It feels like it’s going to be an exhausting show to watch; for every moment that will be interesting and show the real change in the power dynamics between men and women, there might be two others that will feel like we’re barely in one story before we rocket to another.

Despite a fine performance from Perez, we fear we’re not going to see enough of her to make suffering through the generic main characters of Now And Then tolerable.

The first episode of Boston Blue twists itself into storytelling knots to get Donnie Wahlberg’s Blue Bloods character working with the Boston PD, and the way the Silver family is constructed feels equally as contrived. That being said, it might still be a hit among viewers who miss Blue Bloods.

Mating Season has a couple of chuckleworthy moments in the first episode, but it’s trying too hard to be “adult” to give the characters a chance to develop.

Romero’s zombie movies were as much about societal ills as they were about the undead. This new version of Day Of The Dead tries to mimic that formula, but doesn’t follow through with good enough storylines or characters that we care about.

The Continental feels like it’s more for John Wick completists than fans of well-plotted action series.

As far as Sonic productions go, this is a bland adventure that you’d be better served skipping to play the newest video game, Sonic Frontiers. The establishing episode is 45 minutes of schlock that might work well as a video game, but it doesn’t translate well to the small screen, with its muddled premise, eye-rolling dialogue, and downright boring story beats.

If the focus was just on Bloom and how she figures out if she’s a changeling or not, that might have worked. But the “Scooby gang” approach to this story seems all too familiar, and not at all interesting.

While there are elements of Death And Other Details that have the potential to be entertaining, the show feels overstuffed and too interested in messing with the viewers to sustain what is a very complex whodunit.

We still appreciate Wiig’s performance as Maxine, as well as the performances of Janney, Duffy and more. But Palm Royale is so in love with its own sense of late-’60s, early-’70s kitsch and piling on characters and plotlines, that those performances often get lost under a blizzard of words.

The recreations on A Wilderness of Error are irritating, and it doesn’t really feel like it’s going to answer any questions or break new ground in the 50-year old MacDonald case.

We wish After The Flood would concentrate on one story instead of the handful it has to juggle, because the talent in front and behind the camera is so good. But the show continues to be messy and muddled, and really hard to connect with.

The problem is that while it’s certainly bingeable, it’s not necessarily… what’s the word… good. If you want soapy, relationshippy melodrama, I’d suggest finding it in Firefly Lane or Ginny & Georgia instead.

Could Not Suitable For Work get better once the writers figure out who these characters are? Sure. But the show is starting from such an annoyingly unfunny place that it may take the entire season for that to happen, and by then most viewers will have checked out.

While acting and visuals in the first episode are excellent, and we have some hope that Lisey’s Story will go beyond just imagery and symbolism and give us an actual story, it feels like it will ultimately end up being a bit too frustrating to follow week-to-week.

There’s some behind-the-scenes stories that will be entertaining to hardcore fans. Largely, though, there’s a stiffness to the proceedings, a conscious attempt either not to be Winning Time or to directly rebut it. ... Legacy seems so determined to avoid controversial subjects that it comes off dry as a result; even the show’s willingness to discuss the Buss family’s internal struggles over control of the team feels somewhat contrived.

Despite Moss’ best efforts, the show is breaking at the seams when it comes to its larger narrative. ... Unless you’re already a dedicated Handmaid’s Tale fan, you can skip the drudgery of this season and check back in with June when the series comes to a close with Season 6.

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.