuality; Max (Sadie Sink) and Lucas (Caleb McLaughlin) have some welcome interactions – it’s all the overheated bombast that feels like filler that disappoints.