Reminiscent of botched Season 8 of Game of Thrones

Rating: 1/10 (5 September 2019)

Sorry to break the spell, but GG reminds me of botched Season 8 of Game of Thrones or a ridiculously plotted B movie. Evidence to follow.
The story development boils down to whatever character thoughts, actions, or traits serves the writer at the moment, even if they're illogical or contradict what was previously presented. Making story matters worse, we're subject to lengthy and peripheral side stories, such as the media, detective, and attorney. All supposedly clever people who enter the story to establish suspicion of the husband's guilt, when it's not needed because only the reader needs to be convinced the husband is guilty. We don't need these add-no-value side stories that take up time and detract from the main characters' relationship.
For background, the female protagonist (Amy) is established as smart, sophisticated, and cleverly pegs other people. So let's peg this script's list of issues, just the short list because we don't have room for the whole wad.
The writer can't make up her mind how Amy feels about her husband. In one chapter, she describes Amy acknowledging to herself that the male squeeze is her soulmate. Chapters later, she simply changes it to Amy never felt he was the one - because it serves at that moment instead of rewriting the story to make the switch logical. Chapters later, she writes herself into the opposite corner, so changes it again, but seems to remember that she had written the opposite so tosses in a toss-away line that's supposed to take the place of a difficult rewrite to clear up these and gobs of other story holes.
To set-up her husband as a potential wife abuser, Amy pretends that she needs to buy a gun to protect herself from him. So she goes to a run-down shopping mall because she knows the place in inhabited by an assortment of drug users, con men, homeless, and ex or current criminals who may be able to sell her a gun - for protection. Yes, you read that right. Amy's fearful of bodily harm so goes alone to a decrepit mall where she wades in deeply with a wide assortment of characters who could individually or collectively create bodily harm; and she does this because she's in fear of bodily harm. Amy bypasses safe and convenient gun stores and pawn shops because the writer clearly didn't think it would look cool enough. Not logical doesn't factor into the equation. If the writer wanted cool and logical, then figuring out how to have both is the hard job of the skilled writer instead of this lazy option.
And there's more nonsensical plotting. Amy uses this gun acquisition as fake evidence, but then she stays with her husband for months AFTER she buys the gun. To elaborate on this last point, Amy is educated, has no children, and has parents who live not so far away. Yet the reader and police are to believe that a woman who is portrayed as smart, clever, and independent - and not suffering from any mental condition that intimidates her from leaving - stays and sleeps in the same bedroom with a man she supposedly no longer loves and is deathly afraid of instead of leaving in spite of having every means and supposed reason to leave.
Amy's disguise: The missing and possibly dead Amy, whose face is widely broadcast across media channels, isn't recognized supposedly because she changed her hair color and style, gained 15 pounds, and donned eyeglasses. This is like saying if a coworker attempted the same disguise while on vacation, upon her return, no one at work would recognize her? Everyone would be flummoxed stating, "Who's the new person!" But no, the writer wants Amy to mingle with other people, so to get around this little problem of her being a missing person who's all over the news, the writer barely modifies her appearance and she's safely incognito.
While supposedly incognito, Amy is easily manipulated by a couple who are presented as questionably ethical. But isn't Amy's supposedly super clever about reading people? So the story needs her to be ignorant about people now, so she's simply written that way. And yep, they don't recognize that's her, the famous kidnap victim, behind her new hairdo, glasses, and 15 pounds.
Amy's hiding from the news media, yet she agrees to meet her old boyfriend at a casino - yes a casino - filled with guests and employees, and where cameras are taping everything. Adding to this mess, Amy later decides to kill her old boyfriend, but her supposed smarts don't kick in to alert her that his whereabouts will be traced back and she'll be seen meeting him in that casino. If your brain isn't hurting at this point, then you don't care about carefully plotted stories.
To build evidence to support her claim of being kidnapped, Amy conveniently feigns distress in front of her fake captor's home security cameras (yep, now that security cameras are supposed to serve the story, they simply do). Yet, those same cameras have shown her willingly entering the home. The reader is simply supposed to ignore that contradiction.
Amy's pretending to be missing, but - I kid you not - she CALLS the police to drop a clue that they should look in her sister-in-law's shed. The police simply look in the shed to find a key clue to then charge her husband with her disappearance. Yet NO ONE asks who that woman was who CALLED IN HER OWN VOICE to give them a KEY CLUE that she SOMEHOW knew? We're to believe that the police didn't immediately trace where the call came from and then question everyone in the area and search for video recordings that may have recorded who was there? And wouldn't the police have played the tape for her husband and relatives to see if they recognized the voice, because if they had, everyone would have realized not only is Amy not dead, but she obviously set up her husband, and the police can now trace where she had been. Yet because the story needs the police to charge her husband at this point, this nonsense is simply plopped into the plot, but we're still to believe that not only is Amy smart, but the police and reader are abject idiots - because they need to be so that the writer doesn't have to do the work fixing this mess.
After killing her old boyfriend, Amy drives for hours, bypassing homes, stores, hospitals, and fire and police stations to drive directly back to a man whom she had portrayed in her diary as an abusive and suspicious potential murderer. Amy is suddenly portrayed as someone with no mental concept that the police will find this suspicious. So why now this ridiculous contradiction? Because the writer wants to describe the husband's reaction when he discovers his wife has returned by having her appear directly in front of him. So the writer simply scribbles it in even though it makes no sense and contradicts Amy's diary, makes her look suspicious, and contradicts how smart Amy is supposed to be. This type of "write whatever serves at the moment" style of story development is insulting. As always, there's more. After driving for hours, lucidly stopping at light after light, making turns, etc., Amy walks into her husband's arms then pretends to feint for dramatic effect. And no one is suspicious. And we're also to believe that Amy's parents and police wouldn't address and try to prevent Amy from returning to a man she portrayed in her diary as someone she feared might kill her?
Amy planned to kill herself hoping Nick would be blamed. After changing her mind and returning home, she supposedly uses her husband's frozen sperm to impregnate herself. No matter that she's been all over the news as a kidnap and rape victim and she's now home with her supposed lovey-dubby-hubby who can do the fathering himself, we're to believe she runs to a sperm clinic to impregnate herself with his frozen sperm. And apparently no one at the clinic is suspicious, especially of this woman who must still be suffering from PTSD. Why is frozen sperm even in the plot? Because the plot needs something convenient at this moment to show Amy as having 'cleverly' plotted the pregnancy to get her hubby back. But wait! Hadn't Amy planned to kill herself? But now the plot wants her to decide not to kill herself, so the writer goes back to drop in a frozen sperm story even though it contradicts subsequent sequences where Amy plans to kill herself. So we have Amy changing her mind, killing someone to cover up her own self-kidnapping, and returning to hubby, who she predicts will reject her, so she has frozen his sperm months in advance so that upon her return she can get pregnant to rope him in?
As part of Amy's fake kidnap crime scene, she claims she was hit on the head, but upon her return, she receives a medical exam and there's no evidence of the injury. How does the writer fix this contradiction instead of doing the hard work of making the plot logical? She simply has Amy threaten to make the police look bad if they question her and then show the police intimidated by this limpid threat. The police, medical team, and reader need to be treated like idiots for this to work. Not only, but the police haven't been portrayed as idiots who are instantly fearful of a limpid threat. And what was it with Amy parading around in blood soaked clothes after leaving the hospital where she had been examined? The hospital and police supposedly release a crime victim still clothed in blood soaked evidence! The writer wants the character to parade around in blood for ridiculous shock value, so she simply writes it in even though it's insanely illogical. The story also needs to show that not one detective has checked into any of these contradictions and sought evidence even months after her return. The reality? Her ruse would have been discovered within days by looking into just one of her slew of mistakes.
This story comes across as a not-worked-out draft. Anyone can decipher why this story had any draw, which was nothing more than a few flip-flop twist scenes. Like Season 8 of Game of Thrones, shame on everyone who greenlighted this convoluted mess.