This is a slightly more colorful version of the Wikipedia summation of what happened, albeit with a level of frustrating imprecision in terms of detailed storytelling. Par for most of the Trainwreck course, Storm Area 51 is flimsy and dissatisfying.

This so-called origin story is off to a horrible start, and the few cheap laughs that you’ll find in the first episode don’t necessarily make it worth hanging around for 10 long, awful installments.

It is terrible. ... The First Lady will draw viewers in who want to see great actresses play great women, but unfortunately the show’s abysmal writing lets us all down. The scripts are honestly insulting to the real women The First Lady is about.

Obsession wants to give viewers all the sexy with no story.

This doc slaps together some fantastical facts, calls it a day, and is woefully inexhaustive.

Clarice, the character, has been turned into a quivering mess, and Clarice, the show, makes the fatal mistake of thinking that Clarice’s trauma is the most interesting thing about her. ... The real problem with CBS’s version of Clarice stems from the writing. ... While Episodes 2 and 3 show promising signs of Clarice using her investigative skills, that’s all undermined by scenes where supporting characters can get her to unravel with a few mundane questions.

Is there a chance that Extended Family can transcend its awful first three episodes? Sure; sitcoms take time to find their comedic footing. But when you’re starting with tired plots, scattershot storytelling, lame gags and stars who don’t use the skills we know they have, it’s an awfully steep hill to climb to get to mediocre.

MILF Manor is cringe TV at its worst, and the cringe factor isn’t balanced by a cast with any remotely interesting personalities.

Human Resources Season 1 was abominably bad, and this season continues the streak. There’s nothing wrong at all with even the most disgustingly raunchy comedy, but this series takes it so far beyond that it turns back in on itself in terms of how bad it is. Its characters are unlikeable, its story unentertaining, and its jokes unfunny.

On From The Cold is one of the worst Netflix original series we’ve seen in some time. ... We would be OK with the clunky dialogue and wooden acting in In From The Cold if the show wasn’t so ridiculous. But it’s absolutely ridiculous, and not in a good way.

Every character is operating on a different level of vulgarity. ... Skip it, unless you’re in 8th grade and somehow haven’t already heard these jokes before.

Who’s winning here? Not the viewers, not the queens, and not even any of the Real Friends™. This show could have been a Reel.

We just have no F’s to give when it comes to any of the characters in Wreck. Well, maybe we root for the killer duck to show up, but that’s not a good thing.

Digman misses the mark in essentially every department. Its jokes fall flat, its premise can’t hold up an entire series, and the word “arky” is overused to a maddening degree. Samberg can only entertain with his Nic Cage schtick for 15 minutes at most, and there’s little other reason to tune in.

There are some sitcoms that have first episodes that are so bad, there isn’t even a glimmer that you can identify that will make you think the show can find itself. Call Your Mother is one of those shows.

This ultimately feels like a hollow exercise with high production values, a celebrity vehicle with no script but a lot of flashy graphics. .... I’m sure Tom Brady owns lots of other things, too. Maybe a yacht or a golf course. I don’t need to watch documentaries on those, either.

There are many shows that sympathize with killers and vilify their victims, but Love & Death never earns privilege. That’s because outside of Elizabeth Olsen’s devastatingly layered performance, Love & Death is a disaster.

The first episode of The Watchful Eye just shows characters being grafted onto lots and lots of plot, with no storytelling to speak of. It may get better, but we’re not going to be around to see if it does.

A ghastly failure. The glossy adaptation of the Pulitzer Prize-winning novel of the same name flattens morally ambiguous characters into two-dimensional avatars of pure good and absolute evil.

What Happened, Brittany Murphy? is an incoherent, half-baked excuse for a documentary that chooses to disrespect and exploit its late subject rather than paying any tribute whatsoever to her memory.