You can see potential in the future, but it is hard to tell if you’re being optimistic or the series just needs time to flesh everything out.
The final season of “My Brilliant Friend” makes it seem like, even with two additional episodes compared to past seasons, too much had to be covered, so everything is rushed.
While an effort is made to build out the world in “Why Does Nobody Remember Me In This World?” Sadly, the answer to the title’s question is that no one is that memorable.
Season 2 shows progress from the growing pains of season 1, but still seems a bit bloated and like it undertilizes its potential.
While the rift between the past and 2015 grows to the point of becoming an issue this season, “Tell Me Lies” still finds ways to deliver enough drama for you to hope that season 3 could maybe learn from the mistakes of season 2.
In some ways, “Bel-Air” takes a step back in season 3 and makes it so season 4 will either launch it forward or confirm signs that the best times might be behind us.
While “Suicide Squad: Isekai” may give a new look and storyline for Batman’s rogue gallery, it lacks needed substance.
In its second season, “Interview With The Vampire” finishes covering the first book of the “Vampire Chronicles” and may push readers and non-readers to tears.
Emma Myers stars in a murder mystery show in which her character, Pip, tries to solve a 5-year-old cold case in their small town.
As “The Chi” extends into its 6th season, it continues to be something worth applauding for how diverse it wants its depiction of Chicago to be. However, it still struggles to do the most at a high caliber.
In its final season, “The Good Doctor” tries to end things on a high note but continues to commit to many of its flaws or trips in its pursuit to leave a lasting impression.
With a shortened season, season 4 of “The Equalizer” tries its best to keep the course for many of its characters, but some are clearly sacrificed to meet the reduced episode count.
“Ninja Kamui” is heavily reliant on flashy action sequences and inconsistently develops its characters or delivers a compelling story.
You’ll solve the mystery in “Bodkin” faster if you just went to the town yourself.
“Maxton Hall – The World Between Us” may play out predictably for most of its season, but its actors compensate immensely for its by-the-beats story.
Netflix’s “The Asunta Case” struggles to say why it exists outside of profit and sensationalism.
Netflix’s “3 Body Problem” has a story-telling problem.
“Safe Home” is a 4 episode series about family violence that can be a challenge to watch but reminds you these stories are more than just content.
With silly twists and disjointed plots, Netflix and Harlan Coben’s “Fool Me Once” feels like at least three shows stuffed into one.
Netflix’s “Yu Yu Hakusho” may satisfy anime or manga fans, but for those new to Yusuke’s spirit adventures, the live adaptation will be a head-scratching mess.
Netflix’s “A Nearly Normal Family” is a nearly normal crime story these days.
Prime Video’s “Everybody Loves Diamonds” should be a slick ride, but a heist story told in 8 episodes makes the ride stop-and-start.
Mike Flanagan’s “The Fall of the House of Usher” is an entertaining and ghoulish time, but fans of Edgar Allan Poe’s classics may roll their eyes.
Netflix’s “Burning Body” tells the spicy story of Rosa Peral, but fizzles out halfway through.
Netflix’s “Dear Child” starts with heart-racing suspense, but your heartbeat slows as the mystery drags to a disappointing ending.
The mystery in “City On Fire” of who shot Sam, thanks to Chase Sui Wonders, keeps you interested in the show as it struggles to build up its supporting cast.
“Fatal Seduction” ends with less sex, more violence, and a frustrating conclusion to its mystery.
Netflix’s “Fatal Seduction” is a South-African soap opera that’s filled with plenty of spicy sex scenes, but not enough excitement in its murder mystery.
Overall, the first season of School Spirits is a fine watch, but needs more intrigue and fun to live up to its title and make a memorable impact.
While the final season of “Servant” began with so much promise, unfortunately, it ends in disappointment like so many productions attached to M. Night Shyamalan lately.
Agent Elvis is an alt-history, bloody, juvenile tribute to the King. How much you like may depend on your love of Elvis and poop jokes.
The second season of “The Cleaning Lady” is a prime example of a sophomore slump, as it struggles to keep the focus on Thony, as her storyline drags out, and others try to emerge.
The final season of “Motherland: Fort Salem” acts as a reminder that some shows are better off cancelled outright than given one last hurrah.
“Love Death + Robots” Volume III may not have the same story diversity as past volumes, but it is still a fun time for those who love animation.
9-1-1 is more of the same, as it delivers daring rescues and a slew of forgettable guest stars. However, more than ever, there is the vibe it wants you to see everyone get their moment in the sun with dedicated episodes.
Ozark’s last season at times feels formulaic, and seemingly recognizing that you can see dramatic decisions were made in an attempt to shake things up.
While Ready To Love shows some growth this season, early on, as time goes on, all the old issues that have plagued this show rear their heads.
In almost the best way possible, the final season of Better Things is more of the same.
Heartstopper is a dream come true for anyone tired of watching queer teens go through utter hell, and all they get is tougher skin in the end.
Relying on star power than substance, Swimming with Sharks is entertaining but won’t be a killer property for Roku.
The overall goal of Wherever I Look is to fill in that space between the average fan and critic and advise you on what’s worth experiencing.
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