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- By Colton Watkins
- 14 Sep 2026
Looking back, we consider the TV landscape of the past year, a handful of shows stand out not for their brilliance, but for their spectacular failures. From awkward sequels to confusingly poor documentaries, here are the productions that had us scratching our heads or simply reaching for the remote.
How to start with this divisive follow-up? Plagued with dreadful writing, painful arcs (justice for Miranda!), and a paltry 71 seconds of beloved Samantha, the series struggled to find its footing. Briefly, as the third series began, it looked like it had at last found its groove. Then arrived an installment all about Seemaâs natural deodorant. Little surprise the showrunner announced this would be the last season. It ended on a low point; the lingering shot of Mirandaâs loo full of poo was simply too symbolic. Still, fans certainly found joy dissecting every single âwtf?â episode. And as Carrie â once again single â danced around her palatial townhouse to Barry White, who couldn't release a small sob?
âCan Kim Kardashian act? Of course she canât.â
But that was almost the smallest of this show's problems. The recipient of a exceedingly uncommon zero star assessment, it was hard to know where to begin enumerating the flaws. The hilariously leaden dialogue? The tedious glorification of wealth and consumption? The seemingly wilful procession of cliches? Acting so poor they felt almost spiteful? Letâs just say âall of the aboveâ and forget about this series again. However, a new season has been ordered, so weâre likely going to have to.
Considering the legal troubles, abuse allegations and fatherly shortcomings, itâs fair to say Charlie Sheen has been a troubled figure. Not youâd really have gleaned it from this multi-part docuseries which smirked its way at Sheenâs various bouts of self-destructive hedonism while failing to tell us anything we weren't already aware of. Rather, it felt as if this loose cannon was being pandered to, so any pity this series might induce should be reserved for the people who have had to endure close contact with this charming but flippant narcissist.
Naturally we understood it was ridiculous from the get-go: a thriller about a AI known as Charlie Big Potatoes that could either solve global crises â or annihilate all of humanity. We stuck with it out of pure love for its leads ⌠but by the end, it felt like even they had stopped bothering. One barely reacted when his character died, and the other ended up slicing Charlie with an axe ⌠in super slow-motion. Talk about admitting defeat.
Shady characters meeting in empty boxing gyms? A certain band's Firestarter blaring in club scenes? The late 90s called and demands its gangland drama back.
In truth, that is unfair on the crime shows of the late 90s. Many seem a little dated now, but at least they didnât endure the embarrassment of having to accommodate unconvincing accents. But there were plenty of other problems. Mainly that it was just profoundly dull; a conflict over narcotics territory between various cockney picaresques which felt rather simplistic.
Considering the degree to which she provokes the ire of the nationâs ostentatiously enraged commentators, itâs almost easy to applaud the Duchess of Sussexâs various forays into quaint lifestyle as intentional statements. But then you view them and are compelled to admit that actually, they may have a point. Itâs like watching a homeware magazine come to life; a poster for wine oâclock with delusions of grandeur; a parade of sleeping dogs, humming beehives, sentimental sayings and forgettable crafting âhacksâ youâll forget instantly. All underpinned by vast, largely undeserved wealth. Ugh.
There are obviously interesting things to be said about both Victoria Beckham and her journey with vocation, self-image, self-acceptance. But for whatever reason, this three-part series opted not to say them. Instead, the experience was like reading a marketing brochure. She obviously has every right to bridle at what she describes as her âmiserable cowâ image. But sadly, she failed to do herself any favours with this guarded letdown of a series.
It had the potential to be the next cultural phenomenon â except even camper, with a famous star as a deceased benefactor and a sharp-tongued personality overseeing her inheritance. What more could you want? As contestants competed, there was plenty of betrayal and arguing. But the rules quickly became incomprehensible: itâs still 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 live up to something way beyond it.
How does one succeed a show that defined a generation? The expectation was enormous for this starry romcom about Jessica, a rosy-eyed New Yorker who lands in London with a shattered romance. The star took her biggest role by the horns and was joyous to watch, embodying Jane Austen levels of romantic ideals. But it was all very glossy and, ironically, was not enough. Plus, the sheer amount of famous friends involved felt uncomfortable.
Not good enough to be âunevenâ.
Given the shrewd inclusion of talented younger comics, expectations were high. But sadly, most of it fell flat. A particular sketch was a single joke stretched to a husk but repeated in every episode. One star seemed too ready to slip into a well-known ranting mode. The writing room sketches, meanwhile, simply provoked the thought that they should probably have stayed in there a bit longer.
This dramatisation of the story of Amanda Knox was executive produced by Amanda Knox and pretty much exclusively showcased the perspective of Amanda Knox. So, while there undoubtedly is an interesting drama to be made about the horrific 2007 murder, this isnât it. The material needed to be handled with care. Instead, the series laboured awkwardly to find the right tone, lumbering from oddly jaunty, slightly stylised farce to ultimately, real-life horror. Twisted? Perhaps. A total mess? Very much so.
We admire the lead actor ⌠but did we buy him playing the most brilliant maths genius since, a man so intelligent heâs on the verge of a breakthrough that could ruin society? Nope! This globe-trotting thriller about secret services targeting â and eliminating â intellectuals frankly got more absurd by the second. Formulaic nonsense.
This hagiography followed the content creator renowned for explicit escapades as she prepared for 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 queue. They could at least have interviewed the now-famous mum who appeared to haul her son out of the queue. What we got was disturbing imagery and zero critical analysis of her infamy whatsoever. It's staggering to consider, the filmmaker has a young daughter too.
Elena Hartwell is a multidisciplinary artist and educator passionate about fostering creative communities in London.