It’s all well-done here, but there isn’t a whole lot about the story that’s engaging us and inviting us to keep watching.

While not our cup of tea, we definitely see how appealing The Sandman would be to fans of Gaiman and his work. We’re just not sure it’s particularly accessible to those of us who are new to the story.

A perfectly fine show that you can sit and watch with your family, and you might even laugh once or twice. That’s more than what we can say about most family sitcoms.

[Coben's] insights tend to be generic in nature and spoken by Coben in a way that sounds like he’s reading from a cue card. In fact, Coben’s presence eventually becomes a bit of a liability. .... Despite the stiff and unnecessary narration by Coben, Harlan Coben’s Final Twist still does a good job of giving viewers lots of surprises in each episode’s brief running time.

We saw glimmers of a good show in the pilot, thanks to showrunners Alex Herschlag and Jennie Snyder Urman’s insistence on taking time to build the characters instead of going for cheap gags.

If the first season can clear up some of the confusion and expand the world beyond the recruits, we expect things to get very interesting.

Maxton Hall: The World Between Us is certainly a show for people who enjoy high school romance and boarding school intrigue, but it’s also nothing we haven’t seen before.

While we’re skeptical that the twists and turns of Imperfect Women are really going to surprise us, we are curious enough about those twists and turns to keep watching.

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.

There’s a lot of entertaining weirdness going on in Coldwater, so much so that the problems we have with the characters and plotting might end up being overridden by it. So, even if the show isn’t all that good, it might still be fun to watch.

While The Consultant isn’t that funny or scary, and many of the supporting characters are one-dimensional. But if you just like watching Christoph Waltz being weird, this show will have lots and lots of that.

We’re giving a tentative recommendation to MobLand because of the cast and the show’s potential to go deep into its characters’ psyches. But we also wonder if this is just a generic mob drama with a prestige drama skin on it, which would be a big disappointment if that was the case.

We’ll give Trickster points for having a mostly Indigenous cast and writing staff. But the show itself has to become a bit less bleak for us to want to keep watching.

Manhunt winds up being a mixed bag of thrilling revelation and tortuous tedium. The Apple TV+ show often loses its all its juice by trying to squeeze in as much historical embellishment as possible.

If you like straightforward British procedurals based on classic characters, than Dalgliesh won’t disappoint. But there seems to be a lost opportunity to dive more into Dalgliesh’s interesting character, especially given who is playing the detective this time around.

Milioti and Romano put in really great work in the series, and have good chemistry with each other. It’s the other elements of the show that we’re not sure about yet.

Loot is a very watchable, and funny-enough show. But we just want a Maya Rudolph series to really make its star a tour de force.

Really, the only reason to watch A Man In Full is to see Daniels swagger his way through six episodes as Charlie Croker. The rest of the show has some fine actors, but we have no idea if they’ll get any kind of meaty stories in such a brief series.

Refn spreads out his sensory overload, giving all the brooding and brashness ample space to breathe. It can be repetitive, yes, but never monotonous. ... But, at the end of the day, this is NWR for NWR-heads.

Stateless has the pedigree and the performances to match its prestige drama ambitions. But the first episode suffers from tonal mismatches and doesn’t bring the stories together in a satisfying enough way to make us automatically want to watch more.

Billionaire Island is just getting started setting up its soapy family rivalry story, and there’s enough there in the first episode to make us hope things will get better.

Jansson-Schweizer takes what could have been a very serious Cold War tale and turns it on its ear, making the incident a product of a drunken crew and making the various world leaders involved in the negotiations into the caricatures they were portrayed as at the time. Sometimes it works, sometimes it doesn’t.

Whether The Last Frontier can maintain this pace for the next nine hours is unlikely. But it’s a good start more than a rocky one (and note, future episodes reportedly stray from some of the core drama as Frank and co. track down loose escapees). Give it another ep or two before you move on.

While there doesn’t seem to be anything new about DMV, the cast has potential and the first episode had enough funny moments to give the show a chance.

The series is worth watching for Lily James’s phenomenal, career-redefining turn as Pamela Anderson. However, the strengths of the series are ultimately undercut by its own wild ambitions. It wants to be a darkly comic true crime tale, a tragic love story, a cruel satire, and a reclamation of Pamela Anderson all at the same time. Ultimately, these divergent tones don’t come together in perfect harmony.

We continue to enjoy Dalgliesh because of Bertie Carvel’s grimace-filled empathetic portrayal of Adam Dalgliesh. We just wish we had more info about the detective and somewhat more tightly-written mysteries.

The largely unfunny pilot of Going Dutch would normally lead us to give the show a “skip it,” but given the showrunner’s pedigree and the interpersonal potential of the father-daughter story, we’re giving the show a chance to improve.

AHS: Delicate has the potential to be a good installment of American Horror Story, because of good performances from Roberts and Kim K. But there are also a lot of red flags that indicate that the season may get too weighed down in the pop culture aspect of Roberts’ character at the sacrifice of actual blood and horror.