Netflix TV Shows You Should Definitely Skip

From the embarrassing concept to the even more cringe-inducing contestants, there is nothing salvageable about Too Hot to Handle. Unlike other reality TV shows on Netflix like Love Is Blind, this one is a total flop. The challenges are boring, there’s no one worth rooting for, and the drama is less than stellar.

‘Insatiable’

As the head bitch on arguably the worst show Netflix has ever produced, Patty is an intolerable mess. She makes it her mission to destroy anyone who might try to put an end to her crazy ways, and she has the audacity to out a gay couple. Heck, Patty even murders the guy who is obsessed with her, and kidnaps the model she’s in competition with. It’s pretty obvious Patty is the equivalent of hot cheese rotting in a dumpster.

Rather than showing a sincere and vulnerable story about body image, Insatiable leans into a campy, shallow approach when discussing body shaming. It’s a disastrous, hodge-lodge of a series that takes a teachable moment and morphs it into something heinous. This is the type of show you would want to throw into the abyss just so you never have to think about it ever again.

Distracting, unoriginal, and wholly unwatchable, The Letter for the King is a clear miss. Despite the low episode count, this period fantasy losses steam fast and it could definitely do much better when it comes to showcasing the characters of color. Some plot reveals are totally disheartening. Plus, the poorly scripted dialogue isn’t doing the young actors any favors.

The show simply isn’t as innovative or as self-aware as it may seem. Even the pacing is off, with the first four episodes moving at a rather glacial speed. While Ben Platt may appear as the shinning force behind The Politician, Gwyneth Paltrow is the real scene stealer. The Oscar-winning actress portrays Payton Hobart’s adoptive mother, Georgina, who is meant to be a self-aware parody of Paltrow herself. Georgina is a deliciously hilarious embodiment of white privilege, relentless entitlement, and generational wealth. Expect her to effortlessly satirize rich people problems as she saunters in her emerald caftan, dripping in diamonds and totally oblivious to the plight of average plebeians.

The writing is pretty banal and so is the acting. In between all the longing stares and lip biting, it’s hard not to roll your eyes or scream out in agony while watching Dolly Parton’s Heartstrings. Everything about this show is terrible and not in a good way. Yeah, that means you can’t even hate-watch it.

This sappy, viscerally piercing series is basically Hallmark holiday movie served as a TV show. Obviously, all the razzle dazzle of Christmas magic is missing from Sweet Magnoliasand it plays like a blinding, nauseatingly cheesy adaptation of Sherryl Woods’ popular book series.

Based on Robyn Carr’s beloved novels, Virgin River is like a bizarre hybrid of Good Witchand 7th Heaven. Just so we’re clear: that’s not a slam dunk combination. While it starts off okay, the Netflix series quickly becomes boring despite the gorgeous cinematography. The performances are about as good as those you’ll find in a Hallmark movie and plot is way too squeaky clean. Where’s the heat?

The series starts off as quite bland and then, somehow, manages to become even duller. The acting is forgettable and Anne with an E does not do justice to the original source material. Although it’s beautifully shot, the serene landscapes cannot make up for the dreary dialogue and snoring plot lines. There’s a high chance you’ll fall asleep while watching this snooze fest. This revisionist rendition of Lucy Maud Montgomery’s famed novels is poorly written and is not well adapted for the modern age.

What’s the purpose of this show? You will inevitably ponder this questions over and over again until head your starts to bleed. As if you need another reason to roll your eyes as Gwyneth Paltrow, Netflix has presented us with The Goop Lab. It’s a show no one asked for and one no one will miss if it were to disappear instantaneously. It’s off the rails, pretentious, and totally out of touch with reality.

Unlike the other Marvel shows on Netflix, Iron Fist is a total misstep. The series lacks a solid identity because it has no idea what it wants or what it needs to be. To be frank, the casting is completely off and the show fails to demolish stereotypes by giving the lead role to a white actor. It is painfully obvious this part belongs to an Asian actor. Even the writing is of poor quality and creatively falls flat. It fails to offer a satisfying form of escapism, in spite of all the action and fantastical elements.

The cringe-inducing drama really only works because of Renee Zellweger’s impeccable acting. Only an Oscar-winner of her caliber could elevate such sloppy content. Since this is meant to be an anthology series, that means Zellweger showing up for every other season is not a guarantee and it also a major low blow.

While we all love Paul Rudd, Living with Yourself isn’t all that enticing. The show boasts a lofty idea which isn’t executed to its full potential. Granted, it’s not a terrible show but it’s not as hilarious or inventive as you’d expect it to be.

Bodyguard starts off as a high-caliber thriller that masterfully builds tension. You’ll find yourself questioning everything you see and hear, paranoid by where everyone’s loyalties and motivations. However, it’s depiction of muslims gravely falter as stereotypical, cringe-worthy, and downright ignorant. It is, quite frankly, the biggest hurdle the series must overcome.

Gilmore Girls: A Year in the Life is uneven at best, but it does provide a beautiful conclusion to both Emily and Lorelai’s stories. Unfortunately, thank to the dark cloud of Rory’s vastly deteriorating personality, this revival becomes unbearable. Once a beloved character whose personality shined brightly (at least in the first few seasons), Rory’s trajectory into one of the most deplorable fictional characters of all time is painful to watch for hardcore fans of the show.

Netflix’s The I-Land is the poor man’s version of Lost and it won’t raise your heartbeat to the umpteenth degree. Between the embarrassing dialogue and the painfully terrible acting, it’s a lot to take in. For some reason the show thinks it’s a lot smarter than it is. The I-Land tries to be a high-stakes drama but it’s subpar, convoluted plotline will throw you for a loop in the worst possible way. Be warned: There’s a high chance you’ll want to hurl yourself off a balcony after watching the first episode. Yes, this show is that bad. Save yourself the agony and go watch Firefly for the millionth time.

It’s hard to believe Uma Thurman wasted all of her talent in this garbage series. The story moves at a snail’s pace and when the drama finally builds, it’s a total letdown. Frankly, Chambers is a bloated supernatural drama. Despite being touted as a thriller, there’s nothing exhilarating about it especially since it has no momentum.

While Frank Castle is an intriguing character, the story stretches too thin. In fact, The Punisher should be pared down from 13 not-so-good episodes to 6 solid ones. The poorly structured series is overinflated with unnecessary twists and overly complicated storylines. With little to no substance, the drama is a punishing experience to get through. Granted it is not nearly as bad as Iron Fist, but that isn’t saying much. It’s quite baffling to see the sheer difference and disparity in both creativity and scale when it comes to Marvel’s cinematic endeavors and its TV franchises.

The comedy series mostly gets by on nostalgia rather than originality or humor. At best, this revival serves as a semi-decent remedy for your Sunday morning hangover. Perhaps the most infuriating aspect of Fuller House is that it has nothing new to say. The stories are lazily thrown together and it fails to rely on the elements that made its predecessor a success. If anything, it is quite obvious that this Netflix spinoff threatens to wipe out all the pleasant memories of the original series and tarnish its legacy. In the words of Stephanie Tanner: “How rude” is that?

Apart from the slam-dunk cinematography and gorgeous costumes, there’s a lot to be desired here. This Netflix original attempts to rival HBO’s Game of Thrones, but there’s no comparison here. Drogon would eat Marco Polo for breakfast. The problem is the show’s desire to borrow successful aspects of other shows, but those same elements are either incorporated poorly into Marco Polo or the simply don’t work. Rather than focusing on building its own unique footprint, the series focuses too hard on imitating others. While the cinematography is impressive and it is obvious the Netflix drama is not cheaply made, the same effort is not invested in the narrative. Couple that with dicey acting and underdeveloped characters and the show isn’t all that appealing.

The Ranch is better as background noise than it is as a must-watch TV show. Despite solid performances from Debra Winger and Sam Elliott, there isn’t much depth or humor in this series. Sure it’s easy to watch, but it’s also easy to dismiss. From the formulaic plotline to the contrived characterization, there is nothing authentic or particularly intriguing about the series. At times, it feels as if the show is digging at the bottom of the barrel in search of one-liners which are not even set up properly. There’s no saving this tattered mess of a sitcom.

Hemlock Grove went off with a relative bang, but things fall apart in Season 2. Plus, its slow pacing and disjointed storylines are hard to keep up with. There’s enough gore to keep horror hounds satisfied, and the cast is as attractive and angsty as you would want them to be. Still, the series is a ridiculous mess, but it’s not ridiculous enough to be wildly entertaining. Even with all the blood and volatile action, the horror series flops right on its face.

Altered Carbon has the potential to be great, but it never materializes on that promise. In fact, the series alternates between being frustrating and downright mediocre. The setting is fascinating, but the sci-fi thriller gets bogged down by poorly-constructed characters and a derivative main plot. It’s obvious the writing need a major overhaul before the series went into production. Despite all the visual accomplishments, nothing about the series is audacious. Pertinent issues about identity politics and technological challenges are mishandled which make Altered Carbon a total misfire.

This series is a clear and rare misfire for Netflix. Girlboss feels like the weird, forgotten cousin of Degrassi with its abundance of sex and profanity. It’s the type of show that aggressively wants you to like it. In fact, the Netflix version of Sophia Amoruso is a rebel who doesn’t care if you like her, but in actuality, she cares a lot. Like a lot. That’s precisely what makes her pseudo angst and rage against adulthood all the more confusing. Girlboss is obscenely unaware and in many ways ⏤ given the far more interesting, accurate articles and profiles written on Amorouso’s controversial behavior and actions ⏤ this is a wildly unnecessary show. It adds nothing to a conversation no one wants to have in the first place.

It’s a mystery how this show was even picked up. Gypsy is clunky, boring, and fails so hard at being risqué. While it’s meant to be an meditation on a middle-aged woman’s unyielding desires, in reality the show fails to properly explore this theme. Nothing titillating happens nor does the drama ever present any emotionally challenging circumstances. Even with a cast of stellar actors, Gypsy goes nowhere. Poor Naomi Watts does her best, but even she can’t salvage this travesty. It’s boring and the dialogue is shockingly artificial. For a show that chronicles the messed up life of a therapist, it fails miserably. The ideas are half-baked and the execution is even worse.

Disjointed leans too heavily into stereotypical humor. There are a lot of low-hanging jokes about “sticking it to the man,” and the forgettable comedy doesn’t deserve Kathy Bates’ talent. You’ll be lusting after her AHS: Freakshow bearded lady after seeing Bates in Disjointed. Plus, the show lacks coherence and is the opposite of funny. It almost feels like watching your grandmother take an ill-timed, wildly inappropriate stab at edginess. Perhaps the most “disjointed” aspect of the show is that it goes nowhere and never really says anything. It’s like the series incorporate every contrite cliche and outlandish trope it can find and harnesses it in the most knee-slapping way possible.

Despite its promising plot line, Lost in Space is an overly-ambitious mess of a series. The series doesn’t do enough with its best characters, like the snaky Doctor Smith, but rather focuses on the drearier internal conflicts within the Robinson family. Despite snagging a big budget, this sci-fi series fails to reach new heights. Obviously, the main downfall lies strictly in the hands of the show’s writers.

The ensemble cast is talented, but their humor doesn’t translate on-screen. Will Arnett developed the series alongside Arrested Development creator Mitch Hurwitz. In spite of their combined genius, Flaked is a widely forgotten show and for good reason. It’s uneventful and moves like molasses. Chip is beyond redemption. This character is both unlikable (which isn’t the problem) and also unwatchable (which is the problem). Above all, Flaked is yet another series that wants to explore the exasperating life of an emotionally stunted wild man who refuses to grow up. It is a tired concept and it does not translate well onscreen.

Well, it looks like the haters won this time. This snooze fest of a series was cancelled after two seasons, but only after it breathed life into a cringe-worthy star. Haters Back Off! is a lackluster series that fails to translate the viral success of Miranda Sings’ deluded and outlandish personality from YouTube to the small screen. Perhaps that’s because Miranda isn’t bearable for an extended amount of time. She is the type of over-the-top, in-your-face character that can only be taken in bursts.