Villain: Wrath always works. It’s a good, reliable flaw for storytelling. The cravings add important dimensions and make this flaw even worse. The backstory is terrific because it goes directly to feelings of mistreatment and unfairness — which everyone seems to have experienced.
Heroine: It seems to be that wanting dignity is not a craving, it’s a genuine need. We all need a level of autonomy and respect. Being treated like property may be part of a cultural lens, but it’s inhumane. So another exploration of a flaw may be in order. Is she a coward? Does she have a twisted sort of pride that makes her think she IS the role she’s been assigned by society and undeserving of independence? Or is she lured into subservience because she is taken care of (sloth or perhaps greed)? It need not be any of these. There may be something else keeping her from holding onto the freedom fate has given her.
The love part is easier. Someone who has strength and integrity is in a great position to find true and equal love.
Cruel Summer sounds like it did a good job balancing goodness, flaws, and empathy. A series, by its nature, usually does not have a standard character arc, but good writers can take advantage or arcs in clever ways episode by episode.
For The Fall, self-serving could be a serious flaw (where people are betrayed, for instance) or just a foible. Does Stella ever need to grow to achieve her main goal? (Again, change is unusual in series. Even more if it’s a detective show.)
Mare was a limited series, right? Crossing lines is a big deal, but I suspect she didn’t have many regrets. Did she change? Still, it’s hard not to want someone dealing with grief to succeed.
Miss Scarlet sounds similar to Stella.
You might want to explore films rather than series. The character arcs are generally clearer. Also, detective stories and mysteries usually don’t have character arcs.