Netflix takes a shot with basketball comedy Running Point

“Gordons don’t lose” — that’s the motto of the dysfunctional family at the heart of Running Point, Netflix’s new basketball comedy.

The show, loosely inspired by the Los Angeles Lakers NBA team and owner Jeanie Buss, follows the wealthy and warring Gordon family as they navigate running the fictional Los Angeles Waves after their patriarch’s death.

In theory, it’s Succession with sneakers or Ted Lasso with a sharper bite. In execution, it’s a show that has potential but struggles to find its own lane.

At the centre of the chaos is Isla Gordon (Kate Hudson), the long-overlooked sister who finally gets her shot at running the franchise after her reckless brother Cam (Justin Theroux) lands himself in a scandal.

Isla knows and loves basketball, but years of being sidelined by her father and brothers have left her constantly underestimated. Now, as team president, she must prove she belongs while managing a dysfunctional roster, internal family rivalries, and an industry that isn’t built to take women in power seriously.

Hudson is effortlessly charming, and the cast around her is stacked with comedic talent. The Other Two’s Drew Tarver plays Isla’s half-brother Sandy, the overlooked but business-savvy chief financial officer, while The Righteous Gemstones’ Scott MacArthur is Ness, the clueless yet strangely competent general manager.

Brenda Song adds energy as Isla’s right-hand woman, though she’s not given enough to do beyond playing a supportive sidekick. Meanwhile, Max Greenfield and Jay Ellis play Isla’s romantic options — one safe, the other more intriguing — setting up a love triangle that the show could explore further.

The sports world is ripe for satire, and Running Point occasionally lands some sharp jabs at ownership culture and player egos. But unlike Succession, it doesn’t have much to say about power or wealth beyond the obvious.

Plus, unlike Ted Lasso, it doesn’t quite deliver enough warmth or underdog charm to make up for its lack of deeper insight. The result is a show that’s enjoyable but somewhat unfocused, bouncing between comedy and drama without fully committing to either.

One of the biggest issues is that Running Point doesn’t take full advantage of its setting. While the basketball world provides a fun backdrop, the show rarely feels like it’s immersing us in the high-stakes, high-pressure reality of running an NBA franchise. The games, the player dynamics, and the business side, all feel like afterthoughts to the family drama. And while the ensemble is strong, too many characters still feel underdeveloped, with subplots that don’t always pay off.

That’s not to say the show doesn’t have its moments. Hudson and Ellis have great chemistry, and some of Running Point’s one-liners, particularly from Tarver’s Sandy, land well. When the show focuses on Isla’s struggle to carve out her own space in a world that wasn’t built for her, it shines. But those moments are too often lost in a series that doesn’t seem sure whether it wants to be sharp satire, heartfelt comedy, or something in between.

For co-creator Mindy Kaling, Running Point marks her most promising attempt at an adult-centred show. After finding her niche with teen comedies like Never Have I Ever, she proves she can craft compelling characters outside of a high-school setting. But compared to her past projects, this one feels less sure of itself. The writing has flashes of brilliance but lacks consistency, and the show leans too heavily on familiar tropes without fully developing its own identity.

There’s a great show somewhere inside Running Point. The cast is there, the setting is interesting, and the themes of family legacies, women in leadership, and the absurdity of sports culture are all relevant. But in its first season, the show struggles to tie everything together into something truly special.

If given a second season, Running Point has the potential to refine its voice, sharpen its satire, and make better use of its rich premise. For now, though, it’s a fun but flawed watch — one that could either grow into something great or fizzle out before it gets the chance.

Here’s to hoping Netflix gives it time to find its footing.