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That’s it for the Yeats family, and everybody else is worse. Stranger Things and Game of Thrones favorite Tom Wlaschiha plays a science expert who’s smart because he keeps adjusting his glasses — nearsightedness is the real villain here — and then the show forgets he exists and brings him back for a twist that will not surprise a single viewer. Amber Rose Revah plays a government something-or-other with a secret that won’t surprise anybody who looks like she might be important and then vanishes. There’s an annoying French doctor, a guy with no personality traits who Laura spends time with, some hippy with dreadlocks who periodically shoots people, a French woman who helps Laura for no reason, and a few other people who appear in multiple scenes but may not even have character names.

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Peacock is hoping that Last Light might get some attention for Matthew Fox‘s return to TV, but with less watchable goofiness than The Lost Symbol, the streamer’s short-lived Dan Brown adaptation — another cheap-looking international thriller with allegedly literary trappings — I’m pretty confident this will be another no-impact fizzle. Related Stories TV How to Watch 'Sunday Night Football' Without Cable TV New Parents Kaley Cuoco, Chris Messina Are Still True-Crime Obsessives in 'Based on a True Story' Season 2 Trailer Last Light The Bottom Line Bad, but brief. Airdate: Thursday, September 8 (Peacock)Cast: Matthew Fox, Joanne FroggattCreators: Patrick Massett and John Zinman

Despite the number of times Andy barks, “I have to be in Paris by Friday!” in the premiere, Last Light fails to establish any urgency or causality, and the causality ought to be important since the series hinges on a domino run of cultural collapse. If that isn’t believable, nothing is — and if nothing is believable, it’s hard to give Last Light much credit for having its finger on the pulse of much of anything.

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Or entertained. After introducing the environmental trappings in the first episode, Last Light almost completely forgets that side of the story for the three subsequent episodes, in which all of our characters are slowly making their way toward a family reunion against the backdrop of crumbling dystopia presented without any sense of scale or logic by director Dennie Gordon. There are some protests in the street; a couple of scenes of long lines at a gas station; some limply staged car crashes; and one or two completely ridiculous fights and shootouts that seem to come from a different show but, like everything else here, don’t last long enough to either be fully ludicrous or exciting.

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The result of a five-episode series in which there isn’t a single character with a strong personality or a distinctive voice is that any time any characters converse for more than 30 seconds, it’s excruciating. So when the fifth episode becomes all about the bad guy explaining his motivations and how they relate to Andy and his research, it’s halfway between wildly coincidental and just plain dull. The actual resolution must have felt really profound on the page and really made me giggle on-screen, no matter how much I probably agree with its core ideological points.

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The main characters in Last Light are barely flimsy. Either Fox was exhausted while making the show — he’s an executive producer as well as star — or he decided to make Andy perpetually exhausted, which tracks given the amount of jetlag he ought to be experiencing. Occasionally he squints at a computer monitor and spits a sentence of jargon, so you know he’s smart. Froggatt doesn’t even have that much to play. She’s frustrated at her husband, worried about her son and then she spends two episodes yelling at people that Sam being blind means that he can’t see. Fay spends his time being earnestly placed in jeopardy and Ross has a character who goes around doing dumb things.

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But, like I said, there’s an oil catastrophe, specifically that the oil isn’t working anymore. That’s bad, too. In almost no time, tankers start flipping in the ocean, airplanes start falling from the sky and the Yeats family is separated in three different countries — Generic Middle Eastern Composite, France and England, because Laura doesn’t accompany her mother and brother to the surgery for reasons that make no real sense.

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Andy is a petro-chemist. His wife Elena (Joanne Froggatt) did something before, but now she mostly takes care of their son Sam (Taylor Fay), who has a degenerative eye condition that has caused blindness and will cause perpetual narrative convolutions. The family is about to go to Paris for Sam to have experimental surgery, but then Andy gets pulled away to an oil catastrophe in Generic Middle Eastern Composite, which pisses Elena off because HE PROMISED HE’D PUT HIS FAMILY FIRST. It also pisses his daughter Laura (Alyth Ross) off, because she’s a radical environmentalist and Andy works for oil companies and THAT’S BAD.

Last Light begins with Fox’s Andy Yeats — a weirdass reference to “The Second Coming”? — standing on a sand dune. He’s disoriented, or “lost,” if you will. After a burst of high-drama snippets from later in the series, we go back to two days earlier; it’s an in medias res opening in which everything teased will, like everything else in Last Light, prove to be a bit anticlimactic.

Peacock‘s Last Light is a consistently inert environmental thriller that fails to deliver even the most minor thrills. But in reaching its bizarrely anticlimactic conclusion in only five episodes, none more than 44 minutes, it’s far too brisk to be mad at.

So Last Light is too short to be truly annoyed at, but might a good many of the things wrong with it — one-dimensional main characters, zero-dimensional supporting characters, a truly flimsy connection to its petrol-paranoia premise — have been ameliorated with less brevity? Probably not, and in that case, I’ll always favor a short bad show to a long bad show. Like Last Light, I’m pro-conservation, at least when it comes to my time.

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Based on the novel by Alex Scarrow and adapted by Patrick Massett and John Zinman, Last Light has a thoroughly juicy and contemporary premise that it has no clue how to handle. The idea that civilization has become so dependent on oil that any break in the supply chain could produce utter anarchy in mere days is wholly plausible, and the backdrop of ecoterrorism lets the creators play both sides so as not to alienate any potential viewers. Yes, our reliance on oil is dangerous and could bring about society’s downfall, but weaponizing that precarious situation is, you know, bad. Throw in the Generic Middle Eastern Composite and Last Light has been constructed as a thriller that wants to have ripped-from-the-headlines immediacy, while making both its heroes and villains such non-specific “types” that nobody can be offended.

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