Worthless. Surprising there is no thread for this show. Or maybe not. Probably the best thing is the cast, or at least the female lead, who is pretty good, and the fact that the supporting cast is populated by underutilized really good actors. Actors who can get and deserve much better gigs, and so are probably running in place here, phoning it in, and waiting for their agent to call with something, anything, better. Her scooby gang, however, consists of a haircut, and a cliche of 'I'm the token black guy'. She loves history. Well, of course she does. Even a hack can figure out that she should love history. Kudos to you, Shakespeare, you're a veritable James Patterson. Nothing else really clicks. It's like a show written by computer. Siri, Alexa, and Cortana got together and pitched a show. Probably the most glaring fault is (and I have only seen the pilot) once they have set things up, in a very confusing manner, no less, the concept is "OK, we got a time machine. Let's go fix this". But it feels more like 'OK, we got greenlighted, let's go type something'. And the similarity is that once they have a time machine and decide to 'go fix' something, they have no idea how, no idea what the actual thing to be fixed might be, and no coordinated focus of any kind. Similarly, the writers have no idea how to write, no idea what they are writing about, and no focus of any kind. It's pretty much just a muddled mess. The motivations are not clearly defined. And one writer tool is to keep the audience guessing about certain things, and nonchalantly satisfy their curiosity as to 'what the heck is even going on here', by dropping in little breadcrumbs once in a while. Yes, that is a legitimate approach. But it doesn't work well when the motivations are not defined and there is no way for the viewer to invest themselves in the passion of the protagonist, because those passions are unknown, so that 'technique' just serves to make everything more muddled and confusing. Which makes Timeless an epic fail. Oh and the cliches. The worst is an oily overseer with a hidden agenda, who looks like he should be smoking cigarillos through a holder and petting a white persian cat and saying 'No, Mr. Bond, I expect you to die!" And of course he has the token black guy under his thumb as a spy (oops! spoiler alert. Sorry, I...oh, what the heck, it doesn't really matter). There is more manufactured melodrama here than you will find in any ten other shows, and the amount of contrived dramatic conflicts will make your eyes glaze over. There is one very good question, which is if you could change history to save someone, yet you had no idea what the butterfly effect consequences of that would be, would you? And would you do it because you were convinced it was the right thing to do, or because you had emotional ties to the person to be saved. That's a great, if horribly difficult 'Sophie's Choice' question, but too bad they fumble it so badly. If you would like to see that question handled expertly, just watch the OST episode 'City On The Edge Of Forever'. Now Harlan Ellison, THAT was a writer. Remember those old cowboy movies where the banditos ride into town and terrorize the shopkeeper by shooting at his feet? "Dance, pardner! Dance!" And the poor shopkeeper jumps up and down so his tootsies won't get shot off? That is what this feels like. The shopkeeper is a terrible dancer, because he is doing that under complete duress. Imagine the network honchos as the banditos and the writers as the shopkeeper. They are typing their little butts off, to desperately stay employed in a business they have no business in, because they are also terrible 'dancers'. They are complete hacks. They are neither dancers nor writers, but somebody is jerking their chain,'Write, Monkey! Write!', so they have to type as fast as their little fingers can fly. I worked in a lot of professions, but television is a profession where you can easily survive by being far less than mediocre. Kind of sad, isn't it? The best moment? 'Denzel Washington'.