This is what happens when a studio thirsty for content will just pour money into a half-baked pitch by "writers" whose parents told them that they have some really great ideas, so they bought a copy of 'Screenwriting for Dummies', and moved to Burbank. In the 60's, TV was still a novelty, and a show with a completely one dimensional villain, with murky motivations (even actions that violated the character's own self-preservation) were easily dismissed. It was also easy to overlook the complete disregard for the heroes' inability to see the villain's duplicitous nature despite being represented as brilliant minds. But, c'mon, this ain't the 60s. This series commits to so many cliches and troupes that it's hard to list them all, but here's a few: >Contrived conflicts created entirely by someone keeping a secret (not that there isn't someone conveniently listening to said secret around the corner to punish you for it later.) >Contrived conflicts created entirely by someone blabbing their secrets. >Deus ex machina. Lots of it. >Situations that have a dozen viable solutions, but the riskiest and most costly seems to be the one that's settled on. >Kids are stupid. Frustratingly stupid. And gullible. At least when the writers need them to be. >Adults aren't much better. >Mother-ships don't have scanners. Or search parties. Hey, Netflix, if you're gonna spend this kind of money on shows, throw in a couple of extra bucks for writers with better resumes.