Running Point, Season 2 Feature Scores
Explore all 46 feature scores for Running Point, Season 2, organized into pros and cons.
Scores by Feature
Summary
46 reviewed features-
Very positive 4.5-5.015 (33%)
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Positive 3.5-4.423 (50%)
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Neutral 2.5-3.46 (13%)
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Negative 1.5-2.41 (2%)
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Very negative below 1.51 (2%)
Pros
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Kate Hudson is overwhelmingly described as charismatic, funny, emotionally grounded, and capable of carrying weaker material. One harsh dissent finds Isla muted and disappointing.
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Brenda Song, Justin Theroux, Ray Romano, and the guest stars frequently stand out, adding comedy and emotional range. Romano, Jackie, and some players are also criticized as underused.
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The Gordon family’s fast, messy interplay is one of the season’s most consistent strengths, and Hudson works especially well with Song, Romano, and Speedman. A lone dissenting view finds the main ensemble lacking chemistry.
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Enthusiasm for a third season is widespread, especially after the finale’s rival-team setup. One strongly negative voice has no interest in further continuation.
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The season is strongest as glossy comedy comfort food, mixing workplace satire, family dysfunction, romance, and sports drama. Most find that blend accessible and fun, though a few think the comedy still lacks identity.
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The rival-team reveal and Jay’s defection give the finale a powerful renewal hook. One more restrained take appreciates an ending that leaves threads open without depending entirely on shock.
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The ensemble is widely praised, with Kate Hudson’s lead work and the comic guest cast doing much of the heavy lifting. A small minority finds the central performance and chemistry flat.
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Most assessments find the season funny, charming, and easy to enjoy despite its messiness. A sharply negative minority sees it as nearly humorless and not worth the time.
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Short episodes, light stakes, and fast-moving relationship drama make the season extremely easy to finish in a sitting. Even a major detractor concedes that it is easy to watch.
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Isla’s leadership, Ali’s professional self-worth, and several sibling arcs gain meaningful depth. Other takes argue that crowded plotting flattens Jackie and leaves some promising characters underdeveloped.
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The final episode combines a tense championship comeback, personal sacrifice, family accountability, and a major rival-team reveal. Its closing turn is repeatedly described as a mic-drop.
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Many find the dialogue, physical comedy, sibling chaos, and cameos consistently funny. Others criticize missing punchlines, dated references, or jokes that land too unevenly.
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The finale’s championship aftermath, Cam’s new franchise, and Jay’s betrayal deliver the season’s most effective surprises.
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At its best, the dialogue crackles with sharp insults, workplace banter, and quick pop-culture references. Some topical jokes already feel dated, while a few exaggerated exchanges come across as forced.
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The half-hour workplace comedy is accessible even for viewers who do not care about basketball, helped by a familiar cast and crowd-pleasing cameos. One sharply negative take questions whether it has a clear audience at all.
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The best scripts feature crackling dialogue, clear character voices, and confident comic escalation. Critics of the season point to formulaic resolutions, stale topical jokes, and subplots that disappear too quickly.
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The strongest moments come from Isla and Ali’s friendship, recovery themes, family loyalty, and Marcus’s sacrifice. Some easy resolutions blunt the emotional force of the business and team crises.
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The championship victory feels earned, while Cam and Jay’s rival-team reveal turns celebration into a compelling new conflict. The ending provides both payoff and disruption.
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The Gordon family remains believably selfish, chaotic, and affectionate, while Isla’s flaws stay intact as she grows. Jackie’s reduced family integration and a few directionless arcs weaken that consistency in places.
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Season 2 carries forward the first season’s tone, family conflict, and comic rhythm smoothly. Some established relationships—especially Jackie’s family role—receive less follow-through than expected.
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The 0–3 championship comeback and the final reveal of Cam and Jay’s new team build strong momentum into the next season.
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Cam’s manipulation, addiction, and misuse of family power are confronted directly rather than softened for comedy. The recovery-focused material feels thoughtful and unsentimental.
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Isla’s polished suits, boots, and monochrome looks remain part of the show’s charm. The styling is still admired, though one fan feels it is less striking than Season 1.
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The championship race, family betrayal, friendship rupture, and workplace pressure give the season real stakes. Formulaic resolutions and quickly discarded conflicts keep some dramatic beats from carrying enough weight.
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Character relationships, leadership pressure, and family betrayal give the season a solid core. Too many romances, cameos, and short-lived conflicts can make the overall story crowded, repetitive, or underdeveloped.
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Basketball sequences are cut with enough speed and clarity to keep the action readable and exciting.
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A player’s performance pressure and growing media attention are handled with maturity, avoiding an easy redemption and showing how scrutiny alters behavior and trust.
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The visuals are clean, colorful, and restrained, with sunny Los Angeles establishing shots and readable game coverage. The style is effective rather than showy.
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The addiction, privilege, family loyalty, and gender-pressure material can be unexpectedly thoughtful and tender. The feminist ideas sometimes recede before they are explored fully.
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Episodes running about 30 minutes make the season easy to fit into a day and well suited to casual viewing.
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The season’s individual stories and leadership conflicts are generally easy to follow, and its identity feels clearer than before.
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The season’s gender, workplace, privilege, and women-in-sports ideas resonate, but several themes surface only briefly before the comedy moves on. Some topical jokes also age poorly.
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Addiction, workplace power, leadership tradeoffs, and quiet team conflicts often feel grounded. Basketball choreography and some exaggerated sitcom plots are much less convincing.
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The women-in-sports premise keeps the comedy culturally relevant, especially when Isla faces scrutiny and workplace double standards.
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Restrained off-court camera work keeps attention on the performances and lets quieter negotiations and conflicts play naturally.
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The opening setup around Norm’s hiring establishes a promising comic and emotional arc, with Ray Romano immediately creating anticipation.
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Sunny drone shots and a clean Los Angeles look give the workplace comedy a bright, polished atmosphere.
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The season includes limited romantic passion in Isla’s dreams, noted without strong concern or disapproval.
Cons
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One strongly negative assessment argues that the series should have ended after its first season and sees no reason for this continuation.
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Branded integrations are one of the few recurring distractions, with a delivery-app insertion and a dancer storyline feeling shaped around sponsorship rather than character or comedy.
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Romance loops, recurring family power plays, and predictable conflicts make parts of the season feel repetitive. The execution often remains enjoyable even when the destination is obvious.
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The front-office decisions and behind-the-scenes business material are often engaging, while the on-court and player subplots receive less depth than many wanted.
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Individual episodes often move briskly because conflicts are resolved quickly. That efficiency becomes a drawback when the playoff run and emotional turns feel rushed.
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The season often feels confident and quick, but crowded subplots and an accelerated final stretch create noticeable rush and whiplash.
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Ten half-hour episodes make for a compact, easy watch. The same short format leaves too little room for the larger cast, basketball stories, and late-season playoff run.
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The balance between a season-long Cam conflict and episode-specific workplace problems often works well. Repeated one-off subplots can also make the season feel like disconnected story-of-the-week television.