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.

There are funny moments in Frank Of Ireland, but Frank is so cartoonishly awful that we wonder how he ever got friends or a girlfriend to begin with. Either way, we’re not intrerested in finding out.

Tyler Perry’s Beauty In Black is about a subtle as a slap in the face, which is something we’re surprised we didn’t see in the grim, abuse-filled first episode.

First Kill could have been a fun teen supernatural series. But its storytelling is so clumsy it’s just very hard to watch.

Celebrity Bear Hunt‘s gameplay is a bit confusing, and it would be just fine as a celebrity survival competition without the presence of Bear Grylls, who just seems to slow things down.

Too much of this hour, though, covers territory any comedian, Asian-American or otherwise, could crack wise about. ... Yang is no Thomas Middleditch or Kumail Nanjiani or even T.J. Miller.

None of the cast is interesting enough to want to follow, even after watching the first two episodes. It also doesn’t help to see rich people buying massive houses during a summer where none of us can go anywhere and many of us don’t have jobs anymore.

Why would we want to sit around and watch something to make us feel sad about Saget when we could watch him do what he did best: Make us laugh. ... Skip this and instead search for actual comedy from Saget.

Farzar could be a good show, but unless you’re a big fan of dick jokes — and we know you’re out there! — you’re not going to find a lot to laugh at with this show.

Hard to find what counts as memorable here when so many of the premises and punchlines date back to the previous election cycle of 2020, or even 2016.

Sure, it’s great to see Brendan Fraser and Tom Welling on our screens, running around defeating bad guys together. But Professionals is such a slapdash show that it doesn’t really tap into the potential of two fan-favorite stars playing off each other.

It just feels like a whole series full of toxic, near-narcissistic characters that aren’t murdering each other. We don’t want to spend our precious time on earth with people like that in real life, much less filling the cast of a young adult drama.

John Carpenter’s Suburban Screams leans far too heavily on docuseries and true crime mechanics to really consider its horror elements, which ultimately just feel like window dressing.

Countdown pretty much uses every action procedural cliche to piece together a plot and cast of characters that are neither exciting or interesting.