We are Wayne Brady fans, so we wished Game Of Talents was better. But it’s trying to be both a game show and a talent show, and it’s not good at being either.

With a little bit less Cranston, a whole lot of confusing storytelling and characters that haven’t gotten any deeper than in Season 1, Your Honor‘s final season feels like an idea that was best left as just that: an idea.

Grimsburg is a comedy that suffers from too many jokes, which seems to be impossible, but this show proves that it can happen.

Not Dead Yet wastes the talents of Rodriguez and the rest of the cast in a show that’s shockingly unfunny.

You’re better off watching Squid Game again than watching the cynical, depressing mess that is Squid Game: The Challenge.

Foodtopia, developed by the same team minus Hill but adding Conrad Vernon, is quite a bit darker. And it’s also quite a bit less funny.

In another producers hands, The Watcher could have been a taut, tense thriller. But with Murphy and Brennan at the helm, it becomes more campy than tense, and even a stellar cast can’t save the show from itself.

We’d rather see a bioseries about Mike Tyson where Tyson is intimately involved, because we’re pretty sure it will have a lot of subtleties about Tyson’s life that Mike lacks. His life deserves better than a series that treats him like a curiosity more than anything else.

Big Mouth Season 7 is still treading the same worn-out waters as it has across the rest of its runtime, and the only positive thing that can really be said here is that next season is its final set of episodes.

I wish Netflix added chapters so I could urge you to SKIP AHEAD to the stories and avoid all the unnecessary transphobia. .... This Netflix contract with Chappelle is his dream, not ours.

The Real Project X is informative and “entertaining” on a superficial level, but the series routinely leaves a bad taste in our mouths with its point-and-gasp/laugh methodology.

The Goop Lab isn’t even worth hate-watching, it’s so anger inducing.

hat it brings to mind the most? The hyperbolic sleaze of TV “newsmagazine” Hard Copy. Get Gotti is slick and sensationalist and tiptoes right up to the edge of bad taste, occasionally dipping the tip of a toe in it. It’s also tonally conflicted.

We don’t think even Dexter loyalists will get why Dexter: Resurrection exists, and the first episode doesn’t give us any indication that the season’s story will be at all interesting.

Sure, Country Comfort is a family sitcom, so we’re not expecting high art. But it’s so full of sitcom clichés that we were longing to watch better, more contemporary family sitcoms.

Perhaps the main characters in Grosse Pointe Garden Society will become more than just cartoon characters and things like the annoying narration will calm down. But we’ve seen shows like this, done much better, for a couple of decades now.

The “funny” narration from Underwood and Bristowe is completely unnecessary and feels like it was added during post-production because the producers found that the show was too boring. .... It leaves us completely skeptical that all of the contestants are who they say they are.

There’s nothing about this new version of The Time Traveler’s Wife that hooked us in so we could take this romantic ride with Henry and Claire. It doesn’t help that the show is cheekier than it really needs to be.

The Real Bling Ring: Hollywood Heist feels like it glorifies the Bling Ring participants — at least the ones who agreed to be interviewed — and victim-blames the celebrities that got burglarized, which makes the series’ perspective really tough to swallow.

We still can’t buy into the raunch-for-raunch’s-sake tone of Tires, even if the characters are at least starting to get personalities and motivations that go beyond just saying offensive things.

Tiny Pretty Things will make you never want to enroll your kids in a ballet class, given how emotionally scarring the art is portrayed to be here. Between that, the cliched characters and the clunky dialogue, you’re better off watching Bunheads over and over instead.

A documentary that’s little more than pointing cameras at an overflowing toilet and asking people to comment on it.

Between the CGI blood, the disjointed dramatic scenes, and the somewhat stilted expert interviews, it feels like anyone who wants to get the history of the Colosseum in Rome would be better served reading its Wikipedia entry than slogging through 8 hours of Colosseum.

Rather than offering any real insight into Richards’ life, the show feels more like a platform for her to stay in the spotlight.

Everyone Is Doing Great is a navel-gazing portrait of two guys who have refused to grow up on top of not embracing the roles that made them successful. We’re not sure who in the current financial, health and political environment are going to find any entertainment with these two sad sack characters.

It’s a bit of a sprawling mess, made worse by a first episode that bounces around its timeline and doesn’t take the time to really figure out why Rebecca turns from normal research scientist to Elon Musk.

On The Verge is so disjointed in its storytelling and so surface with its character development that it actually made us not want to see another episode.

It’s entirely possible that this show and its cast will evolve to a group we want to invest in, but this first season feels tired. Might as well hang a DO NOT DISTURB sign on it.