Here are 13 Reasons Why not to watch the worst Netflix Originals
In an interesting turn of events, Apple might be contemplating a purchase of Netflix. With that in mind, what better time is there to take stock of the streaming service’s back catalogue? If you didn’t know, not everything that the streaming giant has produced has been a hit.
There’s been a string of stinkers recently too, and we’re here to tell you exactly which play buttons most deffo don’t need to be pressed. Here are eight Netflix Originals that simply aren’t worth your time.
Will Arnett’s attempt to rebottle BoJack Horseman’s washed-up depressive story is an unfortunate flagging failure. It’s a real heartbreaker to see Arnett unable to land even the most basic notes of drama or comedy.
As he stumbles from scene to scene, it’s all the more painful knowing that this was Arnett’s passion project. Following a “guru” who falls into a difficult spate of love, Flaked cannot seem to find a rhythm or tone to call its own. There are a few chuckles here and there, and Arnett is always a hidden treasure of a performer, but you’re better of flaking on Flaked.
Netflix expected to cash in on another Black Mirror-style anthology series with this one. Unfortunately, Easy is a paltry mess of a dramedy that meanders around with little purpose. In fact, it seems to be little more than a vehicle for A-list cameo appearances than anything else.
Orlando Bloom (Carnival Row) and Dave Franco (The Disaster Artist) show up in this series tracking life throughout Chicago, and whilst it’s been highly lauded by some critics, Easy’s limp drama fails to fill its characters with any life. Aya Cash (You’re the Worst) is great as always, but it’s not enough to save a series that is far from easy viewing.
Friends from College
This disaster of a comedy follows a bunch of Harvard alumni living it up in New York City. The likes of Cobie Smulders (The Avengers) and Keegan-Michael Key (Tomorrowland) attempt to sell some ridiculous setups and jokes that continuously fall flat.
Friends from College finds no way of making you sympathize with any of its leads, and ends up completely directionless. It’s a real waste of stellar comedy talent. Heck, what was Netflix thinking with this one? We’re at a loss for words.
Netflix’s attempt to create an epic television event equal to that of Game of Thrones, Marco Polo falls so short of the mark (after a superb first season) that it’s almost laughable. Following famed explorer Marco Polo’s time in the court of Kublai Khan, Marco Polo’s story never really goes anywhere.
In latter seasons, entire episodes are comprised of dull conversations between uninteresting characters. Marco Polo apparently became a $200 million loss for Netflix. Lesson of the day: a high production budget doesn’t make up for a complete lack of a story.
13 Reasons Why
This teen mystery is a completely perplexing story. There’s so much to unpack in its absolutely problematic depiction of suicide as a dramatic device, and how 13 Reasons Why manages, even with some sense of care, to fall into the same pratfalls as other dramas before it.
We simply could not stand this story which attempts to lecture the audience on how sad its situation is while reinforcing toxic stereotypes and outdated ideas about mental health. 13 Reasons Why is a gross misstep, to say the least.
We genuinely have no idea how this thing exists. We’re not the biggest fans of Kathy Bates (Misery) anyways, but Disjointed takes the idea that if you say “weed!” enough times, it becomes funny.
Following a family running a Los Angeles cannabis dispensary, this comedy is filled with laugh-riot moments. Actually, no, Disjointed is simply dreadful. Wandering from scene to scene without any sense of continuity, no laughs manage to strike their mark. It even somehow got a second season order – boggles the mind, right?
With a screenwriter accused of sexual assault, a production company called “Trigger Warning” (ugh), and a racially insensitive story, Bright is a total shambles of a film. David Ayer hasn’t really made a coherent film since Fury, but this attempt to repackage End of Watch in fantasy aesthetic is far from a return to form for the director.
At one point, Bright languishes in a “both sides” neutral stance while ignoring gross injustices. It’s a complete mystery, besides money, as to what Will Smith (I Am Legend) is doing in Netflix’s attempt at box-office blockbuster, but it’s clear as day that Bright is not worth the time.
Iron Fist takes the white savior trope and beats it with a stick until thirteen one-hour episodes manage to tumble out – kind of like the worst piñata ever.
With a completely uncharismatic lead in the form of Finn Jones and action cinematography that cuts and shakes every half-second, Iron Fist possesses all the drama of watching paint dry. Its brainless story becomes laughably bad and quite frankly, Iron Fist takes the crown for being one of the worst shows to have ever graced the streaming platform.