There are some stories that are not well served when they’re made into scripted dramas. Because of the muddled details, the Natalia Grace case is one of them, and the lack of nuance in Good American Family is a good indicator that viewers are better off watching docuseries about Natalia’s case rather than this drama.

While we were annoyed at the first episode of The Sons Of Sam: A Descent Into Darkness, we’re looking forward to digging into what Terry found and how the investigation affected him.

Grimsburg is a comedy that suffers from too many jokes, which seems to be impossible, but this show proves that it can happen.

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.

Does Motorheads sound like a very mid show? Sure. But it’s a well-done mid show, which is all we’re asking for as far as teen shows are concerned.

The Hardacres is an enjoyable period drama that stays light on the drama and goes heavy on establishing how solid the family unit is, whether they live on the docks or on a country estate.

Haunted Hotel could be funnier, but it’s got fun characters and the capacity to create an infinite number of funny ghosts and monsters to occupy the hotel’s many rooms.

The mysteries this new version discusses are fascinating and the episodes are well-researched with good storytelling. We just wish they named it something else.

The first episode of The Watchful Eye just shows characters being grafted onto lots and lots of plot, with no storytelling to speak of. It may get better, but we’re not going to be around to see if it does.

We’re recommending Franklin because we were pleasantly surprised with how well Michael Douglas slipped into the role of Benjamin Franklin. But the rest of the show left us mostly bored.

Palm Royale feels surprisingly cynical and empty for a prestige TV series with such a blockbuster cast. There is some potential for the show to get deeper than what we’ve seen, but enduring the rest of it to get to that depth isn’t something we’re willing to sign up for.

Them is truly great bit of horror wrapped around a biting commentary about American racism. ... This narrative and acting excellence is consistently complimented by Them‘s beautiful camerawork and inspired soundtrack.

We were happy to take in the contemplative pace of The Madison as well as watching Pfeiffer’s performance. But we’re also concerned that Sheridan’s penchant for leaden dialogue and sketchy portrayals of female characters are going to ultimately drag this show down.

The Upshaws has “good sitcom bones”, but is so saddled with tired plots and dialogue it just makes for a show that feels like it’s already stale, even though it just started.

If you have any curiosity at all about Charlie Sheen, you’ll consume AKA Charlie Sheen in one three-hour gulp like we did. Sheen’s forthrightness and brutal honesty as he reflects back on his eventful life so far is just that fascinating to watch.

Despite being part of the MCU, Ironheart stands on its own as the story of a teen genius, tech vs. magic, and how that genius navigates all of it in her hometown of Chicago.

The Peripheral does a good job at setting up two future worlds that are relatable to a wide audience, and Moretz is great as Flynne.

We felt a whole lot better about The Problem With Jon Stewart after watching the second episode. What we saw was a show feeling its way, but with the steady hand of Stewart at the helm, even the bumpier, less funny episodes will be informative about issues that are pretty damned serious.

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.

Even if melodrama isn’t your thing, you have to bow down to these performances. Netflix Firefly Lane is irresistibly addictive, even for the hardest of hearts — even if it definitely falls into the predictable pitfalls of the genre.

Does Mr. Throwback have the potential to fly off the rails? Absolutely. But the show’s creators have decided to keep the goings on relatively low-key, which actually makes the show funnier than it should be.

Whedon is adept at utilizing the large casts of his shows and movies and making sure the stories he writes services all of them. In The Nevers, he succeeds in some respects but other parts of this show need some work. ... It feels like Whedon has set up a very complex story for himself, one that we’re not sure he’ll have the time to explore the way it should be explored.

It’s hard to create a new story for 230-year-old characters and make it seem like it was part of those characters’ stories the whole time. But Harriet Warner and her staff have been able to do that with Dangerous Liaisons.

Emily in Paris isn’t going to make your Top 10 Best Shows of 2025 list. But it’s still a high-quality comfort watch with good vibes and a charming cast that can give you a much-needed rest from reality.

Little Birds just tries to do too much, leading to an unfocused and hard-to-watch first episode.

We’re still a little annoyed that the second season of The Last Thing He Told Me seems to serve up a thrill-light nothingburger of a story, but we still want to see the chemistry between Garner and Rice, which is the best thing about the series.

As much as we like Holmes and everyone on How We Roll, we don’t see any signs that the show is going to get funnier, despite the warmth we saw in the pilot.

We’re just not sure where the show is going to land on the tonal line. Takei and Munn’s characters could go either way. And, given that we don’t know a ton about Bryce, we may learn things about him that bring out Sudeikis’ considerable dramatic acting ability. We don’t need Hit-Monkey to be all serious or all funny. But it’s really hard to get a handle on what it wants to be, much less where it’s headed.