Archive for the Reviews Category

January and February 2020

Posted in American TV (General), American TV Shows, Americans watching British TV, Behind-The-Scenes, BiogTV, British Shows on American TV, Internet TV, Reality TV, Reviews, TV Acting, TV advertising, TV channels, TV History, TV News, TV Sports, Uncategorized, Unsung Heroes, Watching TV on March 2, 2020 by Tom Steward

New Blog 8.1

I seriously doubt there’s anything in No Time to Die that can compete with Graham’s laser shoe from Spyfall.

Seen through the prism of a constantly buffering HBO Go app, the final season of Silicon Valley was an unintentionally interactive viewing experience for me.

qubo specializes in cartoons from yesteryear that look like they’re being watched from another room.

Have the rights to Ted Bundy recently gone into the public domain?

The Magic Motor Inn episode of Fresh Off the Boat proves that G’s back-door spinoff-dar is military grade.

Netflix’s Cheer is not to be confused with the first screen outing of Ted Danson’s Sam Malone.

Time jump finales in HBO Original Series are now contractually binding.

The advertising for the BBC’s Seven Worlds, One Planet makes it seems like Earth is a TV show leaving a streaming service in 2020.

I don’t know if I’m more amazed that a musical act on The Bachelor once dated a contestant or that a contestant had prior knowledge of a musical act on The Bachelor.

American quality television is having its own papal war.

HBO’s McMillions recalls Ben Affleck’s comment on Argo that “even the feeblest execution” of such a compelling real-life story would still make for great entertainment.

G was expecting Shrill to be like a live-action Nature Cat, demonstrating that as parents of a toddler we are no longer able to distinguish between adult and children’s television.

New Blog 8.2

The MSNBC reporter’s racist outburst in reporting of the death of Kobe Bryant and the subsequent resurrection of Mr. Peanut in his honor suggests that TV’s priorities on grief may need re-evaluating.

The best media satire I see on network television is in Geico and Progressive Commercials.

Larry David may be Bernie Sanders’ best impersonator but, judging by this season of Curb Your Enthusiasm, he could also be Trump’s most effective speechwriter.

Avenue 5 is a worthy addition to the British science-fiction sub-genre of Shoddy Space.

When Adam Driver hosts Saturday Night Live, it feels like improvised jazz rather than a hit-and-miss sketch show.

Killer Inside: The Mind of Aaron Hernandez made me wonder why there isn’t a rolling news channel devoted to this story.

I urge you to watch reality shows with closed captioning as they put inverted commas around words that don’t exist and they come thick and “fastly.”

The Oscars 2020 really made the case for the continuing importance of commercial cinema with an opening musical number recreating an iconic moment of public television.

U-Verse On-Demand needs to accept that I am not going to rent A Simple Favor.

Season Three is the new Season Two. We need to be talking about Junior Slumps.

Last Week Tonight with John Oliver is the best argument for only reporting the news when it’s not happening.

If parents are confused as to which version of The Adventures of Paddington Bear is the newest one, just remember it’s not the Canadian one with a bloated expositional theme tune that even The Simpsons couldn’t credibly parody.

New Blog 8.3

Unexpected bonus of AMC’s uncensored airing of The Godfather films Part 1 – 8am boobs.

Unexpected bonus of AMC’s uncensored airing of The Godfather films Part 2 – The Godfather Part II now gives two fucks.

Unexpected bonus of AMC’s uncensored airing of The Godfather films Part 3 – Doesn’t apply to The Godfather Part III so you have an excuse to skip it.

What is anyone on Married at First Sight talking about? They all sound like malfunctioning self-help robots.

The world television premiere of El Camino was somewhat undermined by the fact that millions of viewers had already seen the movie on television.

Haven’t we done enough damage to Pizza Hut crusts without making them their own appetizer?

Bad News Breaking – Breaking Bad Now The Sequel To Better Call Saul.

In terms of romanticizing of the Taliban, the final season of Homeland picks up where Rambo III and The Living Daylights left off.

The commercial for the “Battle for the 2020 White House” commemorative chess set is the best piece of television to play parody chicken with.

I bet the voice actors on Superwings: Mission Teams increasingly regret having ticked the Accents and Dialects box on their online submission for the casting call.

Made my national television commercial debut and now worried about being typecast as “Man in Bermuda shorts and Hawaiian shirt that doesn’t fit him ignoring Phil Mickelson.”

Apparently, Saturday Night Live having a host and musical guest I’m equally excited to see only happens every four years.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Last Post of The Year

Posted in American TV (General), American TV Shows, Behind-The-Scenes, British Shows on American TV, Reality TV, Reviews, TV Acting, TV advertising, TV History on December 11, 2019 by Tom Steward

New Blog 7.1.jpg

UPDATE: Kurt Sutter’s departure from Mayans M.C. resulted from abusive behavior not white guilt. Potato, patata.

Counting down to the new season of 90 Day Fiance by watching new seasons of 90 Day Fiance.

Half of the movies I’ve seen at the theater this year are based on television shows. The other half I wish were television shows.

El Camino is a feature-length post-credits scene.

Molly of Denali is made by someone who really misses esoteric nineties dramedies.

My first thought upon re-watching The Running Man was that no TV network would ever give away this much content for free.

Netflix have made a holiday special starring The Captain of The Polar Express, Satan, and The Burglar from Home Alone.

The Crown should be re-named Queen Who.

Nonny in Bubble Guppies is either a really good stab at portraying an autistic child or a terrible take on a nerd.

The Mandalorian is an exercise in the art of the end-credit.

Scorsese says Marvel movies are “not cinema” in an interview promoting his latest video-on-demand content.

In the age-old tradition of Star Wars selling old wine in new bottles, The Mandalorian is Have Gun, Will Travel in Space.

New Blog 7.2

Disney + should stick one of those “outdated cultural depictions” warnings on The Phantom Menace.

Standing in the lobby of the Netflix-owned Egyptian Theater in Hollywood performing a live immersive theatre rendition of scenes from The Witcher to the audience for the cinema premiere of the show wondering what television is anymore.

You know you’ve assimilated when your reaction to a TV commercial for a Mac n’ Cheeseburger is: “I suppose it was inevitable.”

In the dark sequel to the Peloton Holiday ad for Aviation Gin, the protagonist plays an in-world Paul from Verizon.

With their Godfather and James Bond marathons, cable television has correctly identified the two major themes of Thanksgiving as immigration and colonialism.

I want to buy a crate of Romulan ale for whomever thought of using Star Trek V: The Final Frontier to extinguish IFC’s 24-hour Godfather Thanksgiving marathon.

With the accusations of racism in the seating of Franklin in A Charlie Brown Thanksgiving, viewers are finally seeing the darker side of this holiday special about a clinically depressed pre-teen boy.

I’m convinced that the “Cut for Time” sketches on Saturday Night Live are removed from the broadcast to ensure that the show’s best writing get a wider audience on the internet.

As Inside The Actors Studio moves to Ovation, Bravo severs its last links to a culture beyond Andy Cohen.

With the return of Dirty John as a true crime anthology series, will we see Eric Bana as a moldering John Meehan hosting the episodes a la Tales from The Crypt?

Those complaining about Rudolph’s acquiescence to his abusers in Rudolph The Red Nosed Reindeer should remember that this was a cartoon made the year The Civil Rights Bill was signed into law.

New Blog 7.3

Not content with being Reality’s answer to The Sopranos, The Real Housewives of New Jersey is now aping the story structure of the first Godfather movie.

The Irishman does nothing to challenge my long-standing belief that Martin Scorsese should no longer direct anything but documentaries.

That a half-century old period drama such as The Crown remains one of the best documents of contemporary Britain is an indictment of how little we’ve progressed as a nation in the intervening years.

There’s been a noticeable dip in the amount of subtitled dialogue in Fresh Off The Boat, which I’m desperate to believe executes a long-form story arc about assimilation not a network note.

If everyone can get excited about a four-minute sequel to E.T., then why do we need another feature-length Ghostbusters?

I’m now at a point in my life when I turn off Scorsese crime movies and put on British heritage dramas instead of the other way around.

Now that Poldark has ended, spare a thought for the actor playing the local banker who has lost his annual gig telling Ross he can’t give him any more gold.

It seems the latest trend in event television is live broadcasts of musical remakes that ruin childhoods.

John Mulaney having both an adult and family-friendly comedy show featuring kids on Netflix is going to be a stern test of the platform’s algorithm.

The most recent season of The Walking Dead strikes me as the TV equivalent of a deep-franchise horror sequel whose connective tissue to the original movie dangles by a thread.

Merry Festivus and Happy Who’s Here.

The Schmidt Girl

Posted in American TV Shows, Behind-The-Scenes, Internet TV, Reviews, Uncategorized with tags , , , , , , , , , on May 10, 2016 by Tom Steward

Netflix is a revolution in television delivery, but the same can’t be said for content. Until very recently, that is. The ability to watch an entire season of a program as soon it was released made dramas like Orange is the New Black and House of Cards seem tremendously interesting and complex. But if the same derivative, underwritten and overacted series were offered as weekly recurring fare, they would simply never invite comparison to the original dramatic achievements of HBO, FX and AMC (ranked in order and not accidentally, by the way) or even video-on-demand rivals (and successors) Amazon Prime and Hulu. But now Netflix has something that can genuinely rival the very best of television. It’s not a drama nor did it begin life on the web. In fact, it’s a series that remains indebted to its pre-history as a major network show and its esteemed lineage in television.

unbreakable

Mr. and Mrs. Robot

Unbreakable Kimmy Schmidt is a sitcom originally developed by NBC that was eventually sold to Netflix following concerns about the network’s intentions for and confidence in the project. Created by 30 Rock alumni Tina Fey and Robert Carlock, it also features many of the cast from the endlessly brilliant sitcom that savaged the world of network television. Part of the success of Unbreakable Kimmy Schmidt is its elevation to star billing of actors who were bit players in NBC’s now sadly-burst bubble of sitcom genius in the noughties and its strategic placing of the legends of that era on a dream subs bench of scene-stealers. Ellie Kemper, who played the naïve receptionist Erin in The Office, is the titular character here, and Titus Burgess, seen as PA D’Fwan in the weak Bravo parody episodes of 30 Rock, looms large as roommate Titus (Andromedon) with Tina Fey and Jane Krakowski foils.

Whoever at NBC made Tina Fey look elsewhere for a home deserves a sitcom to be written about them but since Unbreakable Kimmy Schmidt was conceived within network censorship standards, it streamed on Netflix with little of the obscenity you might expect from a service that competes with unregulated cable and VOD. Again, this quirk is crucial to the appeal of the series. It developed a family audience because of its (surface) suitability to all viewers which only served to reinforce an already-existing sweet, sentimental streak that is much rarer in the adult sitcom domain than in network primetime. The calibre and reputation of antecedent 30 Rock precedes Unbreakable Kimmy Schmidt, but doesn’t eclipse it. As innovative and creative as it was, 30 Rock was looking back to something that had been lost, whether in TV or the culture, while its successor seems rooted in the problems of our times.

But Unbreakable Kimmy Schmidt builds on what 30 Rock did to make live-action sitcom a limitless art form, something that previously had only been achieved and been possible in animated comedy. Nothing is too far, near, high or low for Unbreakable Kimmy Schmidt. Cartoons, meta-musicals and puppets are not out of place here. Lowest-common-denominator gags and obscure, elitist sniggers sit side-by-side in a harmony that never looks imbalanced. There are a whole bunch of sub-worlds which permeate whole episodes and seasons, from a counter-factual Great American Songbook to realities intruding on other TV universes. Find me another sitcom that could make Mad Men’s Don Draper and The Reverend Wayne Gary Wayne the same person. And that’s before taking into account what the show has to say about the world we live in, be it auto-tuned viral videos of human atrocity or the ubiquity of Robert Durst as an urban pedestrian.

unbreakable 2

Mama Dolmio

So why do I think of Unbreakable Kimmy Schmidt as the bedfellow of series like The Sopranos, Deadwood or Breaking Bad? Sure, they all have sitcom-like elements but that’s not the reason. It’s because these shows are the only points of comparison for the kind of in-depth archetype-deconstruction, devastating cultural commentary, and sublime stylistic reinvention that Unbreakable Kimmy Schmidt achieves in the sitcom genre. The only antipathy the show has engendered has come with its sophisticated signification of social caricatures – mainly racial and ethnic – which, even though any shortcomings are quickly asked-and-answered, seem to convey actual racism to some viewers. Whereas typically such problems are a result of the laziness of the writing, in this instance it is a testament to how complex and multi-faceted the show’s representations of stereotype and cultural attitudes are. This is not sitcom doing good badly; it’s a sitcom raising the bar on what’s good.

Crimetime

Posted in American TV (General), American TV Shows, Behind-The-Scenes, Reality TV, Reviews, TV News, Uncategorized with tags , , , , , , , on January 29, 2016 by Tom Steward

Ever since Homer Simpson purred the words ‘Wow, Infotainment’, true crime has been the beating heart – or lack thereof – of American television. In the last year or so, a high-end alternative to the video-looking, cheaply put together true crime documentaries echoing the trite, uncomplicated and sensational timbre of news has emerged. This sub-genre of true crime TV looks more like the production value-laden, multi-layered serial dramas we’ve seen with exponential regularity in the past two decades and plays without loss on boutique networks and video-on-demand services. The prime suspects are HBO’s The Jinx: The Life and Deaths of Robert Durst and Netflix’s Making a Murderer. Though both series seem to herald a new trend in televised crime, in many ways they are polar opposites. As G remarked, the former is about how privilege and money can get around the justice system no matter what a defendant may or may not have done while the latter is about how poverty and low status count against you legally regardless of your guilt. But their differences go further, speaking to a gulf in the quality and character of the dramatic television produced by these two non-traditional television services. While both appear to have changed the face of television documentary overnight, the nature of the filmmaking involved means that they have been in the works for several years and play off and into TV crime dramas perhaps more than other documentaries in the field.

crimetime

This guy is the Durst!

At ten hour-long episodes, Making a Murderer lasts about long as a typical high-quality TV drama season and offers the same compelling serial narrative we look for in them. Each episode is prefixed with a rich, stylish and lengthy credits sequence equal to and clearly modelled on those that have announced standalone masterpieces in series on such elite platforms as HBO and Showtime. As many of my partners in crime television – including Squeezegut Alley and Dolly Clackett have already observed – this documentary following the trial of exonerated rapist Steven Avery and his nephew for murder in Wisconsin, plays out like a real-life Murder One. Further to the interplay between drama and documentary in crime television, however, Murder One was in no small part indebted to the televised trial of O.J. Simpson, which had concluded a few months before airing and proved that a single trial could hold the attention of audiences for months on end. To complete the circuit, FX are soon to air the first season of their factually-based drama anthology series American Crime Story based around the trial of O.J. Simpson. Critics of Making a Murderer have pointed to the filmmakers’ omission of key pieces of trial evidence and one-sided view of Steven Avery as an innocent patsy. I’m all for directors declaring their biases rather than pretending they don’t exist but it would have been a far better documentary if the emphasis had been on the reasonable doubt about the Averys’ guilt and the distinct whiff of police misconduct surrounding the case rather than conspiracies and frame-ups.

crimetime 2

Avery complicated case!

Though The Jinx shares many visual and narrative similarities with Making a Murderer – not least their elaborate curtain-raisers – in almost all ways HBO’s documentary miniseries is superior to its Netflix counterpart. This six-part account of how business heir Robert Durst became a prime suspect in multiple murder investigations yet remained a free man had greater sophistication in its handling of the subject. The documentary factored in the impact that media coverage of Durst has had on the various cases, including his own attraction to the spotlight which allowed filmmakers direct access to him. They refuse to be drawn on the question of Durst’s guilt until a smoking gun presented itself, at which point the filmmakers are forced into the position of interrogators. The Jinx has also accomplished more for social justice than Making a Murderer, as Durst was arrested for murder following the broadcast of the series while the post-show discussion of the Steven Avery case has yielded an ill-advised petition to The White House which they are powerless to act upon and rancour against the filmmakers for cherry-picking evidence – which is bad documentary practice anyway but given the stakes is a criminal act all of its own. The Jinx might be the reason Durst is under arrest but it may also be the reason he beats jail. Any decent defence lawyer could argue that the documentary has already branded Durst a murder and therefore he cannot get a fair trial. The prosecution would need a jury without HBO subscriptions.

 

 

 

 

 

Queen Me

Posted in American TV (General), American TV Shows, Americans watching British TV, Reviews, TV channels, TV Criticism, TV News with tags , , , , , , , , , on December 21, 2015 by Tom Steward

It’s Christmas so TV is all about messages. Though if you know your McLuhan, then you’ll already be aware that TV itself is the message. Far be it from me to buck seasonal television trends, so as this is the final blog post of the year I’ve prepared a Christmas message. As I hail from the land of tea and war (where do you think we got the tea?), the message will be delivered as if it were Queen Elizabeth II’s televised Christmas address to the nation, which all British subjects watch devoutly each year without ever ignoring it completely.

What are all you people doing in our house?

What are all you people doing in our house?

In the House of Commons this November, MPs debated whether to change the symbol of Britain from a lion to a hedgehog or, to put it another way, whether to write off the country by tying its fate to a species with a rapidly declining population. We are reminded of our long-lost children in the colonies who this year lost iconic hosts of late-night on their moving billboards. Like changing a lion for a hedgehog, the replacement may not seem as strong as its predecessor – and more difficult to pick up – but the more they stick out their noses and appear at our doors each night, the more the infants of the new world will grow to love them. We are also reminded of this because a couple of the new hosts look like hedgehogs.

Nocturnal hedgehogs

Nocturnal hedgehogs

If Britain does decide that it’s only economic salvation – following the debacle of a government I could’ve stopped if I had wanted to – is Beatrix Potter brand synergy, then we are reassured by the success of spin-offs in the living room magic lantern shows of the Europe’s emancipated teenager. As hedgehogs to lions, such derivations seemed paltry and incidental creatures yet they possess a unique quality all of their own that has been resting in the shade of bigger animals for so long it comes to light as soon as they shift their lumbering rears from view. Except CSI: Cyber.

There is always the possibility of reinvention – look at us, we’re much more cheery than we used to be – as the recent trend in the wall-mounted viewfinders of Columbus’s Indies for season-long anthology series reminds us. It is difficult to adjust to change – especially if one writes for HitFix – but we should remember that, like that bloody hedgehog we wish we’d never used as a metaphor in the first place, transformation has the potential to preserve a species that would otherwise have died out a lot sooner, or ended up on Hulu. It takes a true detective to see the worth in exchanging a tried-and-tested point of pride for something offbeat and challenging, but we must fargo our trepidations in order to save what we love while it still has a slim chance of survival.

The year of my lord – well he is technically my employer – 2015 was the end of an era, although not for me as we became the longest-reigning British monarch, of which we would like to say on record: ‘suck it, time’! But those less fortunate than us, such as everyone, have had to endure the loss of the many sinful delights that sit within the devil’s hatbox, especially those that hail from the land of not-having-one-of-me-in-charge. We are justified to feel sadness though we would be mad men if we didn’t notice that Parks & Recreation was just shit now.

Lions – for my speechwriter says that you’re simply all too stupid to handle more than one metaphor per message – are lazy and parasitic as well as strong and proud, so it is not with complete regret that we see two and a half of these individually wrapped entertainments make way for an animal that isn’t quite so boring and doesn’t steal from others…like a mentalist! There are those who say it is a scandal that those animals with such a grey anatomy should get away with murder, but here’s the catch. The ecosystem needs every animal – no matter how much it feeds off a rotting carcass – so, however much they induce dread, the lions of this world are just as important to the hedgehogs and, yes, my butler does mix drinks that badly as well.

To play us out, we have the Christmas TV movie carol ‘Edelweiss’ which this year reminds us of a world which my uncle would have been proud of. A very happy Christmas to you all… except those of you who want me to pay taxes.

I Capture The Castle

Posted in American TV (General), American TV Shows, Internet TV, Reviews, TV Acting, TV History, Watching TV with tags , , , , , , , , , on December 7, 2015 by Tom Steward

Delivering seasons of TV programs through internet streaming has made writing a conventional review an even more fruitless enterprise than it already was. It’s impossible to determine – or even average – where those watching a season currently are in the run of episodes and it’s possible that they’re already done with it. A review makes no sense in either context. For want of a better solution to the futility of internet TV journalism, I’ve decided to formulate my response to Amazon Prime’s original series The Man in the High Castle as a list of what I’ve learned from the first season:

 

Who do you think you are kidding Mr. Churchill?

Who do you think you are kidding Mr. Churchill?

 

  1. The program doubles as an instructional video showing employers how to treat Amazon workers.

 

  1. There is no ‘Reich’ pun beyond the writers.

 

  1. I learnt what happened in the post-war world by the show telling me what didn’t happen in the post-war world.

 

  1. You will say the words: ‘I want Hitler to come back’.

 

  1. In a parallel universe where Philip K. Dick didn’t exist, people would have a lot less respect for Ridley Scott.

 

  1. I am still not convinced that the Trade Minister isn’t Hiro.

 

  1. South America is now a haven from Nazis.

 

  1. There is a moment where you will believe that Hitler’s apocryphal ‘one ball’ will become a plot point.

 

  1. The opening sequence is like Dad’s Army on rewind.

 

  1. There are British spies in The American Reich.

 

  1. All it took to teach Rufus Sewell restraint was playing a Nazi.

 

  1. It contains the best scene of an African-American man teaching a dwarf to fish outside of an epilogue of Walker, Texas Ranger.

 

  1. Berlin is still cool.

 

  1. We’d have had colour TV a lot sooner if the Nazis had won.

 

  1. Hitler must have been really affected by post-war European art cinema since he now prefers avant-garde documentaries to American B-movies.

 

  1. In Japan, morality is measured in spectacle rims.

 

  1. The Man in the High Castle is not Julian Fellowes, though they share a lot of the same political views.

 

  1. Hitler is way ahead of home theaters.

 

  1. The Smith & Jones sketch outlining the five Nazi General archetypes is still the standard for all screen portrayals.

  1. It’s basically Sliders.

 

 

Network Failure

Posted in American TV (General), American TV Shows, Behind-The-Scenes, Reviews, TV Acting, TV channels with tags , , , , , on November 9, 2015 by Tom Steward

If there’s one problem that ABC have – apart from being a Big Three network in an era of digital multiplatforming – it’s authenticity. For two years in a row, debuting primetime offerings from the network have been pulled up for artificially rendering their source material. The complaints are as much from authors as critics. Second-generation Chinese-American restauranteur, writer and cultural activist Eddie Huang laid in to the ABC sitcom Fresh off the Boat based on his memoir of the same name for reverting to ethnic and racial stereotype in its depiction of a Chinese immigrant family settling in 1990s Orlando. Though credited as a producer and a narrator for the pilot season, Eddie has continually spoken against the homogenising and caricaturing of his life and people by the show’s writers and producers, as well as the network itself. Having read his memoir, it’s certainly no exaggeration that the events of Eddie’s life have been sanitised, his political views marginalized, and his experience of growing up in America made secondary to the demands of a family sitcom.

Eddie Huang, then and never!

Eddie Huang, then and never!

Flash-forward one year and critics are saying the same about The Muppets, ABC’s TV revival of the vaudevillian puppet characters owned by parent company Disney. While the two Disney movies that rebooted the Muppet franchise were highly regarded returns to the original talent show premise, the sitcom that followed revisited the characters in a behind-the-scenes mockumentary format replete with self-consciously adult humour. It’s no Meet the Feebles but nor it is the family-oriented and friendly fare we’re used to. Retrofitting Muppets like Miss Piggy, Kermit, Gonzo and Fozzy Bear into a Larry Sanders-style sitcom has meant the libidinal and laconic sides of these characters – which were traditionally alluded-to, offscreen things – have come to the fore, and long-time Muppet aficionados have questioned the connection between the current and original incarnations. Again, it’s hard to disagree. The Muppets were always meant to appeal to adults, but not solely, and usually as a by-product of their pan-familial ambitions. The idea that Jim Henson’s ensemble are able to compliment twisted modern comedy is cross-breeding even he would balk it.

Inauthentic? Yes. But worthless? Absolutely not. The sitcom variation on Fresh off the Boat may be far too cosy to do justice to the raw and acerbic memoir it was inspired by, but it is has never shied from addressing questions of race and assimilation. Last week’s episode filtered its discussion of Chinese media self-representation through the ghost of Long Duk Dong from Sixteen Candles, seen here as the gold standard of racist Asian stereotype in American popular culture. Occasionally, too, a fiercer take on caucasian culture and community reminiscent of Eddie’s own bleeds through, as when Grandma Huang casually remarks on the subject of family relations, that white people ‘are the cruellest race’. Though the format is familiar, the content is often challenging and we don’t forget about the problem of difference. There’s universality to the representation of the latter-day immigrant experience that even G, a Mexican-American, recognizes. To his credit, Eddie is gracious enough to admit that this universality is not altogether a bad thing, just that it lacks the reality he knows.

Though some of ABC’s The Muppets is like watching your parents make out (or worse!), I’ve enjoyed a lot of the writing that uncovers the parts of Muppet culture that previously remained – mostly for reasons of censorship – latent. Whether it’s the band’s unspoken pot habit finally exhaling it’s now-legal name or the romantic truth behind the sado-masochistic relationship between Beaker and Dr. Bunsen Burner, you might also say that in more progressive, accepting times, it’s the obvious way for the characters to go. Speaking of diversity, it’s been a pleasure to see Pepe the Prawn, a Latin Muppet, get some much-deserved screen time, including some of the show’s best dialogue. Having had an episode order trimmed severely and their showrunner leave after a single season, it seems as though the network is not happy, or at least buckling under the heavy criticism, much of it from parents and conservatives concerned about the sitcom contaminating the moral fibre of the Muppet brand. I’d disagree with them anyway, but objectively the transgressive stuff is still done tastefully.

The Writer's Room!

The Writer’s Room!

I’m not completely sold on either of these shows. Fresh off the Boat made father Louis Huang a virtual replica of Phil Dunphy instead of a progressively contradictory character while The Muppets has some of the worst qualities of the navel-gazing industry mockumentary tradition. But they make their own reality.

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