Stitchers

Harris is saddled with quite a bit of exposition, but his most significant hurdle is the series’ uneven tone. Stitchers oscillates between embracing the premise’s inherent campiness or eschewing it in favor of a more intense quasi-realism.

Even though its premiere suggest both campy sci-fi scenes and creepy murder mysteries, Stitchers is as lifeless as the corpses Kirsten explores. [29 May/5 Jun 2015, p.100]

The audience is expected somehow to understand the range of her abilities, but sorry; we need more clues. That, and a reason to care.

Kirsten’s way of solving crimes may be complex, but the crimes themselves seem straight out of the CSI franchise.

It's all completely ridiculous and derivative, which Schechter is quick to acknowledge. Indeed, the second-best thing about "Stitchers" is its game if not quite successful attempt to straddle sci-fi and sci-fi satire.... The first-best thing about the show is its cast, who all show promise far beyond the limits of their roles here.

There are a few lighter moments here and there--including some played for laughs that seem like they'd play better if they were serious, including the first time Kirsten gets stitched--but mostly Stitchers is a ho-hum procedural with an unlikeably emotionless lead character with daddy issues and the promise of hanky-panky with a not-nerdy scientist

Stitchers is the kind of show that thinks that by having Kirsten make a sarcastically knowing reference to Catwoman, it’s immunized itself from charges of silly sex-objectivism; it hasn’t. I don’t see sci-fi fans putting Stitchers on their radar, or fans of Pretty Little Liars sticking around very long after the PLL premiere.