Critic Reviews

While “Q-Force’s” attempt to renovate its genre is admirable, a hypothetical next season would do well to focus on getting the fundamentals of character and tone nailed down. That’s a mission that, given what strengths are already in evidence on a flawed but promising series, ought to be entirely possible.

A few too many of the jokes are dated and easy, although the show leans so far into its cheesy sense of humor that it becomes increasingly likable as the season goes on. It’s a show that’s comfortable with viewers groaning at a few of its easy targets and trusts that fans will stick with it as a very sharp writer’s room and strong voice cast get over the growing pains of a first season.

The first 10 episodes of Q-Force didn’t offend me, nor were they soulless appropriation of queer culture. Instead, the show is a somewhat typically bumpy start for a comedy trying to find its voice, or at least trying to find out how to make that voice funny.

The cast includes Wanda Sykes, Laurie Metcalf, Gary Cole and David Harbour, all doing their best with what they have, but limited by oddly old-fashioned jokes. The cultural references are so dated I started to wonder if it was deliberate, a retro choice, like midcentury modern sideboards or moustaches.

Q-Force feels like a missed opportunity to present LGBTQ characters in a light that doesn’t necessarily point to their queerness with such a big, 1990’s-style arrow. But we’re holding out hope that the show gets better during the first season.

In spite of being created by a number of queer individuals, the series’ much-touted representation is mostly lazy stereotypes and dialogue, less designed for incisive storytelling than promoting a brand’s purported inclusivity.

“Q-Force” had the opportunity to explore themes like gender identity or society’s relationship with sex. Instead, all we get are shallow attempts at comedy that mock a community rather than honor it.