A young amnesiac and terribly clumsy woman must rely on the help of a strange psychologist to remember that she is a super heroine who holds the key to stop a mad scientist who's about to attempt a quantum experiment that could destroy humanity.

I would add that the point at which the story starts is very important for a series so try adding an inciting incident as well.

If this is a comedy think of the premise that will provide the comic element.
Is she a fish out of water? Is this a play on dramatic irony? Is this an exercise in futility by the MC ignoring the flaw? All of the above? etc…

Then build that into the logline that describes the very first event that places her in the “new” situation that sets up the whole series.

As previously mentioned best to focus a logline for a series on the pilot episode that sets up the premise that in turn will allow for the ongoing schtick in the series.

Hi Bomarc

I found this draft of the logline confusing. I understand what your trying to do with focusing on “…the situation…” but in my mind this is the wrong approach for a logline.

In my opinion good loglines start with;
when a something happens to a someone that is of this description, they have to do this…
or
when a someone of this description has this thing happen to them they have to do this…

This draft has;
when a someone (MC) of this description (super hero) and this description (amnesiac) after that thing (accident) during that other thing (on a mission) has this thing happen to them (become a patient of a shrink) with this description (personality disorder) for this reason (retrieve her memory) description of the world (not safe place).

In short this logline doesn’t describe a story rather elements in the plot and setting. Karel Segers has a good little formula that helps with the basic structure of a logline here it is:
When a {major event} happens {the MC} must {do the main action} and learn to {over come the flaw}.
If the way they overcome the flaw is significant then add that into the logline as well.