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.

The Lincoln Lawyer is one of those shows that won’t leave a big impression on you after you watch it, but it’s got enough good stuff going on to make it an enjoyable, pulpy watch.

Welcome To Flatch gets out of the gate almost fully-formed, with a world we want to watch and characters that are funny and have the potential for a lot of room to develop.

No one is going to mistake Ransom Canyon for prestige television. But it’s certainly a soapy, guilty pleasure, anchored by performances from Duhamel and Kelly that make you want to see both of their characters get what they want, which is each other.

Up Here certainly has the pedigree to be a good musical rom-com. But Whitman and Valdes elevate what is already good material by just being so damned cute together.

Not Dead Yet wastes the talents of Rodriguez and the rest of the cast in a show that’s shockingly unfunny.

It’s off to a solid start, with good performances and a story that fits well in today’s television landscape.

If you’re a fan of the JU-ON or The Grudge franchises, JU-ON: Origins will help fill in some blanks with a well-drawn story and interesting characters. But even if you’re not, the stories told in this series will be intriguing to any horror fan.

We think there will be enough of the original cast on screen to make watching That ’90s Show worthwhile. But we’re not sure if audiences are going to want to sit through the broad scenes featuring the teens to get to the good stuff.

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.

American Primeval is an unsparing look at a segment of the American West in the 1850s that pretty much saw conflict, blood and death every single day. It’s certainly bleak, but it also reflects what it was really like for people heading West at that time, and why survival was probably their greatest achievement.

The novelty of the approach here is worth a viewing, and they do sneak a STREAM IT for me just for keeping me intrigued as to what they were going do to next. It didn’t make me want to stop watching after 20 minutes like Death to 2020 did.

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.

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.

When you watch the first episode of The Most Hated Man On The Internet, all you want is to see Hunter Moore get his comeuppance. Thanks to this relatively brief docuseries and its speedy pace, you’ll get that wish pretty quickly.

Perhaps the main characters in Grosse Pointe Garden Society will become more than just cartoon characters and things like the annoying narration will calm down. But we’ve seen shows like this, done much better, for a couple of decades now.

Veers dangerously close to becoming cheesy and artificial. But the results of Farak and Dookhan’s actions is so fascinating, that we’re very interested in watching this until the end.

Call Her Alex is fan service for Call Her Daddy listeners for sure, but there’s no denying that Alex Cooper is a woman who earned success on her own terms, and her story will absolutely appeal even to non-fans.

With its vocals only, visuals denied structure, Building the Band could be a novel concept in a crowded field of reality-style singing competitions. Who knows if any of the bands these singers form will coalesce.

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.

While Emily In Paris seems to be a bit of a lightweight series, Collins is a winner in the lead role, and Star is a pretty dependable storyteller, so we’re hoping for the best.

Slattery’s presence makes it a watchable mess.

Stream it, but only because all of the characters from The Full Monty that you loved in the ’90s are back and as quirky as ever in the new series. But, just like the dog that got kidnapped in the first episode, the show is a bit shaggy and aimless, which may make your goodwill for these characters wane after a few episodes.

Doc doesn’t fail because it’s full of medical show cliches. It fails because its central premise feels like a house of cards, and there won’t be much to watch when it collapses.

It may seem like black-ish with f-bombs, but #blackAF is still a funny, meta introduction to what Barris will be able to do with the creative freedoms Netflix brings.

Edie Falco is one of those actors we’ll watch in anything. And Tommy certainly is anything.

Hotel Costiera is a fun and visually-stunning series with Jesse Williams in his element as the half-Italian, half-American fixer.

The Monster Of Florence is a depressing slog of a show that feels exploitative at times and disjointed at others.