Looking back, we consider the TV landscape of the past year, a handful of series emerge not for their brilliance, but for their spectacular failures. From awkward spin-offs to confusingly bad documentaries, here are the programmes that left us utterly bewildered or just reaching for the remote.
How to start with this love/hate follow-up? Burdened with woeful writing, cringe-inducing character development (we demand better for Miranda!), and a paltry 71 seconds of beloved Samantha, the series struggled to justify its existence. For a moment, as the third series started, it seemed as if it had at last hit its stride. Then came an installment all about Seema’s natural deodorant. No wonder the showrunner announced this would be the last series. It ended on a bum note; the lingering shot of Miranda’s loo flooded with poo was simply too symbolic. Still, fans undeniably had a hoot picking apart every single “what on earth?” episode. And as Carrie – a single woman once more – twirled around her sprawling townhouse to Barry White, who didn’t release a small sob?
‘Can Kim Kardashian act? Of course she can’t.’
But that was practically the smallest of this show's problems. The recipient of a very rare zero star assessment, it was difficult to know where to begin enumerating the flaws. The hilariously leaden dialogue? The tedious glorification of wealth and consumption? The seemingly wilful procession of tropes? Acting so bad they felt almost spiteful? Let’s just say “all of the above” and forget about this series again. However, a second season has been ordered, so we’re probably going to have to.
Considering the legal troubles, domestic violence claims and parental shortcomings, it’s fair to say Charlie Sheen has been a troubled figure. Not you’d truly have gleaned it from this multi-part docuseries which chuckled along at Sheen’s various bouts of self-destructive hedonism while failing to tell us anything we didn’t already know. Rather, it felt as if this loose cannon was being pandered to, so any pity this show might evoke should be saved for the people who have had to suffer proximity with this charismatic but dismissive egotist.
Naturally we knew it was preposterous from the outset: a thriller about a AI known as Charlie Big Potatoes that could either save the world – or destroy all of humanity. We persevered out of pure love for its stars … but by the end, it felt like even they had given up trying. One scarcely cared when his character died, and the other ultimately hacking Charlie with an axe … in super slow-motion. Talk about admitting defeat.
Dodgy figures meeting in empty boxing gyms? The Prodigy’s Firestarter jackhammering away in club scenes? The late 90s called and demands its gangland drama back.
In truth, that is harsh on the crime shows of the late 90s. Many seem a bit old-fashioned now, but at least they didn’t suffer the ignominy of having to indulge unconvincing accents. But there were many other issues. Primarily that it was just really dull; a dispute over drug-selling territory between various London rogues which felt rather simplistic.
Considering the degree to which she provokes the ire of certain ostentatiously angry commentators, it’s temptingly easy to admire the Duchess of Sussex’s various ventures into quaint lifestyle as intentional provocations. But then you view them and are compelled to concede that in this case, they may have a point. It’s like watching a homeware magazine animated; a meme for wine o’clock with delusions of grandeur; a procession of sleeping dogs, humming beehives, Hallmark platitudes and pointless crafting “hacks” you’ll forget instantly. All underpinned by vast, largely undeserved wealth. Ugh.
There are obviously fascinating things to be discussed about both Victoria Beckham and her journey with career, self-image, self-acceptance. But for some reason, this three-part series opted not to explore them. Rather, the viewing was akin to reading a sales catalogue. She clearly has every right to bridle at what she describes as her “stern” image. But sadly, she didn’t do herself any helps with this guarded letdown of a series.
It should have been the next big hit – except even more extravagant, with a glamorous star playing dead and a sharp-tongued personality overseeing her estate. What more could you want? As players competed, there was plenty of betrayal and arguing. But the rules quickly became bewildering: it’s even now too confusing to detail what precisely was happening. Even more disappointingly, we only saw glimpses of the star via filmed videos. The show ended up smelling of a programme that was trying way too hard to emulate something way beyond it.
How do you follow a show that defined a generation? The expectation was enormous for this glitzy romantic comedy about Jessica, a hopeful New Yorker who arrives in London with a broken heart. The star took her biggest role by the horns and was a delight to watch, embodying Jane Austen levels of romantic ideals. But it was all very slick and, paradoxically, was not enough. Plus, the abundance of celebrity friends involved felt icky.
Not good enough to be ‘patchy’.
Given the smart recruitment of gifted younger comics, expectations were high. But unhappily, most of it didn’t land. A recurring sketch was a single joke stretched to a husk but recurring in every episode. One star seemed too willing to slip into a familiar ranting mode. The writing room sketches, meanwhile, simply inspired the idea that they should probably have remained in there a while longer.
This retelling of the story of Amanda Knox was overseen by Amanda Knox and pretty much exclusively presented the viewpoint of Amanda Knox. So, while there undoubtedly is an compelling drama to be made about the horrific 2007 murder, this isn’t it. The subject matter needed to be treated sensitively. Instead, the series struggled painfully to find the right tone, lurching from oddly jaunty, slightly stylised farce to inevitably, real-life horror. Twisted? Arguably. A complete mess? Absolutely.
We admire the star … but did we buy him playing the greatest maths genius since, a man so intelligent he’s on the verge of a discovery that could destabilise society? Nope! This globe-trotting thriller about government agencies targeting – and killing off – academics honestly got more absurd by the second. Formulaic nonsense.
This hagiography followed the content creator renowned for explicit exploits as she undertook her biggest challenge yet. What on earth would possess her? What we craved was way more interrogation of her actual psychology, plus those of the men in the line. They could at least have interviewed the now-famous mum who appeared to haul her son away from the queue. What we got was horrific imagery and zero interrogation of her infamy whatsoever. It's staggering to consider, the filmmaker has a teenage daughter too.
Elena Vance is a seasoned gaming journalist with over a decade of experience covering casino trends and industry developments across North America.