Here are the very worst Netflix Originals series of 2019
Netflix released over two hundred new Originals series in 2019 alone, with more to come in the two months we have left. This doesn’t even include shows that Netflix has international distribution rights for, or existing Originals getting another season. Talk about a media empire.
With so many options to choose from, it’s no surprise some of them are absolute trash. For every Stranger Things, there’s an Insatiable; for every BoJack Horseman, there’s The Politician. So we’ve dug through all the shows this year and found out which ones simply aren’t worth your time.
For these five titles, we highly recommend you stay away. Find something better than these shows for your after-Thanksgiving bingewatch. If we missed another highly hyped but terrible show (or your fave ended up on this list), just tweet us @FilmDailyNews and let us know.
Rotten Tomatoes: 13% critic, 84% audience
At time of writing, season two’s score have not been posted.
Critics are saying Insatiable remedies the issues the first season offered of fat-shaming and homophobia, but it’s still a disaster. Audiences recognize the show is satire at this point, but it’s still gory for no reason and has just as messy a plot.
While the show at least tries to make a real statement about the issues it made fun of last season, that doesn’t excuse the sloppy premise showrunner Lauren Gussis created in the first place. The plot issues from last season didn’t find a fix either, and the messages the various writers try to bring to life end up only going halfway.
Rotten Tomatoes: 57% critic, 85% audience
Critics call out the woodenness of Ben Platt’s acting as the lead and the unlikeability of every character on the show. Audiences are getting sick of lackluster Ryan Murphy shows and are recognizing their template: strong premise with a great beginning, but by the middle you’re wondering if the ending is worth your time.
Obviously, we know Murphy can be truly great (Pose!). But The Politician certainly isn’t. The premise itself is not the issue, but in reality rich kids trying to win the election that will define their future careers doesn’t have legs. By episode four, you’ll be wanting the show to end.
Living with Yourself
Rotten Tomatoes: 84% critic, 84% audience
For a show about copying other people, critics feel like they’ve seen this story done better before. Even Paul Rudd’s solid performance(s) couldn’t make critics ignore the lack of a soul in Living with Yourself. Audiences are on the same page, even though everyone in the world loves Paul Rudd.
The plot is too jumpy and the only reason we kept watching was because we felt obligated to get to the end – not because we wanted to.
We need more great sci-fi TV shows, but Living with Yourself isn’t that. From the unoriginal concept that every sci-fi show has done at least once to a story that jumps around with no context, some of the elements of a great show lurk within Timothy Greenberg’s project. It just needed another seven rewrites to dial in.
Rotten Tomatoes: 42% critic, 62% audience
This is the year of great performances from Renée Zellweger, in projects that definitely didn’t work as hard as she. Critics laugh at the idea of calling What/If a noir-thriller, as the melodrama makes it a soap-opera at best. Out of all of these shows, it’s the one most often called a car crash by audiences and critics alike, for your desire to keep watching while cringing.
What/If truly is a disaster in a less traditional sense. There’s absolutely no real tension, making the thriller aspect laughable. What’s worse is Zellweger really is trying to commit to the dramatic tension, but with a lackluster story around her, it comes off ridiculous. Don’t do Renée like that, Mike Kelley.
Rotten Tomatoes: 42% critic, 71% audience
A show like Chambers has to keep the horror up to keep viewers interested. Unfortunately, critics failed to keep going with the show after the horror was kept at a soft hum the whole time. Plus, Chambers’s melodrama is a weird break from its horror and supernatural elements.
Audiences were a bit more forgiving, but still found themselves bored by the halfway point, wishing the story was a two-hour horror feature instead. Thankfully, season one was the end for Chambers, because there was no good premise for season two in the first place.
Chambers fails to reel in the thrills, while also failing to keep the horror up. If you’re going to do a horror show, you have to make it scary and thrilling, and this didn’t.