Orlando Bloom: To The Edge isn’t the ego-stroking exercise we thought it would be. The show, which actually has a lot going for it, just needs some tighter editing.

The only thing that keeps Apples Never Fall from being yet another eye-rolling show about wealthy people being terrible is Annette Bening’s performance as a woman who is still looking for something, even in retirement.

The Family Stallone is mainly a harmless reality distraction. But it’s not going to give much insight into Sly’s life with his family. So if that’s what you’re looking for, you’re going to be disappointed.

Watching Conversations With A Killer: The Son Of Sam Tapes is a bit of a frustrating experience because you just want to hear from Berkowitz, not get a rehash of a case that has been in media and pop culture for close to a half-century. But the interview with Berkowitz is fascinating enough to keep us watching despite the frustration.

If you’re looking for a lot of teen angst and conflict, Finding Her Edge is probably not for you. But the performances are good enough that you’ll have no problem sitting down and watching this mostly easygoing show with your entire family.

We would be happier if Scarpetta was a period piece with its main characters’ younger versions instead of its current time-jumping format, but we’re hoping that the present-day storyline comes around as Kay and company revisit the serial killer case from the ’90s.

Like we said, the cast of The Agency carries the show, but we’re not sure how much the stories will hold viewer interest unless they quickly get more interesting.

We’re tentatively giving The Essex Serpent a recommendation because the performances of Danes, Hiddleston and the rest of the cast can overcome the series’ plodding pacing in parts. But we’re just not sure how many people are going to make it through all six episodes when it seems like the first one doesn’t do much to set up the story.

Let The Right One In is a bit uneven, mainly because some stories are less interesting than others, even if they’ll all get connected somehow by the end of the season. We just want to see how Mark and Ellie manage Ellie’s unusual life, and we want to see more of that as the show goes on.

It’s definitely a shadow of what it once was, but the characters are still classic, and the lessons they teach are given in a way that will stick in the minds of the kids they’re trying to teach.

Age Of Attraction seems to have a positive message about love knowing no age, but we’re wondering how the show is going to separate itself from other dating shows once it leaves the retreat.

'Barkskins' is well-acted and looks fantastic, but it's too confusing at the start

It still reliably makes us laugh, but we just wish it wasn’t so completely dependent on one character to generate those laughs, as legendary as that character (and the actor who plays him) might be.

There are enough good things about the show to think it’ll work eventually, but it might never click on all cylinders like the parent show did at its peak.

We wish that the first episode went into more details about the boys’ accusations and the trial that ensued. Otherwise, it was a lot of the same song being sung, that this kid couldn’t possibly have done what he was accused of doing; it made for a particularly slow-moving first episode.

Superhot: The Spicy World Of Pepper People is full of colorful characters and it’s about a subculture we’re interested in. We’re just not sure there’s enough there to sustain the show for ten episodes.

The supporting cast is solid, from Sewell’s smarmy Hal on down. The show has a mild sense of humor that can alleviate some of the seriousness. But there’s nothing about the show that makes it a buzzy must-watch.

Whether it’s a good murder mystery is still up in the air after the first two episodes. But damn if Nash-Betts doesn’t completely command our attention during her copious screen time.

The reason why we’re so hard on Jerry Springer: Fights, Camera, Action is that The Jerry Springer Show, and Jerry himself, are such fascinating topics that we wanted a deeper exploration of the cultural phenomenon that the show was than what we got. It’s one of the few cases where a docuseries needs more episodes, not less.

American Manhunt: O.J. Simpson is at its best when it collects all of the places where the LAPD and DA’s office botched what seemed to be an overwhelming case against Simpson, but otherwise it doesn’t reveal anything all that new about the case.

We wish that the multi-level humor of the original series was here, rather than just a series of bug eye gags and heavy items falling on the characters.

This is more of a hopeful recommendation than a wholehearted one. There are lots of good elements to The Institute that just don’t seem to come together well in the first episode. But the hope is that they will coalesce as the series goes along. But there’s just as good a chance that the show will devolve into a mess of untied narrative threads.

Just lighthearted enough to not set off a panic attack.

Even though the first episode of The Premise was uneven, there was enough there to make us want to watch the other episodes. Mainly we want to see if the big swings Novak takes in each episode connect, or if they’re admirable strike outs.

There were some very funny moments, but they mostly involved the supporting characters (more on that in a moment). The connection between Ginny and Georgia (and, we guess Austin, but he’s just stuck in cute-kid-land for the entire first episode) needs to be warmer and stronger for us to completely buy in.

Zukerman is no Tom Hanks, but he’s sufficiently charming as Langdon to make us believe he’s the young version of Brown’s signature character. ... The more we buy into Langdon’s prolific skills and the more twisty the story is, the better. But we’re not sure if Dworkin, Beattie and their writers will be able to pull it off.

The first two episodes feel like a missed opportunity, given the cast. But what we’re hoping is that things will get better as its first season goes along, and there’s enough there to keep us interested while hoping it gets better.

[Bayer's] comedy chops here easily remind you of how she shined behind the Weekend Update desk with in-over-their-head characters such as Jacob the Bar Mitzvah Boy or flailing meteorologist Dawn Lazarus. ... The pilot, directed by Michael Showalter, has an even slower burn than say, Search Party, which he co-created.

Given the cast and the potential for a series with some good laughs, we’ll tentatively recommend The Z-Suite. But the writers really need to take their feet off the gas when it comes to cliches about both Gen X and Gen Z.

If he says you shouldn’t trust what he says out of context while drunk and high in a three-hour long podcast, then perhaps you can get everything you need to know about him and decide for yourself by seeing and listening to what he says here while presumably stone cold sober but slightly sweaty for just over an hour.

If you’re fans of the quartet at the center of The Super Models, you’ll be fascinated at this look at their lives. If you’re looking for explosive revelations, you’re mostly going to be out of luck.

Based on the first episode, it seems that Abrossi and Calvo can handle this back and forth pretty well, but as we expand out the universe around Cristina’s life, we’re wondering how well they’ll be able to keep track of everything.

The story is fairly coherent from beginning to end, even if you make some choices that mean you don’t get to the “winning” solution. But as with the series it came from, we just wish some of the jokes whizzing by our heads were a wee bit funnier instead of just thrown out there to see what lands.

Hollywood Houselift isn’t a particularly interesting show if you’re not already a Flipping Out fan, and it definitely pales in comparison to that show. But if you’ve been missing Jeff Lewis’ particular sense of style and, uh, work ethic over the past three years, this should give you the fix you need.

9-1-1 is what it has always been, which is a show with great actors put in insane rescue situations. At this point, for it to be anything different would be strange.

If the writing on The Crown Season 6 Part 1 falls a bit short where it counts the most, the cast at least delivers the goods. Imelda Staunton is still the most ineffectual Queen Elizabeth II the show’s produced, but she’s no longer in the spotlight, so it’s fine. Instead, The Crown Season 6 Part 1 belongs to Princess Diana and Elizabeth Debicki.

We’re not completely sure that the story in The Bastard Son & The Devil Himself won’t get muddled again like it was at the beginning of the first episode. But we have faith that it will keep things focused on Nathan and his attempt to keep evil at bay.

What we hope is that the level of episodic mysteries on A Taste For Murder get a little bit better than the muddled one we saw in the first episode, because everything around those episodic cases makes for an interesting show.

Perhaps as things go along, we’ll see more development from these characters. But it may also be that Halston is the only one we see any kind of depth from. And that feels like a missed opportunity. ... McGregor’s performance ties together the flatter characters that are depicted in Halston’s orbit. Despite the broad strokes, five episodes sounds just about right for this series.

We like the cast of Blockbuster, especially Park, Fumero and Smoove. And Ramos has done enough time on successful workplace comedies to know how to make them work. What we see so far is underwhelming, but promising.

We still think that Memory Of A Killer has the potential to go in directions other thrillers haven’t, simply because of the cognitive decline Dempsey’s character will be suffering through. But through the first two episodes, there’s not enough of that to make the show feel much different than other conspiracy thrillers of recent vintage.

We’re still largely “meh” about Nine Perfect Strangers, but the show’s second season is marginally better than its first.

Right now, it’s more of the two of them feeling each other out, and how the very experienced and skilled Mary and her friends will train the newbie in how to keep themselves safe. ... This isn’t This Is Us, after all. But given how quickly the “Scooby gang” of this show has been established, The Winchesters is off to a decent, albeit familiar, start.

What we hope is that The Catch gives us a couple of twists and turns that makes it less predictable than we think it’s going to be after watching the first episode.

Twenties is definitely light on character development, but Gibbs shines as Hattie and the perspective the show presents is unique.

Simon Cowell: The Next Act combines the homelife version of the host’s caddish personality with the process of finding, founding and making a boy band flourish. We’re just intrigued enough to see if Cowell really can go from zero to One Direction in the space of six episodes.

We’re on board with Hitmakers because of the music that’s being produced in these camps. The interpersonal stuff may drive the drama, but it’s much less interesting to us in this context.

We’re liking some of the spicy international flavor Butterfly is featuring amid its central dispute between spy world adversaries Daniel Dae Kim and Piper Perabo. But we’re also looking for the actual action in this action series to really establish itself. Butterfly is a tentative Stream It.

Mulligan is derivative. You can’t avoid that truth. But it shows some promise, and is just funny enough to warrant your attention for another episode or three.

The Golden Bachelor has all the stuff Bachelor fans love. We just wish all of these sixty- and seventy-somethings acted with a touch more maturity and dignity.

Despite the slow pace, easy clues and overreliance on guffaws, we still found ourselves playing along as if we were watching the older versions on BUZZR. And the modernized version of the ’60s theme song is pretty fun. If the show gets a second season, we hope Fallon and Quinn tighten things up to make the show move a bit faster.

At times, Spector doesn’t seem to know how to align the man’s competing legacies. But it does its best to portray a fuller picture of the woman who paid the ultimate price for his behavior.

Happy’s Place is a throwback sitcom that relies on character humor instead of broad gags, and that’s always something that we will root for.

While we’re still not sure The Audacity is going to be an ultimately satisfying show to watch, we are interested enough in the plot between Duncan and JoAnne to keep watching.

Even though we weren’t completely turned off by Taylor Kitsch’s performance, his presence in The Defeated transforms the show from something intriguing to something that could either get really good or go south in a hurry.

We’re sure that the storytelling of Season 3 of Yellowjackets will even out as the season goes on, but it really feels like we need to see more of the teens than the adults at this point, and that imbalance is pretty evident in the first episode.

Parish is a rather generic crime drama with shallowly-sketched characters. But Esposito makes it watchable, purely because we love seeing how he portrays his character’s barely-controlled rage.

Dragnificent! isn’t quite as good as Queer Eye — the lower budget it pretty evident — but the drag queens make it a fun, empowering watch.

Devil In Ohio is a perfectly serviceable show that should keep audiences entertained for eight episodes. But at times it feels like something that’s a bit too slick and a bit too uncomplicated for a show that’s about a cult victim that ruins lives, especially a show for Netflix.

While Daredevil: Born Again continues to be a watchable Marvel series with good performances, your enjoyment of the show may depend on how close you feel Fisk’s New York is to what is going on in real life.

We might be getting to the point where we may want a break from Love Is Blind. But, so far, Season 8 is interesting enough to keep watching, even if the first episode felt more generic than what we’ve seen during the past few seasons.

Despite our reservations, Gyeongseong Creature has a good story buried in all the murkiness. But we’re not sure if the show will actually be able to focus on that story as the first season goes along.

Once the adventure aspect of the film picks up, it’s a fun ride until the end.

As with most anthologies, your mileage may vary with Tales Of The Walking Dead, depending on which episode you watch. But the performances are entertaining enough to make up for some fractured storytelling and weird, overly positive vibe.

For new viewers or those who have lost interest in the series over the years, this season may not be enough to reel you in if the first episode is any indication. But hey, we still are charmed enough by the series to hope that One-Punch Man: Season 3 ultimately proves us wrong and ends up being a total knockout.

We’re cautiously optimistic that David E. Kelley has taken Presumed Innocent in a direction that’s not only distinctive from the novel and film, but has done so in an watchable way. We might need a few more episodes to know for sure, though.

We’re giving a cautious recommendation to The Journalist because we think writer Michihito Fujii has established the bones of a good story. But it needs to avoid getting bogged down in the details of the corruption and just get down to the business of examining everyone’s motivations in the scandal.

Brews Brothers is funny and is easy going down, like a smooth pilsner. But we’d rather it be a little deeper, like a good ale.

We feel that once you get past the first episode of The Invisible Pilot, the craziness of Gary Betzner’s story kicks in. But the first episode makes it a little tough to get to that point.

Bridge And Tunnel is potentially a good show, with some funny situations and a good amount of drama in the mix. Burns’ dialogue is generally spot on and well-delivered by the cast. But by the end of the first episode, there wasn’t one character we could latch onto and root for or against.

The story doesn’t particularly move quickly. Maybe as we dig into the back stories of the other passengers, things will pick up. But we get wary of shows that choose long shots of an abandoned ship over character development or plot movement, and 1899 will very easily slip into a too-languid pace if it’s not careful.

The performances and potential for lots of twists makes His & Hers a show that we want to see more of. But the first episode needed to give viewers a few more crums of contextual information in order for it to make more story sense.

We’re giving Atomic a mild recommendation because there might be enough chasing through various Northern African locations to make the show a visual treat, and we’re curious about the dynamic between Max and JJ. But it also feels like show that might repeat itself too much as the two men run around with those satchels of plutonium.

Our mild recommendation for Loot continues from its first season to its second. The relationships between the characters are growing, which is great, but the show is just not as funny as it should be, and that’s always disappointing.

An appealing cast saves The Irregulars from being a messier show. Not all the elements come together, but watching this group gel is enjoyable enough to keep viewers engaged.

We’re on board for Crime for Dougray Scott’s lead performance. The rest of the series feels like it could be from any procedural we’ve seen on either side of the Atlantic.

While Daisy Jones & The Six successfully brings the book’s characters and music to life, pacing-wise, it suffers from a similar problem as Peter Jackson’s Hobbit Trilogy.

While we’re unsure if the twists and turns in The Game are going to be good or stupid, we’re still interested in how Huw is able to hold onto his family while playing this cat-and-mouse game with Patrick.

Seeing Rock open his performance with jokes about “woke traps” and Elon Musk’s sperm count and OJ Simpson (in 2023!) left me feeling weary for what was to come. ... Much like he did in Tamborine, Rock shifts his focus in the second half of his special from observations about the world to look inward at himself and how he’s reacting to the world now that he’s single again in his 50s.

We were not super impressed with the creepiness or scares in Passenger, but we did like Wunmi Mosaku’s performance, and that may be enough to make this show tolerable.

We’re recommending Turner & Hooch mostly for the dog. ... Without Hooch, the show is mostly a generic basic-cable mystery series; if it can’t develop better relationships between its characters, the dog will still be the only thing keeping us watching.

Despite not having confidence that the show can services all the stories it’s set up, The Gloaming definitely has a sense of place, and we’re so curious about the relationship between the two main characters, we’ll keep watching.

Because the bulk of the hour is chock full of bells and whistles and topical references, it might not have the same staying power as some of his earlier specials.

There’s enough here for any Stath fan to love, and anyone unfamiliar with Demetriou to go looking for more afterward. There are times like these, however, where I might wish sketch comedy collections had chapter dividers so you could SKIP more easily past the less effective scenes.

Again, it’s really hard to get excited about anything in Irvine Welsh’s Crime outside of Dougray Scott’s performance. But once again his performance draws viewers into the story.

Despite our misgivings about the cohesion of the story in the docuseries, Desperately Seeking Soulmate: Escaping Twin Flames Universe is still an interesting study in how easily someone can manipulate people who are vulnerable and looking for answers.

The contestants are game, and they banter with the hosts and each other well. But there isn’t a whole lot of tension, even in the final round, and the money at stake isn’t enough to lend that final round a boost of tension just by showing how much is at stake.

While Marriage Or Mortgage may be a cobbled-together version of other, better reality shows, it also has enough charm to it to make it a fun watch.

If you’ve seen some amazing LEGO sculptures and wonder who does that sort of thing, LEGO Masters will be a good insight into master builders’ skill set and thought process.

It’s still The Circle, and the social distancing aspect of the series is more relatable than ever. But we were disappointed that the French version has a group of (mostly) generic, interchangeable contestants.

The second episode of Tulsa King gave us hope that the series can be an enjoyable series with a bit of a sense of a humor about its fish-out-of-water conceit and that Stallone can turn down the Sly schtick. But there were still a lot of issues that make us think that the show could end up being as nuanced as a plate of spaghetti topped with ketchup.

Spacey Unmasked is a relentless series of stories detailing horrific behavior by Kevin Spacey, but it also tries to give a little context by delving into the actor’s life. Still, it’s hard to watch.

Ted Lasso Season 3 starts rough, but it does find its footing by Episode 4. It’s the worst season so far to date, but there is enough there for fans to hope — if not “BELIEVE” (har, har) — in a triumphant conclusion to the season. We’ll just have to wait and see.

March is a bit of a frustrating show, because in one respect, producers Cheryl Horner McDonough, Jamail Shelton, Shari Scorca and Marcel Fuentes have shown viewers a world that has been largely unexamined until now. But in other respects, it doesn’t seem like it goes deep enough in its first episode.

We’re certainly intrigued by the mystery that’s at the center of The Resort. But we also hope that Milioti and Harper get more of their own story to dig into, as opposed to being just a typically bored married couple who come together under extreme circumstances.

Like a lot of the animated programs Fox has put out in the past 15 years, this one needs some patience. Perhaps the rapid-fire jokes we see in group will give way to these individual stories that will mine laughs from the characters. But right now, the show is so overpopulated it doesn’t give any of these characters room to explore.

Cush Jumbo and her character are the reasons why we’re going to keep watching Criminal Record. Not that we hate Peter Capaldi’s character, but at the outset he feels much more generic than Jumbo’s character, and given that the two of them face off during the entire season, that could end up being a big problem.

Despite the excellent cast, there were lines and situations that were so clunky and predictable that we shook our heads that they made it to the final cut. But there is an interesting twist at the end of the episode that leads us to believe that some of the clunkiness will eventually be ironed out.