Ted had the potential to be a heartwarming show with good coming-of-age stories — at least as heartwarming as a show about a pot-smoking, cursing, bigoted teddy bear could muster — but the episodes are drawn out by Seth MacFarlane-style gags to the point where we got bored.

While we think there is room for Tires to grow into a decent and moderately funny workplace comedy, we don’t think there will be much of that growth during a six-episode first season. We may see a

We don’t think Murdaugh: Murder In The Family will add anything new to the copious amount of material already out there about the Alex Murdaugh case, despite the fine performances and uncluttered storytelling.

Don’t get us wrong; the acting is top-notch across the board, but this just feels like one of those shows where the characters will really find minds of their own a la Westworld or it’ll continue to be antiseptic and dull. We’re thinking it’s going to be the latter.

Mid-Century Modern feels old-fashioned, even for a four-camera sitcom, mainly because it can’t seem to portray its characters in a way that’s more appropriate for 2025 than 1995.

While everyone does a good job in their roles, the story at the center of The Rainmaker feels like something we’d see in a CBS law procedural, not a Grisham-based legal drama.

Devin and Bobby are archetypes, and archetypes stop being funny after awhile, because, as we’ve said many times, the best comedy comes from character, not jokes. The more interesting characters are the people around Devin and Bobby that are immersed in sneaker culture as more of a business, like Nori or Stuey.

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.

Despite the performances in the first episode, this remake of American Gigolo just doesn’t have enough going on to justify an 8-episode series, and it’ll likely get really boring and frustrating before it gets interesting.

Q-Force feels like a missed opportunity to present LGBTQ characters in a light that doesn’t necessarily point to their queerness with such a big, 1990’s-style arrow. But we’re holding out hope that the show gets better during the first season.

The new Quantum Leap could end up being decent, but it needs to elevate itself above being a standard dark NBC procedural and take itself a lot less seriously.

SKIP IT, unless you’re really into watching people climb rocks. Yes, The Climb looks spectacular, and yes, you get glimpses of Mamoa in each episode. But if you’re not into what’s going on during the contest, it’s going to get old fast.

Sure, The Night Agent could get better. But the first episode established that it’s a show with a lot of stock characters and a conspiracy that doesn’t start in a particularly interesting way.

The first episode of The Swarm suggests that there will be a lot of throat clearing and not a whole heck of a lot of actual thrills.

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

While the performances in Agatha Christie’s Towards Zero are worth watching, we get the feeling most viewers who aren’t hardcore Christie fans will be to bored to hang in for the entire 3-hour run.

There’s nothing inherently wrong with this new version of Great Expectations, but we’re wondering why someone would seek out this longer, slower adaptation when there are other adaptations that get more to the heart of Dickens’ novel much faster.

We are always tempted to say that any new NCIS will appeal to fans of the franchise, but we’re just not sure about NCIS: Sydney. There’s snippets of hope here and there, but the overall setup seems clumsy, and much of the dialogue is just as clumsy as the setup.

I found The Girl Before frustrating, if not downright ludicrous at times.

Black Narcissus just doesn’t have enough story to latch onto and pay attention to for three hours. It’s slow and talky, and it doesn’t have any characters that you want to follow by the end of the first hour.

Disclaimer is too much time to spend with characters that the filmmaker regards with indifference at best and ignorance at worst. Cuarón renders this tale of rage, regret, and retribution in broad strokes. He loses the thread on their interiority, outsourcing the conveyance of their feelings to long-winded internal monologues.

Victoria is a woman to be respected, and her story is interesting enough, but only her most devoted fans and fashionistas will probably care about watching the whole thing through. Try out episode one for some good retro gossip, and then SKIP IT.

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

In trying to make this sprawling narrative TV-friendly, a narrative momentum has been lost, with too many characters and too many timelines and situations going on at the same time. The three leads, Patel, Hewson and Green, all do good jobs with their roles, but the show just feels like it’s going to wander in the wilderness like the delirious Anna before it figures out where to go.

Though DOTA: Dragon’s Blood features some interesting elements here and there, overall it attempts to weave too many plot elements into one episode, which will undoubtedly become an issue as the series wears on. It’s also somehow less interesting than playing the game.

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.

There’s novelty to be found in Pressure Cooker’s combination of two familiar formats, but ultimately you’re not seeing anything here that you haven’t seen before.

While we’re hoping that the TV version of True Lies gets better as it concentrates on the chemistry between Howey and Gonzaga, the rest of the show feels like an artifact from another age of network dramas, and not in a fun, Poker Face kind of way.