History AudienceAlienatingPremise / LiveActionTV

* ''Series/ResidentEvil'' on Creator/{{Netflix}} aired to only lukewarm reception from critics and downright ''abysmal'' reception from viewers, owing a lot to how it falls into the crevice between ''three'' distinct groups of people. Fans of zombie horror in general are going to be turned off by the teenage girl high-school drama and are going to gravitate toward the multitude of other ''much'' better received zombie horror shows like ''Series/AllOfUsAreDead''. Fans of teenage girl high-school drama are going to be turned off by the zombie gore and the [[ContinuityLockout constant references]] to a franchise they've probably never even touched. Fans of [[VideoGame/ResidentEvil the games]] or [[Film/ResidentEvil the movies]] are going to be turned off by how it's an InNameOnly affair that has nothing to do with either, its {{Race Lift}}ed version of fan-favorite BigBad Albert Wesker who doesn't act in any way like his film or movie counterparts, and its focus on original characters Billie and Jade rather than using any of the existing characters.

* ''Series/ResidentEvil'' on Creator/{{Netflix}} aired to only lukewarm reception from critics and downright ''abysmal'' reception from viewers, owing a lot to how it falls into the crevice between ''three'' distinct groups of people. Fans of zombie horror in general are going to be turned off by the teenage girl high-school drama and are going to gravitate toward the multitude of other ''much'' better received zombie horror shows like ''Series/AllOfUsAreDead''. Fans of teenage girl high-school drama are going to be turned off by the zombie gore and the [[ContinuityLockout constant references]] to a franchise they've probably never even touched. Fans of [[VideoGame/ResidentEvil the games]] or [[Film/ResidentEvil the movies]] are going to be turned off by how it's an InNameOnly affair that has nothing to do with either, its {{Race Lift}}ed version of fan-favorite BigBad Albert Wesker who doesn't act in any way like his film or movie counterparts, and its focus on original characters Billie and Jade rather than using any of the existing LoadsAndLoadsOfCharacters.

* ''Series/AmericanCrime''[[note]]Not to be confused with the much more successful ''Series/AmericanCrimeStory''[[/note]] is an extremely brutal examination of the effects of racism and other kinds of prejudice, deliberately lacking any kind of catharsis even to the point of leaving unclear exactly what happened in each season's titular crime. This naturally resulted in a severe case of TooBleakStoppedCaring and tanking ratings, with the show making it to three seasons pretty much entirely on the prestige it brought to the network, having been created by the writer of ''Film/TwelveYearsASlave''.

* Possibly one of the reasons that ''Series/{{Dollhouse}}'' didn't do particularly well (or gain quite the cult following of other [[Creator/JossWhedon Whedon]] shows). The concept of people repeatedly having their mind wiped and personalities implanted to act as prostitutes, assassins (and more) isn't exactly a comfortable idea, even if the show criticizes it, not to mention how hard it is to get attached to characters who literally have a completely different personality from week to week. More to the point, the show is uneven in its criticism. For the first season, the Dollhouse seems to function just fine, except for one [[CreateYourOwnVillain evil escapee]] and a SympatheticInspectorAntagonist who only makes progress when he gets help from the Dollhouse itself. Then there are episodes where the ongoing plot is absent, or nearly absent, which could imply that some of the Dollhouses' work is just fine.

* ''Series/FakingIt'' is a sitcom about two straight best friends pretending to be in a relationship for attention. Naturally, the relationship undergoes a swift RomanticFakeRealTurn as one of the girls (Amy) realises she is a lesbian and has genuine feelings. However, much of its LGBT target audience were initially put off the premise, which immediately drew criticism for being homophobic.

* The similarly-titled ''Hi Honey, I'm Home!'' was a forgotten '90s sitcom that was a DeconstructiveParody of 1950s {{sitcom}} tropes, set in a universe where sitcom characters are real and the main character, Mike, lives next door to his favorite (fictional) '50s sitcom family. All is well and good... except this was a Creator/{{Nickelodeon}} production (even though the first season aired on Creator/{{ABC}}, on the Franchise/{{TGIF}} block) and was instead for kids. The problem is a lot of the jokes rely on the viewer's knowledge of classic television and its tropes. The show even had a cameo from a classic sitcom character every episode, which is great if you're a television nerd, but for a kid in the '90s, you didn’t get it. The show was very inconsistent with its theme as well. In one episode the mother, Honey, learns about sex, and another episode deals with sexism, while at the same time there's an episode about Mike trying to get a girl to a dance. This makes the show very confusing on who they want this to appeal to. Plus it can be argued that the main character of the show is Honey, when being a KidCom, Mike should have been the true lead. All in all the show was a major flop, limping around for two seasons.

* A good example is ''Series/TheJohnLarroquetteShow'', in which [[Creator/JohnLarroquette Larroquette]] played [[TheDanza John Hemingway]], an acerbic recovering alcoholic. The first season was insightful, provoking, filled with race baiting humor, and a bartender was implied to be ''Satan''. Thanks to ExecutiveMeddling, the show was made LighterAndSofter, alienating those faithful viewers who ''did'' watch the show.[[note]]Though it should be noted that another major reason the show didn't do well was that the network aired it against ''{{Series/Roseanne}}'', which was a mega-hit at the time.[[/note]]

* ''Series/OfKingsAndProphets'' is a ''Series/GameOfThrones'' clone retelling the Literature/BooksOfSamuel--to be fair, probably the best part of TheBible for a political drama. Unfortunately, it doesn't seem to have occurred to the creators that the people most likely to watch their show would be ''religious people.'' As a result, it was promoted for being HotterAndSexier and BloodierAndGorier, and its ValuesDissonance seemed to treat [[GodIsEvil God]] and the Israelites as {{Villain Protagonist}}s. It was canceled [[ShortRunners after two episodes]] in the United States, with a total of nine (everything already filmed before the premiere) airing in Australia.

* ''Series/RoboCopTheSeries'', much like ''Film/RoboCop3'', was part of an attempt to turn the up-until-''3'' very hard "R"-rated franchise into a franchise for children. Naturally, fans didn't take well to it and it only lasted one season.

* ''Series/TheSuperSproutletShow'': Many ''Series/{{LazyTown}}'' fans either liked the series or thought it was babyish and that the character of Bean was rather "unnecesary," while other liked it. As with ''The Let's Go Show'', the series ran for three years and probably ended because of the above reasons.
* ''Series/{{Supertrain}}'' is a series that is pretty much ''Series/TheLoveBoat'' (though closer to a mystery dramedy rather than a romantic comedy) on a train. A ''[[ILoveNuclearPower nuclear-powered]]'' train. This makes it look both too sci-fi (which it is not) and too derivative for their aimed audience, and the Three Mile Island incident that happened [[DistancedFromCurrentEvents less than two months]] after the show's premiere made that premise alienating to everyone else as well. (Not to mention railroad enthusiasts [[JustTrainWrong found WAY too many issues with the train]] to enjoy the series.) It lasted only five months and nine episodes before it got pulled off the air, and disappeared outright, never being syndicated or put on home video.

* This is likely one of the reasons ''Series/TheMuppets2015'' failed to gain traction after its first episode, as fans and critics were turned off by the juxtaposition of the over the top, family-friendly, heartfelt and optimistic Muppets and a more adult and cynical workplace Main/{{Mockumentary}} akin to Series/TheOffice. While the show would address many of the show’s criticisms via a mid-season Main/{{Retool}}, by the time it did, it was already too little, too late, and the show would get cancelled after 16 episodes due to poor ratings.

* This is likely one of the reasons ''Series/TheMuppets2015'' failed to gain traction after its first episode, as fans and critics found the show's workplace mockumentary premise, the more cynical tone and the edgier humor to clash hard with the usually over the top, family friendly, heartfelt and optimistic Muppets. While the show would address many of the show’s criticisms via a later retool, by the time it did, it was already too little, too late, as the show would get cancelled after 16 episodes due to poor ratings.

* ''Series/{{Kidding}}'' had an A-list cast toplined by Creator/JimCarrey, but while it was able to run two seasons and end with closure, the Showtime {{Dramedy}} about an ExcitedKidsShowHost dealing with cruel offscreen realities and mental instability in the wake of the death of one of his adolescent sons fared poorly in the ratings. [[https://filmschoolrejects.com/talk-about-showtime-kidding/ This positive review of the first season]] admits upfront "I don’t blame viewers for skipping the 'Mr. Rogers has a breakdown' show" for being too upsetting conceptually; on the other side of the coin, the fact that the protagonist manages, despite some ''horrible'' mistakes and acts of passion, to remain an AllLovingHero despite it all meant it was too optimistic for cynical viewers who would appreciate a {{Deconstruction}} rather than a DeconReconSwitch.

* ''Series/{{Kidding}}'' had an A-list cast toplined by Creator/JimCarrey, but while it was able to run two seasons and end with closure, the Showtime {{Dramedy}} about an ExcitedKidsShowHost dealing with cruel offscreen realities and mental instability in the wake of the death of one of his adolescent sons fared poorly in the ratings. [[https://filmschoolrejects.com/talk-about-showtime-kidding/ This positive review of the first season]] admits upfront "I don’t blame viewers for skipping the 'Mr. Rogers has a breakdown' show" for being too potentially depressing conceptually; on the other side of the coin, the fact that the protagonist manages, despite some ''horrible'' mistakes and acts of passion, to remain an AllLovingHero despite it all meant it was too optimistic for cynical viewers who would appreciate a {{Deconstruction}} rather than a DeconReconSwtitch.

* ''Series/TheLetsGoShow'' is considered both a CultClassic and SoOkayItsAverage. It only ran for three years, probably because of this trope.

* ''Series/OfKingsAndProphets'' is a retelling of the Literature/BooksOfSamuel by way of ''Series/GameOfThrones''; before it aired, its creators bragged about it being based on the Bible but HotterAndSexier and BloodierAndGorier. The thing is, people interested in a religious show ''generally don't like that'', and secular viewers probably weren't interested in a Biblical adaptation, despite promises of political drama. Add enough ValuesDissonance and GreyAndGrayMorality to make [[GodIsEvil God and His followers]] seem like {{Villain Protagonist}}s and it's [[TooBleakStoppedCaring no wonder]] this show got canceled [[ShortRunners two episodes in]].

* ''Mitten im 8en'' was a Daily Soap launched on Austrian TV as part of a massive retooling of the public broadcaster, was heavily advertised and was hailed as a Smash Hit before the pilot even aired. It had LoadsAndLoadsOfCharacters, few of which were sympathetic and each one of which was supposed to feature in a significant capacity in each of the 23-minute-episodes, and featured primarily unfunny comedy and uninteresting plots. It bombed heavily, both with critics and with audiences, and lost viewers at a quick rate. It was cancelled after 56 (of 118 produced) episodes had aired.

* A strange example is the BBC’s ''Series/RobinHood'', which started out as a straightforward ([[AnachronismStew albeit anachronistic]]) family show with the expected mix of romance, adventure, intrigue and pantomime villains. Then the second series ended with [[KilledOffForReal Maid Marian getting brutally stabbed to death by Guy of Gisborne]] just minutes after exchanging her wedding vows with Robin Hood. The writers/creators claimed this was a way to shake up the show and allow for new storylines based around the premise: “how will Robin cope after the murder of his wife?” Needless to say, this was NOT what the established audience had signed up for. The entire project was then passed onto a brand-new creative team who decided the answer to the above question would be “surprisingly well”, choosing to bypass most of the fallout of Marian’s death so they could tell their own stories with an influx of new characters, which included two love interests for Robin. Viewers were unsurprisingly completed baffled by the turn the show had taken, and despite attempts to set up for a fourth season, the dwindling ratings led to the show’s imminent cancellation.

* Creator/TheBBC's soap opera ''Triangle'': a ferry operating in the gloom of the North Sea was hardly the most glamorous of locations. Famously, the first episode featured Kate O'Mara sunbathing topless on an obviously freezing deck. Clichéd relationships, stilted dialogue and production problems related to being on a real-life ferry cemented the show's mockable reputation.

* A strange example is the BBC’s ''Series/RobinHood'', which started out as a straightforward ([[AnachronismStew albeit anachronistic]]) family show with the expected mix of romance, adventure, intrigue and pantomime villains. Then the second series ended with a ShockingSwerve in which [[KilledOffForReal Maid Marian is brutally stabbed to death by Guy of Gisborne]] just minutes after exchanging her wedding vows with Robin Hood. The writers/creators claimed this was a way to shake up the show and allow for new storylines based around the premise: “how will Robin cope after the murder of his wife?” Needless to say, this was NOT what the established audience had signed up for. The entire project was then passed onto a brand-new creative team who decided the answer to the above question would be “surprisingly well”, choosing to bypass most of the fallout of Marian’s death so they could tell their own stories with an influx of new characters, which included two love interests for Robin. Viewers were unsurprisingly completed baffled by the turn the show had taken, and despite attempts to set up for a fourth season, the dwindling ratings led to the show’s imminent cancellation.

* A strange example is the BBC’s ''Series/RobinHood'', which started out as a straightforward ([[AnachronismStew albeit anachronistic]]) family show with the expected mix of romance, adventure, intrigue and pantomime villains. Then the second series ended with a [invoked]ShockingSwerve in which [[KilledOffForReal Maid Marian is brutally stabbed to death by Guy of Gisborne]] just minutes after exchanging her wedding vows with Robin Hood. The writers/creators claimed this was a way to shake up the show and allow for new storylines based around the premise: “how will Robin cope after the murder of his wife?” which needless to say was NOT what the established audience had signed up for. Then the entire project was passed onto a brand-new creative team who decided the answer to the above question would be “surprisingly well”, choosing to bypass most of the fallout of Marian’s death so they could tell their own stories with an influx of new characters, which included two love interests for Robin. Viewers were unsurprisingly completed baffled by the turn the show had taken, and despite attempts to set up for a fourth season, the dwindling ratings led to the show’s imminent cancellation.

* A strange example is the BBC’s ''Series/RobinHood'', which started out as a straightforward ([[AnachronisticStew albeit anachronistic]]) family show with the expected mix of romance, adventure, intrigue and pantomime villains. Then the second series ended with a [invoked] ShockingSwerve in which [[KilledOffForReal Maid Marian is brutally stabbed to death by Guy of Gisborne]] just minutes after exchanging her wedding vows with Robin Hood. The writers/creators claimed this was a way to shake up the show and allow for new storylines based around the premise: “how will Robin cope after the murder of his wife?” which needless to say was NOT what the established audience had signed up for. Then the entire project was passed onto a brand-new creative team who decided the answer to the above question would be “surprisingly well”, choosing to bypass most of the fallout of Marian’s death so they could tell their own stories with an influx of new characters, which included two love interests for Robin. Viewers were unsurprisingly completed baffled by the turn the show had taken, and despite attempts to set up for a fourth season, the dwindling ratings led to the show’s imminent cancellation.

* Creator/{{ABC}}'s ''Lucky 7'', a drama (that was advertised as being mostly) about the downsides of winning the lottery, was [[OneEpisodeWonder cancelled after only two episodes]] in 2013. In hindsight, it probably wasn't a good idea to air a show about how suddenly coming into a lot of money is a ''bad'' thing during an economic downturn.

* ''Series/{{Girlboss}}'' was a Creator/{{Netflix}} series about a snarky young hipster who starts her own company after being fired from her job. The problem is, one of the main plot points was that the protagonist was extremely smug, rude and generally unlikable, which made it very hard to root for her. And if that wasn't enough, the real person the show was based on got herself mired in serious legal trouble over her mistreatment of her employees shortly before it was released. The series also tried to appeal to the feminist public by selling its protagonist as an example of "Girl Power", but the unpleasantness of its main character and the fact that in real life Sophia Amoruso fired workers for getting pregnant made that effort look like hypocrisy. It ended up being cancelled after just one season, an ''extreme'' rarity on Netflix which is famous for their lenient standards on renewal.

* This was likely a major reason for ''Series/ArrestedDevelopment'' becoming an AcclaimedFlop during its original run (though it was VindicatedByHistory, and eventually UnCanceled by Netflix). It's a show about a [[BigScrewedUpFamily dysfunctional family]] of egotistical, back-stabbing out-of-touch {{yuppie}}s, where [[UnsympatheticComedyProtagonist the only character who’s anywhere near being upright]] is the ButtMonkey OnlySaneMan protagonist, with the rest of the main cast consisting of otherwise ordinary people who are driven mad by the family’s chaos (his wimpy, incestuous son and rebellious teenage niece), highly eccentric and socially awkward weirdos (his ManChild younger brother and homoerotic thespian-wannabe brother-in-law), self-centered and lazy jerks (his SmallNameBigEgo older brother and SpoiledBrat liberal twin sister), or cold-hearted and corrupt misers (his abusive parents, one of whom is a wanted criminal), and roughly a quarter of the jokes involve IncestSubtext. [[ContinuityLockOut Its rather dense plot]] -- far more complicated than one would naturally expect of a {{sitcom}} -- likely didn't help. The stock market, finances, and other similar topics also play a large role in the series, things which not a whole lot of people are familiar with. This was lampshaded by Michael Bluth in Season 3: "Maybe we're not that likable."

* ''Series/BirdsOfPrey2002'' (based on the [[ComicBook/BirdsOfPrey comics of the same name]]) tried to appeal to both comic book fans and the ''Series/DawsonsCreek'' crowd. This failed because the comic geeks were turned off by the unnecessary drama and pointless changes, and the teenyboppers were confused by [[ContinuityLockOut obscure comic book references they didn't understand]]. Funnily enough, though, ''Series/{{Arrow}}'' a decade later was a massive hit, and used essentially the same premise (CW drama mixed with DC Comics). That ''Arrow'' had the fortune of launching in the wake of the massive success of ''Film/TheDarkKnightTrilogy'' probably helped.

* The Showtime miniseries ''The Comey Rule'' was openly admitted as such by its producer Billy Ray right when it was first announced. It's an adaptation of James Comey's memoir about the 2016 presidential election, in which his investigation of UsefulNotes/HillaryRodhamClinton's email scandal likely cost her a substantial amount of votes and led to UsefulNotes/DonaldTrump being elected, only for Comey to quickly be fired when his eye turned to Trump. Ray went to great pains to create a series with absolutely no political bias, to the point of straight-up ignoring some very bad stuff from both sides, and thus ended up with something that will piss off everyone with a solid viewpoint on the extremely polarizing event.
* ''Series/{{Community}}'' had an Audience Alienating Execution, as their ratings got steadily worse (with the biggest drop off occurring after the {{Pilot}}); it's probably because that the premise (Fraudulent {{Jerkass}} Lawyer has to go back to school, meets wacky misfits and learns the value of friendship) is prime SitCom material, but the actual implementation of that premise (extensive esoteric shout outs, ContinuityLockOut to the extreme, weird one-shot genre parody episodes [[labelnote:such as]]Zombies! Action Movies! Law and Order! Westerns! Musicals! Horror Anthologies! Dystopian Sci-Fi of the 70s![[/labelnote]] and a [[BitingTheHandHumor perverse interest in insulting]] Creator/{{NBC}}) killed its chances at being a major hit instead of a CultClassic.

* ''Feed The Beast'' was created by Creator/{{AMC}} as a "quirky crime drama" in the vein of their previous work ''Series/BreakingBad'' (adapted from a Swedish drama called ''Bankenrot ("Broke")'' ), this time focusing on the increasingly-digging-themselves-deeper-in-crime misadventures of a duo consisting of a cook who had just got out of prison (and was an obvious pastiche of "rock star" cooks like Creator/AnthonyBourdain), his best friend (a widowed, alcoholic, single-parent wine connoisseur with a son that was still struck silent from seeing his mom get hit by a car in front of him) as they tried to create the Bronx high-class restaurant dreamed by their deceased friend and wife (although in reality more of a swindle to buy time and obtain money by the cook to pay the mob boss that he used to work for, the mob boss accepting this because he's obsessed with cooking), and the cast of people surrounding them (an obsessive cop that wants to take down the mob boss, the aforementioned mob boss and kid, the wine connoisseur's RacistGrandpa of a father that wishes to get closer to the family, the somewhat-less-but-almost-there AmoralAttorney that got the cook out of prison (and he knocked up))... if you made it through ''that'' list, you can guess why the critics completely demolished the show (although they praised the acting of the entire cast, especially David Schwimmer's leading role): the "cooking drama" part of the show was unfulfilling (quoting shows like the failed adaptation of Bourdain's "''Kitchen Confidential''" as an example of why such things don't work), the constant attempts at FoodPorn were deemed laughable, the "crime drama" part of the show clashed with the kitchen drama part to the point that it felt like two entirely different shows, the location didn't work for them, and to make things worse [[TooBleakStoppedCaring the characters were such a collection of miserable people facing constant setbacks that it was a slog to watch]]. The show burned its single season (ending on a {{Cliffhanger}}) and then was removed.

** And the flipside was that NBC also targeted football fans, promoting it heavily during ''Sunday Night Football'' telecasts, only that those fans found too little football and passed, and everyone else who passed on it thought "too much football."
** That the football in question is the American variety didn't help it overseas; in Britain, Creator/{{ITV}}4 only aired the first season (although Sky Atlantic did eventually... well... [[{{Pun}} pick up the ball]]).

* The similarly-titled ''Hi Honey, I'm Home!'' was a forgotten '90s sitcom that was a DeconstructiveParody of 1950s {{sitcom}} tropes, set in a universe where sitcom characters are real and the main character, Mike, lives next door to his favorite (fictional) '50s sitcom family. All is well and good... except this was a Nickelodeon production (even though the first season aired on ABC, on the TGIF block) and was instead for kids. The problem is a lot of the jokes rely on the viewer's knowledge of classic television and its tropes. The show even had a cameo from a classic sitcom character every episode, which is great if you're a television nerd, but for a kid in the '90s, you didn’t get it. The show was very inconsistent with its theme as well. In one episode the mother, Honey, learns about sex, and another episode deals with sexism, while at the same time there's an episode about Mike trying to get a girl to a dance. This makes the show very confusing on who they want this to appeal to. Plus it can be argued that the main character of the show is Honey, when being a KidCom, Mike should have been the true lead. All in all the show was a major flop, limping around for two seasons.

* Most reviews of ''Series/{{Inhumans}}'' noted the problem in being expected to root for a group of elitist slave owners who benefit from and enforce a [[FantasticCasteSystem brutal caste system]] that they see no issue with, while considering the villain a character trying to tear it all down. Even comic books fans would hardly be interested, as there was an increased disdain for Marvel, and Ike Perlmutter in particular, pushing ComicBook/TheInhumans instead of the Franchise/XMen for the extremely petty reason of not having the movie rights to the X-Men at the time. The Mutants are easily relatable because they are RandomlyGifted victims of FantasticRacism; it's not as easy a sell with the Inhumans, who are a monarchy ''rooted on'' FantasticRacism, as it's heavy on intolerance and separatism.

* A good example is ''Series/TheJohnLarroquetteShow'', in which Larroquette played John Hemingway, an acerbic recovering alcoholic. The first season was insightful, provoking, filled with race baiting humor, and a bartender was implied to be ''Satan''. Thanks to ExecutiveMeddling, the show was made LighterAndSofter, alienating those faithful viewers who ''did'' watch the show.[[note]]Though it should be noted that another major reason the show didn't do well was that the network aired it against ''{{Series/Roseanne}}'', which was a mega-hit at the time.[[/note]]

* ''Series/WickedCity'' tried to ride the ''Series/BreakingBad'' train by focusing on a VillainProtagonist and the woman he slowly drags into joining him. Unfortunately, what it missed is anything to make its main character Kent at all engaging or sympathetic so that people would be willing to follow his story in spite of his evil actions. It was pulled after three episodes, with the creators putting up a further five that hastily wrapped up the story (sort of, as Kent ends up a KarmaHoudini so it feels like there was even less point to watching the thing) online. Then it lost any possibility of becoming a CultClassic when Kent's actor Creator/EdWestwick was accused of rape by several women in the early days of the Me Too movement, making his character's actions hit way too close to home for anyone to be comfortable watching it.

* ''Series/EmilyInParis'', a RomCom series from Creator/{{Netflix}}, was billed as a comedy-drama but the concept of an American expat in Paris who makes no attempt at integrating with the locals and is "I'm American, better than everyone else!" while French characters fall all over themselves to tell her how amazing she is doesn't sit well with the audience. How easily she seems to get on with her job role, given the state of the world since the 2007 recession, was unappealing icing on the unwanted cake. It was so hated that the Golden Globes nominating it for Best Comedy put the organization that runs them, the HFPA, into crisis. No one could believe it was nominated on its own merits, especially when acclaimed shows like ''Series/IMayDestroyYou'' were snubbed. When it was discovered the producers of ''Emily In Paris'' had treated Golden Globe judges to expensive Paris vacations, including staying at a hotel that starts at $1,400 a night, general opinion concluded it was a case of blatant corruption. Even the Globes attempting to backpedal by repeatedly mocking ''Emily In Paris'' during the award ceremony did nothing to quell the bad press.

* ''Series/BloodTies'', the TV adaptation of Creator/TanyaHuff's ''Literature/BloodBooks'', had all the pieces there: a good premise, a convincing love triangle, and good actors (Tanya Huff apparently saw the lead actress on a different series years earlier saying she'd make a perfect Vicki) with good chemistry. There was one big problem, though: the Canadian series got picked up in the US by Creator/{{Lifetime}}. The dark, supernatural premise alienated fans of Lifetime's [[LifetimeMovieOfTheWeek normal dramatic romance fare]], and GirlShowGhetto kept male fans of sci-fi and fantasy from giving the show a fair shake (believing it was typical Lifetime dreck.) It's telling that ''Series/LostGirl'', another Canadian series with an ass-kicking female lead with a PerkyGoth sidekick and a supernatural being as a potential love interest premiered on Syfy and fared infinitely better.

* ''Series/BehindHerEyes'', a MiniSeries that aired on {{Netflix}} and an adaptation of a book by Sarah Pinborough, is about a secretary who has an affair with her psychiatrist boss while developing an unlikely friendship with his mysterious wife. Although the premise itself was not a bad thing, adding the fact the mysterious wife was a DepravedHomosexual using the woman's body as a vessel via GrandTheftMe to essentially have a ''de facto'' homosexual relationship with his best friend turned some audiences off, and the fact the British media gave it away as a {{Spoiler}} didn't help things. It may have had an AllStarCast, but the premise was considered a bit ''too'' creepy for some.