unning Point, Netflix’s attempt at a family-centred sports drama, seems to wear its inspirations a little too visibly. It channels the laid-back optimism of Ted Lasso while borrowing from Succession’s sibling rivalry. Yet, despite its clear ambitions, it falls short on nearly every front, offering a show that feels too derivative, too hollow and, ultimately, forgettable.

Running Point tries to do a lot of things, but sadly, it does not manage to pull any of those off with the grace or originality it strives for. Despite the effort, the characters are shallow, the chemistry nonexistent and the whole story feels like it is going through the motions without ever really engaging the audience.

Isla Gordon, portrayed by American actress Kate Hudson, is meant to be the heart of the show, but ends up serving merely as a narrative tool. Positioned as the new leader of the family, inheriting the Los Angeles Waves basketball team, her character lacks real depth. Her journey is supposed to be about growth, empowerment and dealing with her brothers, but she is so flat emotionally that it is hard to care about anything that she is going through. Every scene with her feels like she is going through the motions; no highs, no lows, just… there (sort of).

Running Point is a show that tries hard but does not know how to deliver. It is full of empty characters, recycled plotlines and awkward moments that never quite stick. It is like the show has all the pieces for something good, but never figures out how to put them together. It spectacularly fails to capture any of the charm of the shows it aspires to emulate. Frankly, it does not even qualify as a mindless watch. Final verdict: skip.

The rest of the cast fares no better. Travis, essayed by Andrew Tarver, the rebellious player with a bad attitude, feels like a recycled character from Ted Lasso, but without the suaveness. His character is meant to be the self-centred star with a hidden soft side, yet he comes off as a one-dimensional figure.

Marcus, another team member, should have been the emotional anchor, a seasoned player ready to impart wisdom. Instead, he remains a hollow tough guy, his gruff exterior never cracking.His character remains distant, unemotional and uninspired. The show’s attempt to draw inspiration from Ted Lasso is painfully obvious but lacks substance.

Romance is another miss. Isla’s relationship with Lev, which could have provided some emotional depth, is dead on arrival. There is no chemistry between the two characters, which leaves the audience with no reason to root for them or invest in their relationship. Instead of feeling natural, it seems like the show simply added a romance for the sake of it, without taking the time to build a genuine connection. The result is awkward and a bit forced.

Running Point suffers from a pervasive lack of energy. The show’s pacing feels stuck in neutral, with moments that drag on without any payoff. No one reacts to anything. They all have the same straight face, no matter what is happening around them. There is no joy, no pain and no excitement. It’s just…flat. The actors seem to be delivering their lines without real conviction, making it impossible to care about the characters or what they are going through.

The sibling dynamic, which could have been central to the story, is the most underdeveloped part of the series. The fights feel manufactured and, instead of feeling like a family at odds, it just feels like a group of people who happen to be related. There is little to make their sibling bond feel real. Jackie, played by Fabrizio Guido, the newly discovered half-brother, could have added depth and conflict, but his character is barely explored, leaving him as an inconsequential background figure.

Running Point suffers from a pervasive lack of energy. The show’s pacing feels stuck in neutral, with moments that drag on without any payoff. No one reacts to anything. They all have the same straight face, no matter what is happening around them. There is no joy, no pain and no excitement. It’s just… flat.

Whether it is the strained sibling relationships or the awkward romantic subplots, nothing feels authentic. There is also a strange attempt at humour, particularly in moments like Travis’s mother failing to pronounce ‘identity’ correctly but then again, these attempts often land flat with a thud. It is certainly out of place. Into the bargain, even the romantic gestures feel more like obligatory plot points hastily inserted to fulfill a romance checklist. The show does not know whether it wants to be a drama, a comedy, or a heartfelt family story and the ambiguity undermines its potential.

Running Point does try to break away from typical sports drama clichés, but in doing so, it clings to others. For example, the ending, which plays with the idea of an underestimated heroine who does not need to win the big game to prove herself, feels like an attempt to subvert expectations. It still ends up feeling cliché. Isla’s moment of reflection, meant to be a triumph, ends up feeling like a forced surprise without offering anything new.

Running Point is a show that tries hard but does not know how to deliver. It is full of empty characters, recycled plotlines and awkward moments that never quite stick. It is like the show has all the pieces for something good, but never figures out how to put them together. It spectacularly fails to capture any of the charm of the shows it aspires to emulate. Frankly, it does not even qualify as a mindless watch. Final verdict: skip.

The author is a freelance writer