Professional sports are so central to American culture, and so particularly critical to the television business, that it’s surprising the area had been largely ignored as the locale of a series until USA’s NECESSARY ROUGHNESS debuted.  Of course, since Roughness is a USA show, it’s mostly been content with superficial light drama, without any […]

  EUREKA, while never a breakout hit, was a sturdy performer for 5 years on Syfy–and one of the increasingly small number of shows on its air that was actually science-fiction, as opposed to superhero fantasy, horror, reality, paranormal thriller, or whatever else the network is trying to use to broaden its brand (while actually […]

  Cable’s USA Network has the reputation of being a place where procedurals basically repeat variations on the same episode over and over for years, until the series finally dies of old age.  That’s certainly the case with some of the network’s stalwarts like Psych and Burn Notice, but recently USA has shown a welcome […]

  THE WALKING DEAD is in danger of becoming TV’s version of The Phantom Menace: a gigantic hit that no one really likes.  The ratings, while still massive, were significantly down in Season 7, which premiered with the instantly-infamous episode that introduced villain Negan (Jeffrey Dean Morgan), who promptly clubbed two cast regulars to death […]

> Some shows find their creative voices during the course of their first season–but even after a super-sized order of 24 episodes that ended last night, UP ALL NIGHT is still floundering. On paper, Up All Night seemed to have everything going for it.  Its Executive Producer/godfather was Lorne Michaels, and it was created by […]

  It was clear from the pilot of NBC’s GOOD GIRLS that the series had a trio of strong assets and some major challenges.  The strengths were its three stars, Christina Hendricks, Retta and Mae Whitman, each of them thoroughly capable of anchoring a show on her own, and together an Avengers-like powerhouse of warmth, […]

  At what point does unconventional storytelling become perversity for its own sake, a collection of curlicued narratives that operate like the showrunner version of The Emperor’s New Clothes?  It’s a question that came up often in connection with Damon Lindelof’s Lost, especially toward the end of its ultimately frustrating run, and even though THE […]

  Voting is going on right now for this year’s Emmy nominations, and LOUIE is on the ballot as a “comedy.”  It’s not the only show to squeeze into a category where it may not truly belong–Orange Is the New Black and Shameless are “comedies” too, and the 8-episodes-and-done True Detective has decided that it’s […]