Crisis in Six Scenes, Amazon

I reviewed this new Woody Allen series last week, and I hated it.

A number of readers wrote to me and suggested that I disliked the show because I dislike Allen, based on his personal history.

Nope, not true. The show is awful on its own terms. Distinguishing between a creator’s personal issues and the merit of his or her work is always a difficult thing, but not when the work is this feeble.

It’s as if Allen took a bottom-drawer script and broke it up into six episodes (each of which runs approximately 22 minutes). In this era of superior half-hour cable and streaming comedies, Allen doesn’t seem to have risen to the challenge of doing a serial narrative. Instead, as if he doesn’t understand how good TV has gotten in the past two decades, he delivered a lazy, dashed-off piece of work that acts and sounds like some of his worst movies. Compared to “Master of None,’’ or “Louie,’’ or “Transparent,’’ “Crisis in Six Scenes’’ is bottom of the barrel.

The story is set in the late 1960s, with Allen as a writer who lives a peaceful upper-middle-class life in Connecticut with wife Kay (Elaine May), a marriage counselor who sees clients in their home. This situation is upended when Darlene “Lennie’’ Dale, a hard-core radical wanted by the police and the FBI, hides out in their house.

As Lennie, Miley Cyrus is completely miscast. She natters on banally, in a low affect, about “the pigs’’ and how “the whole system is just too rotten to be saved and we’re gonna have to start all over.’’ I saw no tongue twists.

Allen’s simplistic portrait of the 1960s attempts to stir some nostalgia and light laughs, I suppose, but it fails. The show is remarkable only for seeming like a lame vignette out of “Love, American Style.’’

Matthew Gilbert can be reached at gilbert@globe.com. Follow him on Twitter @MatthewGilbert.