Gina Rodriguez’s new TV series, Not Dead Yet has all the makings of TV gold: a bankable star, unique yet relatable premise, and great writing. However, it fails to give an auspicious delivery of sitcom mastery. Not Dead Yet is about a newly single woman who is returning to journalism, to pay the bills that she was accustomed to her ex handling.
Nell Serrano has a special relationship with the dead people, whose obituaries she writes. We get to see those relationships form at her cubicle and home. Though it would be pointless to get attached to those characters, since they have changed with every episode, so far. Instead, a flashback episode, or however the writing team can incorporate more of Nell’s backstory, would be interesting for viewers curious about the ten-year work gap.
The last time we saw the Puerto Rican beauty, on the small screen, was when she starred as Jane Villanueva in Jane the Virgin back in 2019. Since then, she has moved away from young and virginal, female characters to single-female-dating, with class and talent. However, Not Dead Yet arrived on viewers To Be Watched schedules with the anticipation of a proven Emmy Nominated series. Unfortunately, thus far, it is not worthy of viewers’ attention.
I was dying to put the cliche saying, “dead on arrival” in the title, but I digressed. You can’t stop me from putting it in the review. Not Dead Yet is dead on arrival even with a life jacket and ambulance following behind. Some critics say there is potential for resuscitation. Don’t hold your breath, only dead characters on the screen please. Okay, like a guest turned roommate, the cliches have worn out their welcome. 
Not Dead Yet has all the makings of an exquisite recipe; why does it leave us dissatisfied? After watching the first four episodes, I can confirm that this series is inexplicably bland with delectable writing.
Gina Rodriguez stars as the obituary writer, who gets inspiration from the dead people themselves. The formula sounds like a broken rule: requiring a new supporting character for every episode; still, that does not explain why it fails. The main cast, for one, has zero chemistry. There is Lexi, the boss and daughter of the publisher, which is a playground for comedy with any accomplished writer; Sam, Nell’s best friend, who has a salty personality with sassy wit; and Nell herself, is begrudgingly single and ready to have someone pick up the tab. It’s insensible why jokes are absent or flat with this set up. With the laughter on hold, upon further review of dry comedy–not in a good way–one could mistake this series for a dramedy: hilarity for acquired taste. 
I have not come across a show about obituaries, which is why I am tolerant and forgiving of the epic failure of the two-episode premiere. I suspect this series may find its place—on the list of cancelled TV shows of 2023. If the producers don’t shake something up: either the main cast or storytelling structure, they are going to lose their excited audience quickly.
What works on the show is the idea of Nell being the only one able to hear and speak to the dead. What’s not working is Lauren Ash as a tame, Bitch boss. I’m not sure how she could not get into the role: could her awkward, teenage years have been artificially removed from her memory? Whatever the delay is, Ash needs to get out of sleep mode and into Bitch mode at godspeed.
If and when this show fails, Gina Rodriguez, as the star and one of the executive producers, would take most of the blame. If she can get to the root of the anemic chemistry, in the table read, us viewers wouldn’t have to suffer through mediocre, sitcom acting that is not even on the level of a funny YouTuber with no budget for professional writers.
Lastly, let me apologize. I called this show inexplicably bland when I knew all along what the problem was.
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