The Runarounds isn’t for everyone, and while some viewers may be put off by the teenage drama and moments of cringiness, plenty of others will happily embrace this nostalgic and simple story with open arms.

STREAM IT, if you’re a fan of sci fi, an Asimov fan or someone who caught the first two seasons of Foundation and want to see how the story proceeds. But, like we said in Season 1, casual sci fi watchers are not this show’s target demo. We suggest they SKIP IT.

STREAM IT if you like FBI or are a big Tom Ellis fan; CIA should scratch the itch of both sets of viewers. If you’re looking for an interesting procedural, SKIP IT.

Despite Kidman’s and Grant’s performances, we couldn’t muster up enough energy to care about anyone in The Undoing, at least not enough to spend six hours unraveling its central mystery. It’s certainly watchable, but having this show come so soon after BLL makes it feel like we’ve seen it all before.

It gives no personal insight into Mark Wahlberg’s life, and it’s not like he’s the most dynamic camera presence when he’s just being himself. That said, there is a part of us that’s itching to see how someone who was riding high — and already stretched super thin — deals with the massive ramifications of a worldwide pandemic, one that affected every business he invested his time and money in.

It’s one of those shows that has us hovering towards the “meh” end of the review spectrum. There was nothing inherently wrong with the first episode, but nothing really drew us in, either.

The great cast of Suspect saves the show from being a leaden disaster, but the story underpinning all that capital-A acting isn’t all that interesting.

STREAM IT, but we’re not sure if our recommendation is going to stay that way after the first episode. As the story of Paul T. Goldman gets more outrageous, the less funny we think this meta-meta series is going to be.

We’re reserving judgement about the slow pacing of Constellation until we get to see more episodes. But for a show that starts with a disaster and leads into a conspiracy, we were surprised at how little we were engaged with the material.

We’re not sold on The Walking Dead: World Beyond just yet, though we like Royale and the rest of the cast. We’re just not sure we care enough about the zombie apocalypse or these young characters to follow their journey.

Django will make for a good distraction if you’re into classic Westerns, but if you’re looking for complex morality plays, you’re probably out of luck.

Trainwreck: The Astroworld Tragedy does a solid job of laying out how everything at Travis Scott’s 2021 concert pretty much went wrong. But to truly be a STREAM IT, we feel like it would have to offer something more definitive than simply being a part of Netflix’s track record of Trainwreck docs.

What we’re not sure about is if this show is going to take some scary twists or if this is going to become just a standard-grade murder mystery that just has some creepy elements.

STREAM IT if you like watching reality and internet clips and making fun of them with a wink and a nod. SKIP IT if you’re expecting the same kind of snark you saw during Joel McHale’s run.

We’re recommending it on the strength of Gomez’s lead performance and Lawrence’s ability to guide his showrunners to better episodes as his shows first seasons go along. But it’s too generic at this point to be considered a decent family sitcom, much less a successor to such a well-loved ’80s series.

The Real Dirty Dancing is a mindless distraction if you’re in the mood for it. It’s got plenty of nostalgia for the film baked in, and it seems that celebs are game. But the show is about as memorable as what you had for breakfast.

Ultimately, the opening foray into Monsterland isn’t quite exemplary, although it has its share of strong moments. Here’s hoping its thematic ambition, not its narrative sloppiness, is an indicator of episodes to come.

Your enjoyment of this series depends as much upon how well you know and follow the Whitehalls (as it does upon your enjoyment of reality TV projects in general). If you’ve loved watching the exploits of Jack and his dad in the past, or already love binging lite reality, then you’re obviously going to want to STREAM IT. But if you haven’t experienced Jack Whitehall and his dad before now, this might not be the best first introduction to them.

Only because Snipes plays such a dynamic role as Carlton, and his chemistry with Hart is fun to watch. The rest of True Story feels manufactured, and Hart’s role is too close to reality to separate the Kid from Hart, especially when he’s complaining about being rich and famous.

Those of you out there who relish the escapism of sleazy junk like this may appreciate it for its too-hot-for-network-TV moments, and possibly for its scintillating iguana content.

Parenthood definitely changes you, and we’re curious to see if the male contestants in Labor Of Love are truly ready for the responsibility. We just wish the format weren’t so damned skeevy.

Ultimate Tag is the perfect kind of show to keep your mind off being stuck at home.

We hope the muddled first episode of Ragdoll isn’t an indication of where the series is going. The Ragdoll Killer presents an interesting case, but there’s so much thrown into the mix that we get the feeling the mystery is going to suffer under a pile of quips and contrivances.

I’m on the fence with The Comey Rule — it’s not revelatory, and mostly tells us what we already know. When it’s entertaining, it seems almost unintentional. But ultimately, it’s a curiosity watch that’ll compel you to stick with it through its entirety.

Skip the first episode, go to episode two and stream it instead before you make your decision to commit to the rest of the season. The sketches in the season premiere don’t really heighten effectively past their premises, while at least the second episode, also available now, goes a bit harder.

There’s lots about Departure that’s really silly, but Panjabi and Plummer carry the series into the realm of respectability.

Stream it, but only because Rosselló’s story is so harrowing. The series itself is done in such a lurid manner, and is stretched out so thin, that it’s tough to wade through the BS to get to whatever new information the series is offering.

We’ll give the show a tentative recommendation. But this show is the rare case where the first episode just doesn’t give viewers enough to figure out whether the show is worth watching, and what we did see didn’t get us all that excited about what’s to come.

Jurassic World Camp Cretaceous so far seems more appealing to tween audiences, who won’t mind too much if it coasts on franchise fumes. Maybe it’ll reach its potential after another episode or two.

STREAM IT, if you’re a fan of the Spartacus franchise. If you’re not, you’re going to be too confused and confounded by Spartacus: House Of Asher to want to continue past the first couple of episodes, so SKIP IT

It may be gross to watch, it may have too much testosterone running through it, but dammit, I liked watching these dopes suffer.

This is a marginal recommendation because we’re hoping The Sounds gets better as the mystery progresses. But in the slow first episode, not a lot happens, which makes us even more annoyed when information is purposely held back from viewers.

Stream it, but only if you really loved Season 1 of Carnival Row. The first episode of its final season is a big mess storywise, and doesn’t help viewers catch up from a first season that seems like it debuted eons ago.

Secret Invasion has a fascinating concept and some truly incredible performances for an MCU joint, but its writing and direction both fall a little flat. It’s the kind of serious show that Marvel fans were thirsting for five years ago, but now might cause some viewers to nod off.

The first eight (of ten) episodes of Only Murders in the Building Season 3 left me feeling decidedly “meh.” Sure, you can’t really snub your nose at Meryl Streep bantering with Martin Short — even I have to admit that watching the show’s stars collide is worth the price of admission — but the storytelling kept letting me down.

Three Women might have worked better as an anthology, but in its current format, it has too many superfluous elements and not enough actual drama.

Despite some interesting elements and the steadying presence of Vaughn, the sillier elements of Tyler Perry’s She The People overwhelm what could have been a funny story about messy families and racial politics.

Twisted Metal is noisy and violent, with some decent performances, but that’s about it.

The format has potential for great drama, but in this case both sides are underdeveloped. ... The first episode of We Hunt Together is less intriguing than its staggered timeline suggests it will be. We’re not expecting things to get any better from there.

Saint X may successfully dance around some of the uncomfortable implications its making in its first episode, but the show’s disjointed storytelling isn’t helping its cause.

Dancing For The Devil: The 7M TikTok Cult isn’t necessarily one-sided, but it’s certainly unbalanced, in the sense that we hear a lot about the victims of 7M were told to do but not a lot about what drew them to Shinn and made them stay under his control.

Liaison is a show that leaves little to no impression on us after watching it, mainly because it feels like a cynical pastiche of espionage thrillers that came before it.

It feels like Suspicion is a bunch of espionage scenes in search of a cohesive story. The story may reveal itself at some point, but right now, the whole operation feels bland and generic, to the point where we don’t think we’ll be engaged with the story in subsequent episodes.

Unless you’re a Gordon Ramsay completist, Being Gordon Ramsay feels like it’s going to be six episodes of of the same pleasant but dull Ramsay promotional material that we saw in the first episode.

United We Fall has all the right pieces. ... But those pieces just don’t coalesce into a show that rises above its tired premise.

Gotham Knights just left no impression on us, which is deadly for any show, but especially one that’s trying to be a Batman series without Batman.

Polo is a mostly boring look at a sport that very few people outside of elite circles have any particular interest in.

This series plays like a quickly-written nostalgia trip and nothing more.

Once all of the mania settles down and we get into the meat of the story about Kalanick’s fight to get Uber established and grow it into what it is today we actually got bored.

Something feels vaguely unsettling about The D’Amelio Show. What made us squinchy wasn’t Charli D’Amelio herself; she seems to have her head screwed on straight. ... We’re not sure about the rest of the D’Amelios. ... It doesn’t really give much insight into teens and sudden social media fame, except for the fact that commenters really, really suuuuuuck.

Man On Fire feels like it’s going to be seven episodes of filler and tortured monologuing between action scenes, which doesn’t exactly make for entertaining television.

Despite good performances from Daniels and Tierney, American Rust: Broken Justice doesn’t make a case that a second season will be any more of a grim exercise than the first was.

Pulse is one of the most generic medical dramas we’ve seen in some time, with characters who aren’t compelling and medical situations that are eye-rolling to watch.

Even though we don’t know the case, we could see where the show was going, and were dreading spending the five additional episodes it was going to take to get there. ... Despite good performances from Fox, Addy and Graham, The Murders At White House Farm feels like it wants to tell a deeper story about these notorious murders from the ’80s but just can’t bring itself to do it.

Mixing tragedy, comedy, and drama is an extremely difficult balance to achieve, something that, for example, fellow Apple TV+ series Ted Lasso managed to do deftly in its first season. Unfortunately, despite tremendous theatrical performances from all involved, it’s an equilibrium The Shrink Next Door fails to reach.

We don’t fault any of the acting on Ordinary Joe for this show’s issues; the actors are doing the best they can, but are stuck in a premise with a limited shelf life and already signs that it might collapse under its own weight or get too clever for its own good.

Stream it, if you’re a Walking Dead completist. But, for everyone else, SKIP IT. The Walking Dead: Dead City feels like the same show whose storytelling ambles like a hungry walker at times, just in a new location.

Watson feels like a show that just isn’t confident enough in its version of Dr. Watson and his team to let them stand on their own.

There’s nothing that distinguishes The Courtship from the Bachelor/Bachelorette series or any other reality dating series, for that matter. But you may want to watch it for the charming Remy or the costumes.

It feels like Turning Point takes a half-measure, going over that day in some detail but glossing over what truly made it horrifying to the people who lived through it or people like us, who were just in the tri-state area. ... If you’re interested in either a 9/11 documentary or a War on Terror documentary, there are better ones out there than Turning Point: 9/11 And The War On Terror, which tries to go into both in depth and accomplishes very little that’s new.

Slattery’s presence makes it a watchable mess.

Council of Dads isn’t as ridiculous as some of the other This Is Us rip-offs we’ve seen in the past few years, but its also not all that good of a show, either.

Outer Range has expansive scenery (when it can be seen), and decent performances from Brolin, Taylor, and Poots. But neither its family drama and supernatural elements are compelling enough to make up for the show’s slow pace.

As much as we like Jumbo and Capaldi, there’s nothing about Criminal Record‘s second season that holds our interest.

This is a SKIP IT to all but the diehard Santa Clause fans out there. If you rewatch the entire Santa Clause trilogy every year, of course you’re going to want to see what happens next. The rest of us are fine sticking to the first film — or just rewatching Elf.

Special Ops: Lioness isn’t a mess, but it’s strangely inessential and inert, given its cast and Sheridan’s involvement. There are better, similar shows out there.

While Strip Law has its moments, it’s most a loud, gag-heavy comedy that doesn’t really take its time to make its main characters into real people.

There was so many directions Granite Harbour could have gone in, which is why its generic story and characters are so disappointing.

Despite the fact that there are laughs to be had on Don’t, the game play is far too confusing and it feels like it’s being treated like a secondary aspect of what’s supposed to be a game show.

While we like Beckinsale’s performance in Guilty Party, the show doesn’t seem to have enough story elements to really make us latch onto Beth or her quest to get her career back.

While we saw some flashes of that potential in the first episode, we’re not sure how hard the show will strive to take advantage of those flashes.

There’s nothing about Dubai that distinguishes it from other editions of the franchise, and no one from the cast stands out after the first episode.

A disappointment for those of us hoping for something more authentic.

Despite Kenneth Branagh’s brilliant transformation into Boris Johnson, This England takes too much time rehashing the beginnings of the response to COVID-19 as if they were 20 years ago instead of something that, even though it was almost four years ago, still feels like it happened yesterday to most of us.

Farmer Wants A Wife suffers from being boring more than anything else. Maybe when the single city women get involved in the dirty work of being at the bachelors’ farms, things will get better, but without interesting bachelors, the whole idea of the show makes little sense.

While Mafia Spies has a good story at its core, the series itself is at least two episodes too long to tell the story effectively.

If you’re in the mood for a lighthearted giggle, this is not the special for that and Netflix is packed with dozens of others that do provide this service. It didn’t make me laugh and I believe the intention was to do so, even more than her previous special.

The Spiderwick Chronicles isn’t scary enough or wonderous enough to hold our interest, and we get the feeling that kids who watch the show will seek out other shows that are either scarier or more whimsical.

There are some funny jokes, but the series feels like it belongs in 2005.

Marvel’s M.O.D.O.K. suffers from not only being not as funny as it should be, but it also pumps the fan service gags instead of actually developing the world around its star supervillain.

There’s lots to like about Kerry Godliman as Pearl, and it does seem like the chemistry between Godliman and Howard Charles is good enough to sustain Whitstable Pearl, but the mysteries need to get a lot stronger before this show can compete with other hit British mystery series.

We would say that Becoming Karl Lagerfeld would be great if you’re a fan of fashion, but we’re not even sure there’s enough conflict to drive the drama for people who are interested in Lagerfeld’s history.

Superfans of a specific film or director who seek a nugget or two of insight they haven’t already uncovered might find something of value in individual episodes. But beyond that, One Perfect Shot isn’t the compelling submersion into the art of film you’d likely prefer it to be.

While there’s nothing truly terrible about Vampire Academy, there’s little about it that stands out amid today’s crop of fantastical YA dramas.

The Curse Of Von Dutch is one of those docuseries that feels like it would have been better off as a 90-minute documentary film instead of a three-hour series. Even in the first episode, Renzi stretches the story to the point where it’s almost transparent.

Dear Edward has some good performances, but a lot of poorly-sketched characters shuffling their way through an extraordinarily bleak drama.

I’m feeling an Odd Couple vibe pockmarked with extreme cartoon violence, which leaves me indifferent. Maybe it deserves another episode or two before we dismiss it, but it feels like only fans of the manga will hang on to compare and contrast this with the source material.

STREAM IT if you are just interested in seeing the dogs compete on The Pack. SKIP IT if you want to watch an interesting reality competition.

The first episode of The Glass Dome was too predictable, giving us a bad feeling that the rest of the limited series will be, as well.

Foundation is a plodding, confusing tale of a civilization’s triumph over its almost certain doom. We’d love to see the parts that show the story’s humanity and hope, but the first episode was just too boring to draw us in.

The Leopard is boring, with a large ensemble that blends into the background, except for the three main characters. It’s definitely a show about a part of history most people outside Europe know little about, and the show’s dullness will make it hard for people to connect to that story.

Though we liked the experts that were interviewed for Queen Cleopatra, as well as Adele James’ performance as the famous queen, the dramatic sequences leave too much to be desired to keep us from just reading about Cleopatra online to get the information we want.

Despite fine performances from Dever and other parts of the ensemble, Apple Cider Vinegar is too busy scrambling around the storytelling for no particular reason than just concentrating on telling the story in the best way possible.

The Couple Next Door really leans on the stupidest parts of a plot that should just depend on the sexual chemistry among its four stars.

The series is enjoyable though extremely forgettable.

While we like Fielding in the lead role, The Completely Made-Up Adventures Of Dick Turpin mostly misses the mark when it comes to the silly gags that permeate the first episode.

The jokes are more quippy asides than things that are borne out of character. Some of them hit, but most miss. In fact, almost the entire first episode felt like a lame attempt at replicating the HIMYM formula, save any memorable characters.

Ted had the potential to be a heartwarming show with good coming-of-age stories — at least as heartwarming as a show about a pot-smoking, cursing, bigoted teddy bear could muster — but the episodes are drawn out by Seth MacFarlane-style gags to the point where we got bored.