Switching back and forth in time, “Impeachment” doesn’t light often enough to give us anything really substantial. ... Paulson and Feldstein are spectacular when they’re together. But when this splits them apart, it loses its intention.

While Adams and McDorman dominate, they’re not the only ones to watch. The other five get their moments; their families do, too.

While the first two episodes of season two are too enamored with getting players in place (particularly since season one ended with a house cleaning), “The Morning Show” does pick up steam and gets everything from the Iowa Caucuses to a visit to Wuhan in the picture. ... Crudup, though, is the heart of this world. As corrupt as he may be, he’s worth following.

Far more formulaic than you’d expect from Executive Producer Ryan Murphy, 9-1-1 sparks to life when it’s dealing with the oddest cases.

[Johnny Carson is] such a presence, it’s hard to concentrate on what happens to those in his employ. Had Reiser and Green made him less vital to the story (even to the point of eliminating the clips), “There’s Johnny” might be a better look at those who worked so hard to win his favor. Now it’s just another journey down “42nd Street” and all the potholes it has to offer.

Better than “Goliath," “Landman” lets Thornton convey the emotions that color a “cigarettes and Dr Pepper” kind of guy. The role fits better than a well-worn pair of jeans and, like his trusty boots, never lets him down. He’s one of the best actors of the season in a show that could be one of the best of this or any year.

Pre-pandemic, this might have been a juicy potboiler. Now, it’s just a slap away from being dated. ... Unlike the 1994 one, there’s not enough of the snide humor that made it so deliciously evil. Kruger gives it a Sharon Stone vibe, but she isn’t given enough lines that would make her seem smarter than others in the room.

Both actors [Al Pacino and Helen Mirren] could thrive with this story (Pacino's a ringer for Spector) but Mamet speculates a bit too much. Had he eliminated the title character entirely, it might have been more intriguing.

While the first episodes are fun to watch – particularly with all of the devices the production designers have created – it’s never clear where it’s headed. ... “Hello Tomorrow” takes a while to show its hand and, then, it’s likely bluffing. With Crudup at the helm, this could go anywhere.

Astronaut Wives moves as fast as a beach novel, covers more territory than a history book. But it’s history channeled through a distinct lens. The first episode was slow to launch, but the series could take off once we figure out who’s McSteamy and who’s McDreamy.

It’s looser--and smarter--and it could just make believers out of those who never joined the conversation in the first place.

Intriguing and thought-provoking, “Your Honor” should get families to consider how far they’d go to protect a loved one.

Rise isn’t as heartbreaking as “Friday Night Lights” or as complex as “Parenthood” but it’s in an embryonic stage and has the potential to become the next big must-see entry on NBC’s schedule. Gillespie and Cravalho hold our interest, but it’s Perez who bears watching.

The show’s writing is sharp and smart; its acting is clever and curt. Toss in that casino wild card and you’ve got a season that’s just as remarkable as the first.

The joy, though, is listening to Roberts’ Chanel Oberlin bark at her minions and security officer Denise Hemphill (a brilliant Niecy Nash) savor the show’s writing. They’re funny in a fresh, interesting way that fits nicely with Murphy’s social commentary.

Very 1980s in his approach to storytelling. .... O’Malley has a bunch of balls in the air (we still can’t figure out why the washer/dryer combo is in the kitchen) and a nimble cast to juggle them. Spencer is the real surprise, able to volley jokes just as well as Faison and Cryer. The kids are pretty sharp, too.

Rose is perfectly cast. The show has a lot to offer, too.

Straley, Holmes and Scott bear watching. But Feig and Bicks might want to make some changes before rolling out the welcome mat. In “Welcome to Flatch,” it’s often difficult to focus.

This isn’t connect-the-dots storytelling. It’s a blast from the past that reminds us when cop shows succeeded because they were built on great writing.

Little by little, Hello Ladies grows on you.

Many of the opening episodes blend, particularly when the cases hover in the same ball park. When it strays, we learn a bit more about the relationships established before Warren stepped in. That interests. The cases? Not so much.

Director Jeffrey Reiner gives this a ‘90s soap patina that works--to a point. The intelligence that Britton and Bana provide gets shoved aside in favor of scenes that look like they couldn’t possibly be true (but are). When “Dirty John” begins to unravel, we lose interest and feel as duped as Debra.

It’s better than an unadvertised special and more fun than a deep discount on Black Friday.

Moments in the first episode suggest Defiance could be filled with the kind of minutiae "Star Trek" and "Star Wars" fans love. But its plot is so thin it could float away.

Sweet, in a “Mike & Molly” way.

Two siblings steal the show.

While Pardo is a super lure into the world of the Mayans, it’s the fringe characters who make us want to see more. ... “Sons” fans will view this as a similar ride, only in a different gear. Where the potholes and speedbumps exist remains to be seen. For now, though, the road is open. Mayans M.C. appears to be on track and ready for a long, long ride.

When the second bananas nudge the top ones, The Comedians has laughs. When it leaves the two to play out a tired game of “The Sunshine Boys,” they vanish.