While there are good performances and some interesting characters in We Were Liars, we were pretty bored with the nondescript teenage characters at the show’s center, and wanted to scream every time we heard Candence’s narration.

Transplant feels like two different shows: A gritty one about Bash’s experiences as a doctor in war-torn Syria, and how he brings his life experience to his job; and a standard medical drama with pretty people solving medical mysteries every week. And the two really don’t mix.

All of which just makes it seem as though Oswalt didn’t write enough material in lockdown, but wanted to or felt he was obligated to deliver another special this year, so here we are. ... Skip it. Unless you’re a die-hard Patton Oswalt fan, in which case you’ll stream it, lovingly enjoy the best parts and forgive the rest anyhow.

Nothing about Wolf Pack works for us, and there’s not nearly enough of Sarah Michelle Gellar to redeem everything else that’s wrong.

Watson jams Holmesian mythology, quirky doctors, and complex medical mysteries into stories that can’t really handle all three at once, and it shows in how none of it feels well thought-out.

56 Days is supposed to show the erotic chemistry between two people that led to a wild affair then a gruesome murder. But the affair feels artificial and the investigation of the murder feels excruciatingly drawn out, and the timeline jumping makes the show tiring to watch.

If you want to watch Kitchen Nightmares, go to Hulu and watch the old episodes. Gordon Ramsay’s Secret Service feels like a remodel of Nightmares that makes what was a pretty silly show even sillier.

Class Of ’09 is too busy jumping between timelines to tell a cohesive story that has any kind of momentum.

While it’s tempting to give V.C. Andrews’ Dawn a recommendation just on the strength of the performances of Mills and Bassinger, the rest of the first episode is cheaply made with an underbaked story and clunky dialogue. For some people, it may put the show in the “it’s so bad it’s campy” category, but we think it’s just plain bad.

It’s one thing to say that the new Frasier is missing the chemistry between the cast members that made the original series so special. But it also tries way too hard to parallel the original in the most crucial spots, making it painful to watch at times, and not nearly as funny as it could be.

Ghosts Of Beirut tries to take the exceedingly complex Lebanese Civil War and tries to make it into a good-guys-bad-guys spy thriller, but fails to do so simply because that time in history can’t be boiled down so easily.

Writer Julie Gearey wastes no time getting to the meat of the story. In doing that, it makes the characters one-dimensional. ... Intergalactic tries too hard to create its world, leaving a confusing mess in its wake.

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.

We don’t think the producers care one iota about seeing these contestants actually get better. They salivate at their deeply personal and traumatic stories and want to see them fight and kiss each other.

The personality of The Terminal List can best be described as “grim,” as are the performances of Pratt and the rest of the cast. Life right now is pretty grim as it is; we don’t need this much monotonous darkness in our entertainment, too.

Despite the presence of Graham and Mays, Code 404 just isn’t funny enough or interesting enough to spend any time watching.

Camila Morrone’s compelling performance in Something Very Bad Is Going To Happen isn’t enough for us to get past the cartoonish supporting characters, the foreboding with little payoff, and a plot that just seems to consist of little more than tense moments.

As nicely shot and acted as Museum Of Innocence is, the story isn’t fleshed out enough to give us a real idea of what drew its main characters together, besides it just being a taboo pairing.

It feels like she miscalculated with bringing back her old vapid persona in Cooking With Paris. We wanted to see a more unvarnished Paris, not the one we’ve been seeing for the last 20 years.

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.

Olympo needs to tighten up its plotting in order for it to be more than just scenes of perfect bodies in motion, whether that motion is athletic or sexual.

The Fugitive is typical for what Quibi has given its (very few) viewers so far: A project that’s not well-thought out, especially for the streamer’s 7-10 minute episode format. Oh, and it’s bad too.

We hate to give Call Me Kat a thumbs down, given all the talent in front of and behind the camera. But the show sacrifices character for gimmicks, and the parts that aren’t gimmicky are mostly hacky and unfunny.

The Great tries to be irreverent and funny but fails on both accounts. In fact, some of what passes for jokes on this show is downright painful to watch because it’s so dark and mean-spirited.

The parts just don’t make a cohesive whole. ... Aside from Maya Rudolph’s narration, Eater’s Guide To The World doesn’t offer anything you haven’t seen in dozens of shows on Food Network and elsewhere over the past 20 or so years.

If you’re expecting another outlandish chapter of Tiger King, you’re going to be disappointed with The Doc Antle Story. In fact, the more we watched, the more we wanted to take a shower for a good half-hour just because we turned it on.

It’s not that The Watch is a complete mess; some elements of the first episode gave us hope that the show will settle down. But the first episode was so jumbled and so proud of how witty it was, it forgot to establish anything about most of the characters we’ll be seeing for the entire season.

His thoughts are shallow and ugly. Sometimes they’re afterthoughts. The second episode devotes a full parody to Steven Seagal. It’s neither nostalgic nor revealing.