This story is unavailable.

The problem with the show is that the main characters have no redeeming qualities. None. Cersi Lannister’s evil comes from real intentions, wants and needs — so even as she is awful, she is vaguely sympathetic or, at the very least, understandable. Unreal’s entire approach is to create a series of “and then this happens” plot points that remind us constantly that the main characters are in some sort of battle — a battle no audience member can possibly relate to or predict (and therefore, the viewer can never savor or even appreciate the outcomes). There seems to be a message in there somewhere but it gets lost in a morass of confusing emotional gotcha moments that hint at meaning, delivered with the clarity and gravitas of a Trump policy speech.

A vaguely ridiculous thing happens and then gets twisted only to get twisted again — and all the while why any of it matters at all makes little sense. None of it comes from the actual wants and needs of vaguely real or relate-able people, even bad ones. At least not beyond the broadest, simple-minded brush strokes (ambition mostly, and throw some humping usually tinged with ambition). It’s just plot device after device. The set-ups are so over-the-top that it plays like a broad farce, but the drama is treated like the show runners think their material is actually good. They should embrace the camp and then the commentary on the Bachelor would go full circle. Instead it misses, over and over.

The result is a show featuring a lot of vapid, ridiculous plot-driven “scenes” barely held together by a few decent performances (Quinn. End of list). As soon as they ran through their Bachelor-behind-the-scenes tidbits the show struggled and this season — where the whole thing relies on the flimsy characters they originally created to deliver that material last season— is collapsing in on itself like a dying star.

One clap, two clap, three clap, forty?

By clapping more or less, you can signal to us which stories really stand out.