These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
The Simpsons even referenced these criticisms in a 2010 episode. Mr. Burns threatens to trap Springfield under a dome, but when he's told it's been done before, he is surprised because he thought the idea came from King's book.
Parodied in the third episode, where Joe's friend says people are streaming The Simpsons movie continuously and calling it "prophetic".
The idea of a dome suddenly appearing over a city pops up in 1965, with Clifford Simak's All Flesh is Grass, and in 1988, with Robert McCammon's Stinger, so it's hardly a ripoff, but truly a trope: Domed Hometown.
Angst? What Angst?: Granted, it may not have sunk in yet but aside from the single cop freaking out in the second episode, these people seem to be taking the fact they're trapped like spiders under a mug surprisingly well.
Delayed Reaction: Until "Endless Thirst", when a full-on riot breaks out after the water tower is destroyed.
Look at Barbie's handprint remaining on the dome. Now look at the dome area surrounding the cow. Nice and clean, isn't it? Made all the more strange by how, in other scenes, we see tree limbs cut in half by the dome even though they aren't the focus of the scene.
The cow itself as well. It has nothing inside it but meat — no apparent skeleton or internal organs to speak of. Then again, given that this is network television, it's hard to imagine how they could've gotten away with more than just meat.
They Changed It, Now It Sucks: Many changes to the characters are not well received by readers of the book, such as changing Barbie from a former Army captain and resident of Chester's Mill and a heroic figure into an outsider who also killed Julia Shumway's husband.
Some reviewers, however, have said that some of the character changes — particularly Big Jim and Junior being less in-your-face horrible — are for the better. Even Barbie's change makes him a more interesting character, instead of the near-Marty Stu he is in the book.
What an Idiot: Despite having a radio station to co-ordinate their efforts, as well as having information from the outside world, it's only Julia demanding to issue news updates that stops the two DJ's from simply playing music as if nothing unusual is happening at all!
Hell, it seems like half the series is just the characters passing around the Idiot Ball. See Too Dumb to Live on the main tropes page.
Somewhat justified in the case of Joe. He's smart enough to figure out some of the mechanics of the Dome, the nature of Norrie and his seizures, in addition to discovering the Egg under the mini-dome in the precise centre of the dome; but is too afraid of how people would react to tell anyone about it.
Linda doesn't bother informing everyone of Big Jim's crimes, relieving him of his position and throwing him in the nearest cell, but instead chooses to play second fiddle to him as he starts Putting on the Reich. Her actions during the Witch Hunt for Barbie make her seem even more idiotic, since she never bothers asking for any proof that he's guilty for the crimes Big Jim claims he committed!
Complete Monster: At best, Selectman James P. "Big Jim" Rennie is a cold-blooded, amoral, greedy, psychopathic bastard. Soon after the start of the novel, we learn that the man is the ringmaster of a massive drug ring, apparently one of the biggest suppliers of meth in the whole country. Then it gets worse. Not only do we learn that he killed his own wife by smothering her with a pillow (a woman already dying of cancer, no less), but over the course of the novel, to ensure that he remains absolute master of the town, he covers up the various murders and rapes committed by his son, Junior, and the gang of thugs he's commissioned as a police force. He kills three or four people (including a pastor, smashing his head in with a gold-covered baseball) who threatened to reveal to his subjects what kind of a monster he is, purposefully causes a riot over supplies just so he can claim need for greater control, and frames the main protagonist, Dale Barbara, for everything that he and his gang has gotten away with. He even considers killing his own son, when Junior becomes too insane to control (eventually, he gets killed by others). Then, because he had his gang steal huge amounts of propane (the only fuel source in town) just so he could make more meth, he sets the stage for the massive explosion that consumes almost everything in the town, turning the atmosphere into little more than an assortment of poisonous gases, and then gets away with it, hiding away in a fallout shelter. Even worse, he refuses to accept fault for anything that either he did or happened because of his decisions, even so far as to excuse his multiple murders as "sending them into the arms of Jesus," his faith allowing him to dismiss any of the multiple atrocities he does.
Fetish Retardant: Two men kiss and profess their love for one another before dying in each other's arms. One is a skin-and-bones maniac in urine-stained frog pajama pants, the other is a middle-aged pharmacist. Both are tweaked out of their minds. And their last act is to blow up a barn full of gigantic tanks of propane. Still an oddly touching moment.
Ho Yay: Andy Sanders and Chef Bushey share a kiss in their final moments, before they blow up the drug factory and themselves.
Squick: Junior Rennie's "girlfriends." Two girls he kills. Then he stuffs them in a pantry. And then has sex with their dead, decaying, dead, corpses. Repeatedly. And later on he makes plans to rescue two children for whom he feels love and responsibility to the same pantry. Just to keep them safe, obviously.
The Woobie: Poor Ollie Dinsmore. By the end of the book his whole family is dead, from one accidental suicide and two quite purposeful ones. He even witnesses his brother's accidental suicide, and sees the aftermath of his mother's and father's.