WYNONNA EARP:  Friday 10PM on Syfy – Change the Channel Syfy has recently been trying to burnish its schlocky image with some more ambitious projects, most notably the time-travel thriller 12 Monkeys and The Magicians, a show with plenty of flaws but also lots of imagination.  The network’s economics, though, probably demand that a […]

  BATES MOTEL:  Monday 9PM on A&E BATES MOTEL has lit up its Vacancy sign for a second season, and it’s retained its particular blend of soap, black comedy and horror thriller.  The strength of Bates is that even if we didn’t recognize its protagonist’s name, and know what lies in his Hitchcockian future, the […]

  ZOO:  Tuesday 9PM on CBS – Change the Channel Of all the broadcast networks, CBS is the biggest fan of branding.  It has its procedural hours during the regular season, its working-class half-hours (which are either multi-camera or feel like they could be), and more recently, its summer sci-fi thrillers.  Under the Dome begat […]

  GALAVANT:  Sunday 8PM on ABC – If Nothing Else Is On… GALAVANT is one of the goofier network enterprises in recent memory.  It’s a fairy tale comedy-musical created by Dan Fogelman (whose resume covers everything from Crazy, Stupid, Love to Tangled to The Neighbors) that’s meant to be in the vein of The Princess Bride and […]

  Not even HAVEN‘s worst enemy would have wished on the series its season finale experience of the past few weeks.  More serialized than ever before, the season was approaching its ending with a second-to-last episode that featured deadly violence in a school (although directed at older graduates attending a reunion, not at children)–in the […]

  The past two seasons of FALLING SKIES have been something of a wreck, all the way through to tonight’s flat finale, and with its ratings echoing the show’s title, it’s hard to regard the show’s departure with much beyond relief.  Under showrunner David Eick, Season 4 featured a spectacularly wrongheaded series of plotlines that […]

  Tina Fey’s 30 ROCK left the building very much the way it entered 7 years ago:  with a million gags (at least ten thousand of them meta), a bit of sentiment (usually followed instantly by undercutting silliness), and a gnawing taste for the hand that fed it. If there was any surprise in the […]

  As we noted yesterday in writing about The Good Wife, churning out 22 hours per season is a tough challenge for any serialized network drama, especially one that concentrates on one central story, unlike, say the multiple plots of a show like Nashville.  The Originals would have fared better with a cable-sized 10 or […]