Why Is the Golden Age of TV So Dark?

Comedy has been doing this for quite some time already, naturally.

The de-conservativism of modern television dramas via conflictive relatability of anti-heroic male leads has raised the bar for the 45-min serials


As they say, films are a director’s medium, and in television the writers run the show.
In reality tv, the story is told by the producers (and editors).

I’ve been watching a little too much if the Kardashians


This post is way overdue, but my official excuse is that I wanted the hype to die down a bit - 

Any female between the ages of 18 and 30 will either frame this show as their newfound source of truth in this universe (and severely berate you if you haven’t seen it), or indignantly rant about the ridiculous, whiny and overprivileged image they give the recent liberal arts graduates who live in New York. 

As per usual, I am eternally ambivalent and appreciate both the praise and the critiques of the Judd Apatow hit. Lena Dunham describes the relationships and rationale of the twenty-first century twenty-somethings beautifully (and dare I say, accurately) through the defective lens of what makes for good television. 

In true HBO fashion, sex is rampant, graphic (though not at True Blood level), and the circumstances are extreme. Nobody in Brooklyn has such a variety of crazy hipster bang buddies, not even the hot British chick who babysits in see-through dresses. 

The show is also heavily criticized for its blatant lack of non-white characters. This point is valid, though I do see how Lena Dunham could have overseen that fact, given that the show appears to be semi-autobiographical. She based all the main characters on real people she knows, and since the amount of detail in the narrative is restricted to the attention span of the viewer and the length of the episode, only her closest friends (which I’m guessing are all white liberal arts majors) made it into the script. 

Creative adaptations of the characters’ personalities and reasoning are also responsible for the second most common critique of Girls. If TV shows actually described real life we would have clumsy CSIs fucking up investigations and a lot of people caught picking their nose, so writers have to exaggerate enough to portray something real in a way that will hold your interest. This adjustment usually goes unnoticed by people who get legitimately infuriated at Lena Dunham’s complaints about her two year-long unpaid internship and the other ones overthinking their romantic interactions. People love to call these fictional people over-privileged, complainy and a hindrance to the feminist movement, which is totally legitimate if you put the issues they have into a wider frame; but that always reads to me as my friends wanting to hide how much they can relate to it all.

The competitive job market, the little prospects or direction, modern gender roles, relationships, living on someone else’s dime; their concerns are my concerns. It’s easy to avoid inviting a comparison of our (f, 20s, BA) lifestyle if we denounce it to no end. 

Don’t be a proud hipster - just fucking watch it.

(but trust me, don’t tell anyone that you did)




Community: THE SOUP EXCLUSIVE PREVIEW, “The Greendale Seven”

My devotion to this show is nearly militant at this point.

Interesting point you bring up. I highly doubt the ratings are going to grow, but the hiatus seems to have furthered the bond between the show and its fans. It certainly solidified its cult status.

Also, this trailer is epic.

Source: notnadia
  • Question: Are you afraid of my nipples??? - heliotorix
  • Answer:

    absolutely terrified


Sepinwall: Can Community work without Dan Harmon? | Hitfix


The more I read about this, the more upset I get.

“Community” under Port and Guarascio may turn out to be a proficient sitcom (and could, in Sony’s wildest dreams, run for several more years the way that “West Wing” and “NYPD Blue” did without their original voices), but it won’t be… that. And while Harmon’s creative lunacy didn’t help “Community” find a larger audience, it made the handful of people who do watch mad with devotion for a version of the show that may have just ceased to exist.

I think one of the most fascinating things that’s happened here is the full transition of television into an auteur’s medium. Until the 1980s, people didn’t typically know who made the shows they watched. It wasn’t like film, where a director’s name is attached to the title and largely held responsible. Aside from a few notable names (Lucille Ball) shows belonged to networks and studios, created as they are today (to an extent) by a team.

Thanks to the rise of quality television in the 80s and the likes of MTM, Steven Bochco, and David Milch, audiences and critics became more aware of the creators behind shows and accredited them with the quality. Today this has reached widespread practice and full potential in shows like Louie, Breaking Bad, and Mad Men.

All this said, it’s quite apparent that Sony (and to a lesser extent NBC) are operating on a very old standard, firmly planted in the past. Not even the recent past, but one of over 30 years ago. Based on the reports, it seems Harmon may mot have been the best at management, but modern audiences are too savvy to blindly let a show with a distinct voice switch hands. Sony needs to step into the modern era.

How TV became a writer’s medium

Source: popculturebrain



“Dan Harmon is Community” -Portrait Illustration by Sam Spratt

A quick tribute to Community’s lost showrunner. Brilliant mind. Can’t wait to see what he makes next.

This is a cool tribute and all, but he’s not dead.

He’s not dead, but without him the show will be. Especially with some bullshit writers from Happy Endings to fill his seat-hole. 

Source: samspratt
Photo Set


Happy Mother’s day to Lucille Bluth and all moms out there!

Source: thebluthcompany


"Community" Renewed!

so excited for more dean pelton

Source: huffposttv

It’s Always Sunny in Philadelphia has often been referred to as ‘Seinfeld on crack.’

This can be true in some respect, in terms of the four character dynamic (and a fifth one who’s even zanier than his closest link to the inner four), their episodical tendency, and the way each of the two or three story lines weave into each other at the end of the episode. This last bit is done beautifully and artfully in both. 

We can debate forever and ever about the content and comedic qualities of the two and I’m sure Fanfelds and It’s Always Sunny Philiacs will furrow their brows and angrily protest that theirs is the better of the pair, but we all know that there is enough time in our Internet-addled lives for both. 

The four-character dynamic exists in many more shows, like Teenage Mutant Ninja Turtles, Sex and the City, Entourage, Will & Grace, Scooby Doo, etc; and is also commonly known as the four humors or temperaments. In the case of these two:

Sweet Dee would be to Elaine,

as Charlie would be to Kramer,

as Mac would be to George,

as Dennis would be to Jerry,

as Frank would be to Newman. 

Both shows present truly horrible human beings as their main characters, but on neither show are they the worst characters in their respective cities. It’s Always Sunny has the McPoyles, a family of inbred low-lives with blurred lines of what is appropriate familial behavior; and Seinfeld has a wide variety, ranging from Uncle Leo to the Costanza seniors to the ‘adult-themed’ dentist. 

One underlying feature of Seinfeld that is not present in the FX counterpart is the sociology behind the show. There’s even been a book written on the social norms that dictate behavior in late-20th Century Manhattan, as presented on the show. I watched seasons 6-9 recently (for the second or third time around), and took careful note of when phone calls were expected, what obligations they had to their friends and relatives, when a thank-you gift was in order, etc. Truly fascinating. 

Alright, I’m out.

But remember, if you take anything away from this argument-less half-researched exposition on two of my favorite shows, let it be this:

You don’t have to choose or get angry or feel betrayed. You can watch both. You can love both. No need to compare. There’s enough time for all. 


The Bluth Company: 'Arrested Development' reunion to shoot this summer, says Will Arnett


Arrested Development’s reunion miniseries and film will shoot this summer, according to Will Arnett.

Arrested Development co-executive producer Dean Lorey announced in January that Arnett,Jason Bateman and Michael Cera will reprise their roles as the Bluth family for a Netflix miniseries that…



"The end of the show is visible on the horizon."


Tina Fey about the end of “30 Rock.” (via huffposttv)

The end of 30 Rock will be the death of me. I aspire to be Jack Donaghy.

It’s bittersweet because i feared that it would be an Office- type of situation where the beloved show outstays its welcome. But it’s not, and it’s still funny so I’m sad. 

(via huffposttv)

Source: The Huffington Post


TV Promo: Wilfred  Season 2 on FX