Running seven hours, “Mare of Easttown” often exchanges action for atmosphere. A few more cases could have pushed this along, but it does engage. Winslet never falters, making “Easttown” seem like the place she was born, raised and disappointed. Peters and Smart are great sparring partners but Mare is the deserving main attraction. Winslet is the reason.

“TF&TWS” feels right now, even though it was originally scheduled to come before “WandaVision.” After that ground-breaking series cleansed the palate, it’s good to have something this lavish popping on home screens. Mackie and Stan deserve the attention. We saw that in earlier films when they got to banter. Now, they’re in the drivers’ seats.

[Anna Shay's] a fun one to watch and, easily, a forgiving friend. The others don’t get the same pass. ... It’s one more reality show that gives rich people a chance to build brands and foster careers without having to do any heavy lifting. It’s an escape. But without Anna, it’s not an escape we’d want to take.

Easily one of the best new shows in years, “WandaVision” accomplishes the impossible: it pulls us back in just when we thought we were out.

Sedgwick breezes through the scenes as if she has been playing something like this for years but Lizer doesn’t give much motivation for her characters’ moves. ... Throwing in a few more Iowa references (we’ve got plenty of them) would help “Mother” distinguish itself from dozens of similar comedies. “Bless This Mess” took its “Green Acres” plot, infused it with a big helping of Nebraska and found a way to thrive. “Call Your Mother” could do the same thing.

Danson does a bit of the goofiness we saw to better effect in “The Good Place” and Hunter is so stern it’s surprising someone didn’t pull her aside and point out this is a comedy. Stray bits of information (like a straw ban in Los Angeles) bring a smile; direct steals (how to spell “syzygy” was a plot point in “The 25th Annual Putnam County Spelling Bee”) suggest someone didn’t do due diligence.

Considering the money that must have been spent on it, “Bridgerton” should be better. It has all the trappings of a 1980s network miniseries but none of its sizzle. More humor -- and an appearance by Andrews -- would help immensely.

While “On Pointe” forgets some characters from episode to episode, it details the shared experience nicely. Ballet is not easy, we learn.

It’s a 1960s medical drama in a 2020 world. ... “Nurses” isn’t the medical series you’ve been longing to see. It’s just the one that happens to be here.

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

Pennette’s mission, though, is to keep Ashford in the fold no matter what it takes. She’s the A+ in this fairly middling comedy.

Anderson, a favorite in British theater, shows American audiences yet another nuanced take that manages to nudge even Colman’s performance. ... While Corrin doesn’t make a deep impression until the third episode, she gives Diana a strength we haven’t seen before.

Mara and Robinson are good leads – you can see him wilt as the years go by – but they also don’t provide enough of the why.

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

Because it antes in so many pots, this “Fargo” is like a thick novel – frequently unwieldy. Schwartzman and Buckley get lost (just when you need them the most); Timothy Olyphant and Jack Huston show up as lawmen when you’re not quite ready for them.

Because it’s like some 1950s melodrama, “Ratched” is quite attractive initially. ... Instead, it's just a shirttail relative of "American Horror Story," another series that isn't always sure what it wants to do.

Too traditional for its own good, it needs to mix things up on a grand scale.

“Coastal Elites” is a powerful 90 minutes with five actors who know how to make each moment count. You may not agree with the political points some espouse, but you will respect the heart that’s behind them.

While the first season surprised with behind-the-scenes talk (and action) among the superheroes, it didn’t have the depth this one does.

“Million Dollar Beach House,” an airy addition to the summer schedule, doesn’t really have the drama of “Million Dollar Listings” or “Selling Sunset,” but there is enough here to savor. ... Had the producers shown us more of the Hamptons in the process, “MDBH” might have set itself apart from other, similar shows.

“Lovecraft Country,” which tips its hat to the novels of H.P. Lovecraft, has the gloss of a Steven Spielberg summer blockbuster. It also has Spielberg’s way of tucking messages in places you wouldn’t expect.

Like a YouTube channel, “Muppets Now” needs to figure out what it does best and proceed. This isn’t “America’s Funniest Muppet Videos.” It’s “The Miss Piggy Show” with a few distracting bits thrown in for surprise.

“Brave New World” looks like something NBC might have programmed in the 1980s. The sex and swearing are a stretch, of course, but there’s a lot of “Stepford Wives” to this that doesn’t really work.

Winters hits the bases but doesn’t necessarily come all the way home. In “Showbiz Kids” there are enough storylines to fill a stadium.

This is a dandy companion piece – for hardcore fans. The idea that Disney would do similar documentaries on other animated features is overkill. Sometimes there’s more magic in not knowing how the sausage is made.

Spread over eight episodes, this “Perry Mason” deserves the time you give it. It lets supporting characters have their moments and it gives Rhys yet another opportunity to display just how fertile his imagination is. If there’s a second season – and that’s quite likely – it’d be nice to see cases closed after two or three episodes.

It’s likely this could have a good long run, particularly since Scott is so smart and approachable and Reynolds is so deliciously low. ... It’s easily one of those shows that could go the distance. It’s far better than some of the network’s retreads and it’s much more interesting with the producer’s well-written asides. This “Don’t” is a big do.

While none of the jokes land with the same precision as "Veep's", they do play in the same pool. If Kudrow had been given more screen time, she just might have made this zing as well as "The Comeback."