High hopes are inevitable when it comes to Ted Danson and Michael Schur.

The actor and producer have previously delivered brilliance with NBC’s “The Good Place” and have each made significant contributions to some of the best television out there. Danson is well-known for his extensive work on “Cheers” and roles in “Curb Your Enthusiasm,” while Schur has created hits like “Brooklyn Nine-Nine” and “Parks and Recreation.” So, when they united for a new mystery-comedy on Netflix, it seemed like a surefire hit.

Sadly, their new series, “A Man on the Inside,” set in a retirement home in San Francisco, simply lacks the charm of “The Good Place” or “Brooklyn.” Rated ★★ out of four, this show is a confused blend of ideas that feel unpolished and unfinished, more like an unrefined concept than a coherent narrative. It may look promising, but the delivery falls short.

It’s disappointing because the concept and talent behind the project had so much promise. Danson shines as Charles, a gentle retired professor struggling to adjust to life after losing his wife, who suffered from dementia. He responds to a classified ad seeking a “spy”—although it’s more of an undercover assistant. Private investigator Julie (Lilah Richcreek Estrada) needs someone over 70 to help recover a stolen necklace from an elderly resident in the upscale Pacific View community, so she enlists Charles, who possesses a basic understanding of cellphones and a willingness to assist.

Once inside, Charles becomes enchanted by the retirement community and its inhabitants, including the warm-hearted director Didi (Stephanie Beatriz), the chatty residents Florence (Margaret Avery) and Virginia (Sally Struthers), and stoic backgammon champion Calbert (Stephen McKinley Henderson). As Charles attempts to solve the case, he also seeks to mend his strained relationship with his daughter, Emily (Mary Elizabeth Ellis), which has become tense since his wife’s passing.

If it seems like a lot is happening, that’s true, but the plot points often clash. “Inside” feels fragmented, as though it’s pieced together from various stories that don’t coalesce. One narrative focuses on the detective and her “inside man” solving a crime (reminiscent of a 2008 “Psych” episode); another weaves a soap opera-like tale of the scandalous affairs within Pacific View; and a third showcases Charles’s journey to rediscover joy in life post-loss, with Calbert’s assistance.

Yet, these intriguing threads fail to link into a compelling whole. The mystery lacks depth and urgency, while the interpersonal dramas appear sporadically. Calbert’s character is barely utilized in the first half but takes a central role later on. Each episode feels more like a series of unconnected scenes rather than a flowing chapter within a cohesive narrative, leading to a sense of dissatisfaction from the audience.

“Inside” needed to commit to a single storyline because amid its chaotic plot, beautiful moments shine through. One particularly touching episode where Charles introduces his homebody friend Calbert to the wonders of San Francisco resonates deeply, almost capturing a poetic essence of embracing life. These themes recall Schur’s previous work, where characters earnestly strive for goodness and fulfillment. While Charles embodies this struggle, a deeper exploration of his character (and others) is missing, leaving audiences longing to understand what fuels their desires.

There are compelling narratives about aging waiting to be told, and Hollywood is gradually recognizing that life continues well beyond one’s sixties. Shows like “Grace and Frankie” on Netflix and “Hacks” on Max are successfully portraying the lives of those over 65 without resorting to cliched tropes and cheap humor, which is a much-needed shift.

“Inside” only touches upon these important themes when it could have delved much deeper. I remain optimistic for future collaborations between Schur and Danson, hoping they’ll uncover the true depths of their characters next time to collaborate on something once more.