We really had trouble connecting with the sisters and the sticky situation they get themselves into in That Night, and we don’t know if things are going to get better as we get deeper into this story.

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.

The opening salvo of The Offer fails to convince us that 10 hours of a “true” Hollywood making-of story is worth sitting through. Haven’t we seen enough of this back-patting, inside-joke stuff lately? Rewatch The Player instead. Oh, and The Godfather, too.

While the subject matter of Heated Rivalry is somewhat daring, the first episode plays out like something that used to be shown late nights on Cinemax instead of story with well-drawn characters and romantic chemistry between its leads.

The series version of Fatal Attraction lacks the danger and tension the film had, and there isn’t enough story to compensate for expanding the two hour movie into an eight-hour series.

Those About To Die is too muddled, with too many characters, to even enjoy for the sex and violence, of which there’s quite a bit.

Surface has not improved its slow pacing and logic gaps in Season 2; it’s just moved the locale from San Francisco to London.

The show comes off more like an exhausting parody than anything else. ... There were distractions beyond Zellweger’s fat suit. Doing a fictionalized take on the absurdity of a true crime story lends itself to too many stylistic flourishes that aren’t necessary. ... There also seems to be very little in the way of subtlety or shading to the story.

As much as we couldn’t take our eyes off Gugu Mbatha-Raw during the first episode of Surface, her performance can’t save a show that doesn’t seem to have enough story to justify an 8-episode series.

There are some stories that are not well served when they’re made into scripted dramas. Because of the muddled details, the Natalia Grace case is one of them, and the lack of nuance in Good American Family is a good indicator that viewers are better off watching docuseries about Natalia’s case rather than this drama.

Even if the action doesn’t keep a game show fan on the edge of his or her seat, it should still be engaging enough for the viewer to want to play along. The Hustler, despite the efforts of Ferguson to will the show into something interesting, doesn’t ever get to that level.

It’s all patently ridiculous. If it were ridiculous in an entertaining way, that would be one thing. But Tennant’s side of the story is just so insane that you’ll be too distracted by it to be entertained by Tucci’s side.

We’ve held out hope in the past that The Morning Show would control the impulse to spiral into flights of fancy and actually stick to the drama involved in trying to produce credible news shows in this trying media environment, but the fourth season has proven to us that this is not what the show is ever going to be about, and we’re just not into what it is trying to do.

Between the tired format and the idea that Tate is playing most of the featured characters, Hard Cell becomes a lot to take, even after the first 30 minutes. We can’t imagine it getting much better during its first season.

The Hunting Party is a generic action series that seems to operate on twists that either aren’t that surprising or are pretty much useless.