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.

Black Cake works best when it concentrates on how Covey became Eleanor and managed to make a life for herself despite the secrets she kept. The impact of those secrets on the present day feel like more of a punctuation on the story instead of part of the story itself.

We like Clarke’s strong, stoic presence as DCI Ellis in Inspector Ellis, which is why we’re recommending the show. But we hope the series has less-confusing and more-engaging mysteries in the other two episodes.

You’re going to need some patience with I Love LA in order to enjoy it. Like most comedies about found family, there’s too much jokey chatter and not enough actual character depth to help viewers latch onto the situations of Maia or anyone else. But the friendship between Maia and Tallulah tells us that there may be more underneath the vocal fry.

There are a lot of powerful, personal moments in the interviews featured in Teen Torture, Inc. But the docuseries also relies heavily on the kind of stilted reenactments that clog up a lot of today’s true crime stuff, repeated use of the same stock footage and personal photographs, and provocative statements that it doesn’t immediately back up with facts or research.

This new version of Hollywood Squares isn’t far off from actually being a pretty good take on the original. There is room for funny lines and celebrity hijinks in each episode, as long as Barrymore and the rest of the producers find the right formula that takes advantage of their panels without grinding the gameplay to a halt.

Questions spring out of the narrative about child manipulation and the ethics of media frenzies, fringe thematics that might take deeper root in a documentary series that’s more concerned with journalistic integrity than Trainwreck’s pursuit of amusement. But Balloon Boy, in making us wonder if the entire Heene family colluded on this stunt and stuck to it for 15 years despite the fact that Occam’s Razor tells us they’re most likely cuckoo fakers, has all the moral ambiguity a quest-for-a-likely-unattainable-truth doc needs.

For the most part, Ten Pound Poms is a watchable drama about the difficulties Brits had in Australia during the post-WWII immigration movement. But its sudden dark turn in the first episode, plus a couple of underdeveloped stories, make us wonder just where the show is going.

There’s enough we liked about the first two episodes of The Franchise to recommend it, but we wonder how far the show’s accomplished producers can push the “crazy production of a high-budget film” theme without making things either absurd or annoying.

We’re giving The Decameron a lukewarm recommendation because there are characters that we do want to follow in this dark comedy, and we have confidence that the storytelling will help deepen the characters we don’t love. But the comedic elements don’t hit most of the time, and we wonder how much effort it will take viewers to really buy into the goings on at this Tuscan villa.

If you’re looking to see some catharsis from the victims of The Golden State Killer, then this special episode of I’ll Be Gone In The Dark will be satisfying. But if you’re looking for additional information about the case, you’ll likely be left disappointed.

Bodkin is relatively light and pleasant to watch, but we’re not sure if the show is going to get much deeper or more interesting than what we saw in the first episode.

We don’t know if Dark Wolf is gonna show us exactly how Ben Edwards became the Dark Wolf, which as a title feels airport novel generic. But we are interested in Taylor Kitsch building on the brood he brought to the Edwards role in Terminal List, or perhaps showing us how he got that way in the first place. And yeah, the guns and jocularity and serious people saying stuff like “Team 1, go!” into ear bud microphones – that’ll be here, too, which is its own draw for shows such as this.

Tulsa King continues to be a bit cartoonish and ridiculous, with stories that are introduced and dropped with increasing frequency. But Stallone is still entertaining as Dwight, as is the crew around him, and that may be enough for this show.

If you’re in the mood for one of those mystery shows that you can watch and try to solve along with the main character, The Madame Blanc Mysteries fills that bill very well.

We’re giving a recommendation of 61st Street mostly for the performances of Vance and Ellis. But we’re definitely concerned that the show will lean too hard on things we’ve seen in this genre too many times already to say anything new.

DeGeneres still has the chops as a shrewd observational comedian, but can she effectively chop away at her own mystique? Yes and no. .... While she gets sizable laughs making fun of men for getting away with making ridiculous public scenes by playing air guitar or imagining their golf swings, DeGeneres gets far less mileage with more shallow thoughts about somehow not knowing what it means to be in charge.

While we still like seeing Cuoco and the rest of the cast of Based On A True Story, we’re still not buying that the Season 2 story will be as good as what we saw in Season 1.

Kin starts a bit muddled but the performances and story setup give us a good feeling that the tension will ratchet up as the series goes along.

There are enough funny elements, and good performances, in Time Bandits to keep watching beyond the first episode. But we’re not sure there is enough there to sustain audience interest — whether it’s kids or adults — for ten episodes.

The Most Dangerous Animal Of All is intriguing enough to spend three-and-a-half hours on, but you may find yourself wondering why this story couldn’t have been told in half the time.

While Free Bert could be funnier, we do appreciate that Kreischer and his co-creators took a chance and made his show about something rather than just an extension of his comedy persona.

We’re going to give Full Circle a very tentative STREAM IT, because we’ve got confidence that Solomon and Soderbergh have a way to bring these characters and stories into a tighter focus. But, boy, it might be a tough first couple of hours getting to that point.

The presence of Lowe and Tyler helps offset the silliness that goes on around them.

The Night Agent is still perfectly good “watch while doing laundry” TV, but it feels like the third season is even more lunkheaded than the first two, and the absence of Buchanan is huge.

We’re recommending Snabba Cash because we’re interested in Leya’s story and Evin Ahmad’s strong performance. But the rest of the characters are less compelling, at least in the first episode.

Quiz isn’t exactly a heavy lift for the viewer; it’s only 3 parts — though probably would be better as 2 — and is about a scandal that has more silly elements (a lot of coughing, for instance) than serious ones.

The first episode, where the group is in the middle of the Hydra rolling crisis, doesn’t exactly reestablish what each person’s role is in the company, but definitely goes a long way of reestablishing their characters, just by showing how they’re reacting to the ever-escalating crisis. ... The second episode shows that the storytelling is still a little inconsistent.