It’s not that Oasis is necessarily a bad show, but it seems like a formula we’ve seen a lot of, and the show doesn’t bring anything new to the table to make it even the tiniest bit distinct from other “rich people being awful” shows.

We still like a lot about Sugar, including Farrell’s perormance as well as the show’s film noir look and feel, but after the first season’s revelations, the show needs to have something more than just a missing-person mystery to make it not feel like it’s going backwards.

Despite a riveting performance from Britt Lower, I Will Find You is one of the more ridiculous Coben adaptations we’ve seen, and that’s saying a lot.

We’re still not 100% sold on The Season being a show that’s going to be anything more than a moderately-entertaining distraction that’s sprinkled with some leaden dialogue and meh acting. But at least the last scene of the first episode gives us hope that the awful people in the story will be balanced by a protagonist we actually want to root for.

America’s Sweethearts: Dallas Cowboys Cheerleaders continues to do a good job of showing how much the hopefuls and veterans work and sacrifice to make the DCC squad. We just wish the format was a little different this season.

Patience continues to be an effective mystery series because of Ella Maisy Purvis’ portrayal of a person who is on the autism spectrum who puts her abilities to use in the best way she knows how.

House of the Dragon Season 3 transcends television and is sheer explosive entertainment.

Let Rebecca Hall guide you down a rabbit hole of auditory madness — and maybe a kind of ecstasy? — in The Listeners. We heard you’re gonna love it.

Outlast: The Jungle is a good continuation of the Outlast franchise, adding heat and torrential downpours to the hazards the show’s players have to face in order to collect a share of the $1 million prize.

The Evil Lawyer is a bit overdramatic, but it sets up an intriguing scenario where Jittri and Mek defend more impossible clients while Mek faces his own fate in court.

Calabasas Confidential has what it takes to become Netflix’s next big reality show.

We really had trouble connecting with the sisters and the sticky situation they get themselves into in That Night, and we don’t know if things are going to get better as we get deeper into this story.

The Art Of Sarah looks like it’s going to be an intriguing, multilayered mystery about a woman who built a luxurious life from a complex lie and the cop that figures those lies out.

Time Flies has the potential to be a bit predictable, but we like the relationship between Inés and Manca, and the lengths Inés will go to in order to make sure Manca gets the care she needs.

There’s nothing revolutionary or even unique about Every Year After. But the cast is charming enough and the setting is pictureseque enough to make the show a pleasant distraction for fans of romantic dramas.

Alice And Steve gets funnier the more the tension between Nicola Walker and Jemaine Clement’s characters ramps up. But the effective way their friendship is established is what makes the tension work.

The Vampire Lestat is a bit of a left turn in the Interview With The Vampire story, but it’s campy fun with good music and a Lestat that is funnier the more seriously he takes himself.

Despite some issues with the first episode of Cape Fear, we enjoyed Javier Bardem’s lower-key Max Cady so much that we definitely want to see how he inflicts himself into the lives of Anna Bowden and her family.

Because of some good performances and an interest in seeing the broad strokes of this case, The Witness is worth watching, but we just wish the series took a more nuanced look at the Nickell case.

Regardless of whether you’re a Critical Role fan, Dungeons & Dragons player, or a returning viewer of The Legend of Vox Machina, if you love strong animation, well-written characters, an intriguing plot, and a big adventure, then do yourself a favor and STREAM IT.

Jeremy Clarkson loves knowing everything, even when he doesn’t know anything, and this inherent conflict continues its bountiful crop yield in Season 5 of Clarkson’s Farm. It’s a consistently fun show, because you can see the contours of Top Gear and The Grand Tour within it, how the host combines thoughtful observations with smart-alecky asides.

There is nothing inherently wrong with Michael Jackson: The Verdict. It’s a well-made docuseries that tries to show both sides of Jackson’s molestation trial. But it also feels completely unnecessary.

Could Not Suitable For Work get better once the writers figure out who these characters are? Sure. But the show is starting from such an annoyingly unfunny place that it may take the entire season for that to happen, and by then most viewers will have checked out.

The problem with the first episode is that it doesn’t go far enough in describing just how problematic van Mierers and his cult really was.

Everybody around the space program knows what they’re not allowed to say, and yet a lot of them feel tempted to say it. Which is a tension we can believe in as the series continues to unfold its detailed alternate reality.

Rafa is hardly the first documentary following the final days of an athlete’s career, but it’s one of the only ones that feels brave enough to show the depth of sacrifice made for glory.

The dynamics of Deli Boys have changed as DarCo’s business has grown, but there are still enough funny moments to make the second season fun to watch.

While the plot of the second season of The Good Girl’s Guide To Murder feels a bit less focused than the previous season’s story, it’s still watchable because Emma Myers and the community of friends that help Pip investigate things.

The second season of The Four Seasons doesn’t quite have the same fun group dynamic that the first season had, but it still has funny moments and more than enough chemistry between its cast members to be very watchable.

Summerwater feels like it’s too in love with showing the inner workings of the bent brains of its characters than actually advancing plot or making the main characters into something more than caricatures.

As comprehensive as World War II With Tom Hanks seems it will be, even people who consider themselves experts in World War II might learn some new information about the massive conflagaration during the show’s 20 episode.

Spider-Noir is a good looking show, that should be fun to watch in either black-and-white or color, but it’s boosted by Cage’s performance and a knack for nailing the classic detective noir genre.

Mating Season has a couple of chuckleworthy moments in the first episode, but it’s trying too hard to be “adult” to give the characters a chance to develop.

Berlin And The Lady With An Ermine has lost none of the Berlin series’ charm or joie de vivre. It’s still a show that’s more fun than thought-provoking, which is exactly what it’s intended to be.

The stellar cast of The Boroughs is the biggest reason to watch this series, even if the story might be a bit predictable.

If you go into Maximum Pleasure Guaranteed with the right mindset, and not look for it to be a true dark comedy, then Maslany’s performance and the complex psychological thriller plot is satisfying. If you want it to be funnier, you might not get what you wish for.

It’s Not Like That is a multigenerational family drama that shines due to fine writing and acting and fantastic chemistry between Scott Foley and Erinn Hayes.

As overstuffed as Rivals is, the back and forth between Tony and Rupert is so delicious to watch that the frustration over the underserved storylines is secondary to the viewing experience.

Dutton Ranch nicely foregrounds their relationship – a boon for fans coming over from Yellowstone – and immediately plunges Beth, Rip, Carter, and their very livelihood into tons of new trouble.

There is a lot about Nemesis that’s clunky and cliche. But we liked the performances of both Law and Noel, and we hope that the complexity of both of their characters’ lives will be explored with more depth as the series goes along.

The finale of Good Omens is certainly watchable, and will provide at least some closure to fans of the show. But it’s just too bad that Gaiman’s legal troubles deprived fans of a more complete-feeling ending.

This frothy “opposites attract” series will fill the YA romance series hole in your life.

Is the action good enough to give the humorless One Last Kill a pass? Yeah, just barely. So STREAM IT I guess, but you’ll be wise to temper your enthusiasm.

The second season of Tucci In Italy made us realize what Tucci is actually connecting with is the food and culture, and that helps us like him better.

If you’re a fan of the video game franchise, then you’ll likely want to skip this series just on principle, but if you’re new to the world of Devil May Cry or a returning Season 1 viewer who loves exciting action and doesn’t mind a slightly underwhelming plot, then give Season 2 a shot.

Amadeus works as a series, not just because it looks fantastic, but that the main characters are treated as the nuanced people they were, and there seems to be less filler than one might expect.

Unconditional tries to be more than it is, which is a pretty conventional thriller. But the “message-y” parts of the show don’t get in the way all that much, and the story builds tension very well.

M.I.A. offers a compelling central character to follow as it descends into the criminal world undergirding the glitz and glamour of Miami.

We’re hyped for Stevens to be the audience mirror as Pepper tries to manage inside an institution where the walls themselves seem crazy. Devil in Silver is also having a ball bucking standard convention. .... We felt as disoriented as Pepper does, all hopped up on Haloperidol, as we tried to determine what were mind games and what horrible truths are really lurking in New Hyde.

The Chestnut Man: Hide And Seek is as creepy as the original season of The Chestnut Man, with the case at hand enhanced by the now-established personal and professional relationship between Naia and Mark.

While the first episode of Legends could have fleshed out some of the main characters a little better, it does just enough — with enough restraint — to keep us watching.

The Chestnut Man has an intriguing mystery and strong lead characters. It’s a prime example of why Scandi noir is such a popular genre.

Gary does a good job of reminding fans of The Bear why the show was so compelling when it first blasted onto our screens, and we hope it’s a harbinger of a good final season.

The Other Bennet Sister is hands down the best Austen-inspired series to hit television in years, if not decades, surpassing the likes of Masterpiece on PBS’s Sanditon. Its fresh approach to classic material only enhances Austen’s enduring genius.

Sanditon Season 3 is the show at its soapiest, smartest best and it’s well worth the wait for long-time fans.

Jack Thorne has managed to make the series adaptation of Lord Of The Flies fresh by giving viewers as close to a visceral experience of being in the middle of the chaos as possible, with good performances by the actors playing the main characters.

Twenty Twenty Six is a funny take on a workplace focused on putting together one of the world’s biggest sporting events, helmed by a person who is experienced with all the craziness and somehow manages to get things done in spite of it.

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.

The House Of The Spirits is a well-acted, beautifully-shot adaptation of Allende’s classic novel that takes its time to luxuriate in the lives of Clara and Esteban but keeps things moving as the story progresses through over 50 years.

Yes, Should I Marry A Murderer? is completely one-sided. But Caroline Muirhead is so compelling to listen to as she recalls this harrowing story that we hung on her every word.

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.

Another distinctive addition to Apple TV’s impressive library that delivered several agonizing jump scares, loads of laughs, and intrigued until the last second of the 10 episode season.

While Flunked isn’t as funny as other recent school-based shows, the first episode introduces some potentially funny supporting characters, and the undercover aspect adds a lot of potential funny situations to explore.

We wish After The Flood would concentrate on one story instead of the handful it has to juggle, because the talent in front and behind the camera is so good. But the show continues to be messy and muddled, and really hard to connect with.

Stranger Things: Tales From ’85 is good enough that franchise completists aren’t going to cringe while watching it, and it may be a good way to introduce younger kids to the franchise. But we just wish it was a little scarier, and the character animation a little less weird.

Running Point settles into a nice comedic groove in its second season, with an ensemble that works well together and new additions to the cast that fit in pretty well.

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

While This Is A Gardening Show has some degree of Zach Galifianakis’ brand of awkward comedy, it doesn’t overwhelm his enthusiasm for the subject and how much that enthusiasm informs each episode.

The Dark Wizard profiles an interesting, somewhat mysterious character in rock climber and thrill-seeker Dean Potter. Where did his tremendous, death-defying skill end and his zen and the art of climber’s mental maintenance begin?

Subtlety isn’t really a strong suit of Unchosen, but what we hope is that the show’s rough edges in that category will be smoothed down as the psychological thriller at the core of the series develops.

Perhaps Half Man‘s biggest flaw is the heavy-handed way in which Ruben menaces over the entire series. There are moments when Gadd is so ominous as Ruben it almost takes you out of the show’s dramatic atmosphere. .... Niall and Ruben’s journey together is worth sticking around for.

Kevin works because it’s not just leaning on gags. It really tries to put its characters and stories in a position to be funny without leaning on gags, which makes the gags funny instead of fatiguing to watch.

We think with the introduction of some new characters, Sullivan’s Crossing will get past the lost of Patterson and the full drift into Maggie’s love life, a plotline that just makes us shrug.

With this being its last season, the quality and plot twists have only gotten better and it’s a must-watch for fans of the show (anyone who hasn’t seen previous seasons will absolutely be lost).

We’re not sure the second season of Beef is going to be as satisfying as the first season was, but the story has a lot of places it can go, so we’re hopeful we can connect to it as the season goes along.

With its vibrant and unique art style, engaging psychological drama, and compelling main character, Nippon Sangoku: The Three Nations of the Crimson Sun could very well be a hidden gem of Prime Video’s spring programming slate. Give it a chance.

Margo’s Got Money Troubles has serious moments, but it’s a show that doesn’t try to take itself too seriously, and that sense of fun is going to make Margo’s journey to provide for her son very watchable.

If you want to watch Kitchen Nightmares, go to Hulu and watch the old episodes. Gordon Ramsay’s Secret Service feels like a remodel of Nightmares that makes what was a pretty silly show even sillier.

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.

Malcolm In The Middle: Life’s Still Unfair brings the original series’ chaotic energy to the 2020s, taking into account that the chaos just needs to be a little bit different nowadays.

We’re definitely on board with watching how The Miniature Wife is going to pull things off, both technically and storywise, but mainly because we’re confident that Banks can handle the challenge of playing someone shrunk down to six inches, and Macfadyen is always so good at playing weasels.

Bad Mistakes works mostly because we like watching Levy and Ortega’s chemistry as siblings, and we’ll always be there to see Laurie Metcalf do her thing. We’re just wondering how silly things are going to get during this show’s first season.

While we have some issues with how The Testaments is structured, given how depressing the world of Gilead continues to be, we are looking forward to seeing Agnes and Daisy starting to agitate for change as the show goes forward.

While we’re a bit disappointed in the dark turn The Boys has made as it goes into its final season, we’re looking forward to seeing how Eric Kripke and company bring the story to an end.

After watching the first three episodes of Euphoria Season 3, it’s unclear whether there’s hope for Rue and her friends, but there’s definitely a chance this polarizing HBO show might end its run on an incandescent high note.

Whipsmart, funny, and audacious from start to finish, Hacks Season 5 will keep you laughing and guessing until the last moment. .... Much like Smart, the show ends by cementing its legacy as one of the greatest comedies of the 21st century.

Star Wars: Maul – Shadow Lord is certainly one of the darker entries in the franchise, especially among the animated series. But there is a lot of potential to dig into the personality of one of the franchise’s most notorious villains, which is always something we look forward to seeing.

XO, Kitty is in its “well-oiled machine” phase, with characters we want to follow, a lead that continues to put in a magnetic performance, and a feeling that the show’s writers have settled on the storylines they want to follow the most.

The show still tends to bog itself down with too many characters and stories, as well as the gimmickry of Coop’s narration intruding on what’s going on. .... The addition of Marsden is promising, though. .... We hope his presence focuses the story in a way that we didn’t see previously.

Hamm’s performance in Your Friends & Neighbors is what will keep us watching, as he transforms from a guy who has gotten too big for his britches to a guy who now knows that was the case and is doing something about it.

While the idea of hearing the story of Pablo Escobar’s son is intriguing, Dear Killer Nannies just doesn’t go deep enough into Juan Pablo Escobar’s life to make things interesting.

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.

Torres remains a unique and special voice not just in comedy, but in the performing arts, and we could use more voices like his.

Even though House Of David will likely appeal to faith-based audiences, it still hasn’t been able to make its Biblical characters into people 21st century audiences can connect with.

The Feud On Shelbury Drive does a fine job of spinning what seems to be a small dispute into a thriller that anyone who has an issue with their neighbors can relate to.

For All Mankind remains ever ambitious with its fifth season, where the series makes the reflection off its alternate history mirror even stronger as the lives of everyday people get squeezed between the politicians of Mars fighting with the politicians of Earth.

Jo Nesbø’s Detective Hole isn’t reinventing the “troubled detective” or Nordic noir genres, but good performances by Santelmann and Kinnaman make the show very watchable.

Camila Morrone’s compelling performance in Something Very Bad Is Going To Happen isn’t enough for us to get past the cartoonish supporting characters, the foreboding with little payoff, and a plot that just seems to consist of little more than tense moments.