Fensterama

BOB’S COMPREHENSIVE AND UTTERLY SUBJECTIVE GUIDE TO STREAMING SHOWS

Updated 1/3/20

Coming Soon:
Cuckoo, Man Down 

The following list represents shows that I’ve watched at least one full season of. I don’t feel comfortably rating shows that I haven’t watched enough episodes of, although if I’ve abandoned them, my impression would have been a “1” or a “2.” My opinions are, of course, wholly subjective -- and naturally, 100% accurate.

The ratings are based on four categories in descending order of importance: (a) how much I enjoyed watching the show and looked forward to the next episodes; (b) a judgment of the artistry of the show, which includes both the craftsmanship and aspirations; (c) the show’s positive influence on the art form and larger culture; and (d) whether I’d recommend the show to someone I don’t know well. There are certain shows where I might increase the value of B or C. It’s pretty near impossible for me to be consistent without creating a mathematical formula, and I’m not that obsessive. Right now.

Ratings:

5 - All-Time Great (Must See)

4 - Strong Show (Strong Recommendation)

3 - Solid (Mild Recommendation - watch if something about the description appeals)

2 - Middling (Only watch if you have a lot of time or something compels you to do so)

1 - Awful (Run away)

30 Rock (Netflix) - 5

The first season was a bit weak, but once they found their footing and developed the characters, the show had two or three years where it was the most consistently funny program on television. In the other seasons it was still outstanding, and lends itself to multiple viewings without wearing out its welcome. Alec Baldwin was amazing in his role, and the ensemble cast was beautifully integrated into the overall show behind Tina Fey’s vision and writing.

Absentia (Prime) - 3
Action-thriller-mystery with kidnapping, amnesia, torture, and so much more. Wheee! It's nothing great, but does a nice job with suspense over the course of the first two seasons. If that's in your wheelhouse, give it a shot.


After Life - 4.5

I thought I was done with Ricky Gervais, but found myself drawn to this show and I'm really glad I gave it a chance. I'm impressed by his desire to challenge himself and the viewer with a character who is such a jerk. Even when we understand how he became this way, it's hard to be sympathetic. His inevitable evolution is beautifully done, completely avoiding the pitfalls of cliche and the maudlin.

Alpha House (Amazon) - 3

One of the first original shows on Amazon, this show about four U.S. senators sharing a house in Washington DC was always entertaining, if not quite as good as it should have been. Although deliberately cartoonish at times, it actually gets a lot of things right about politics in Washington. John Goodman is always fun to watch, but Matt Malloy often steals the show.

American Vandal - 3.75
A fake documentary about an unbelievably stupid and obnoxious high school student accused of spray painting penises on cars in the faculty parking lot, it's hard to believe that it could work for more than a single episode, but the creators magically make it work for an extended run. Not only was it funny, but the mystery at the heart of the story is clever and oddly compelling. I have not watched the second (and final season) yet.

The Americans (Amazon) - 4

I didn't love this show as much as apparently the rest of the world, but it was very well done, and finished very well. The three leads were terrific as were some (but definitely not all) of the supporting cast. I guess I had high expectations that a show about politics and philosophy would have a more profound message about the overall story. Instead it worked best as a character study within its genre.

Andy Barker, P.I. (Hulu) - 3.25

I’ve never really been a viewer of Conan’s, but Andy Richter always makes me laugh in his sitcom appearances, whether as the star of Andy Richter Controls the Universe, this vehicle, or his many guest spots on Arrested Development and other shows. I enjoyed this spoof of hard-boiled detective shows, but the ratings sucked and the show didn’t last very long. The golf course sequence in “Fairway, My Lovely” is one of the funniest things I’ve ever seen, and although the mysteries themselves were ridiculous, the show was about the comedy first and foremost. Plus Tony Hale!

Archer (Netflix) - 4.5

H. Jon Benjamin’s voice alone is a national treasure, but Archer is just non-stop hilarity. It’s a great send-up of the spy genre with just killer, bawdy humor. One of the most quotable shows in recent history, that manages to get funnier as it repeats themes in different contexts. Or it did. The last few seasons have been on the weaker side, but I look forward to them getting back to the original formula with the next season.

Arrested Development (Netflix) - 5 (first three seasons), 4.5 (overall)

My favorite comedy of all-time. Best ensemble cast in TV history, incredible writing. Jason Bateman is an amazing straight man, who at first the audience empathizes with, before understanding that he too is a pretty terrible person, just not in as spectacularly awful fashion as the rest of his family. No show ever featured more intricate comedy writing, with tons of jokes buried underneath, rewarding endless repeat views. Let’s not talk about the fourth season, though.

Arrow (Netflix, CW) - 2.25

For some reason I haven’t quit watching this show despite the ridiculous behavior of the characters and the wildly erratic and uneven messaging of the show. The action sequences were the most impressive among the superhero shows… until Daredevil came along. It’s impressive how good the show actually looks when you compare it to pulp from previous generations of TV shows. I'm seeing it through to the end, and we're almost there. Yay!

Atlanta (Hulu) - 4.25

Donald Glover is terrific in this inventive show. Everyone loves it, and I found the mix of comedy, absurdism, and ennui pretty compelling, but time will tell if he there's something more profound that he's saying with the entire body of work. That being said, Teddy Perkins episode is one of the best things I've ever season.

Barry (HBO) - 4.5
I wasn't a big fan of Bill Hader on Saturday Night Live. He did some impressions and bits I enjoyed, but I just never warmed up to him. Barry really surprised me. His deft dramatic acting mixed in with dark comedy and some great co-stars (Henry Winkler, Anthony Carrigan, and Stephen Root are all superb) has made this show a favorite over its first two seasons.

Baskets (Hulu) - 3.75

Ultra dark comedy that is hard to watch at times, but surprisingly touching. Louis Anderson is remarkable in it. As good as it is, I’m not sure if I’m in for Season 2. I actually have to psyche myself up to watch each episode. For that reason I can’t quite give it a 4. (I did, in fact, give up on it.)

Battlestar Galactica (Hulu) - 2

So many of my sci-fi loving friends raved about this show and I desperately wanted to like it, but the acting was so bad and the behavior of the characters so inconsistent and insipid that I turned against it pretty quickly. The last couple seasons were really difficult to get through, and I loathed the ending. Sure, it’s a HUGE improvement on the original and better than a lot of other sci fi shows, but I’m measuring against all shows, not just the genre. If you don’t have a desperate sci fi need to fill, skip it.

Bess of Both Worlds (aka Upper Middle Bogan) (Hulu) - 3.75
Charming, offbeat Australian comedy with an Americanized name since most of us don't know that a bogan is the equivalent of "white trash." The well-off title character learns she is adopted as an adult and tracks down her family, who live and behave in a decidedly manner than her posh upbringing.

Better Call Saul (Netflix) - 5

To me, Breaking Bad is the most watchable show in television history, so I was really concerned this show would damage its legacy, but the it gets better every season. Bob Odenkirk has proven more than a mere comic genius. He plays Jimmy as a nuanced character that evokes far more sympathy than one might imagine based on his behavior. Doing a prequel is a challenging thing for a TV show when it features the same actors, but they pull this off beautifully. An all-time classic.

Better Off Ted (Netflix) - 4

Surprisingly delightful, quirky comedy with an excellent supporting cast. Discovered it years after its one-year run so didn’t have to suffer the disappointment of it getting canceled. Highly recommended for offbeat comedy fans.

Better Things (Hulu) - 4
Pamela Adlon's show is a fictionalized version of her life raising three daughters and trying to make it in acting. It's co-created and co-written by Louis CK and features a lot of the hallmarks of the tone of his series, mixing very serious topics and themes with really sharp comedy and some terrific acting performances. At times it's depressingly spot on about the challenges of raising spirited kids. I only saw the first season, and opted not to continue, mostly because of CK's involvement.

Black Mirror (Netflix) - 3.75

Wildly uneven anthology show centered around the negative ramifications of the growing use of technology in society. Like any anthology show, the results vary significantly from the sublime White Christmas to the absolutely awful White Bear. The show’s recurring message is sometimes delivered with a sledgehammer plus the inconsistency results in a slight ratings deduction.

Bloodline (Netflix) - 2.25

I went into this show liking two of the leads (Kyle Chandler and Linda Cardellini) from their previous work, ending up discovering the phenomenal Ben Mendelsohn, and loathing the show’s melodrama and manufactured suspense, along with every last character on the show. I survived season two through hate-watching, but I’m done. Maybe watch for Mendelsohn, otherwise stay away. I chose to stop watching before the third (and final) season.

Boardwalk Empire (HBO) - 3.75

Something about this show never fully clicked. Steve Buscemi is a great actor, and there were many other strong performances, but once Michael Pitt was no longer on the show, the stories were never as strong. The show looked great, the direction was skillful, but ultimately the story just wasn’t good enough for my taste, and the over reliance on violence was troubling. It was probably meant to be the heir to The Sopranos, but instead served primarily to demonstrate just how magical that show was to be so much bigger than the sum of its parts. On paper Boardwalk should have been a 5, but it just wasn’t.

Bob’s Burgers (Netflix and Hulu) - 4.75

It doesn’t get much better than this H. Jon Benjamin and friends vehicle. My entire family loves the show profoundly. The special of the day, the exterminator truck, the store next door, and the celebrity voices are multiple cherries on top of the well constructed and consistently hilarious episodes. Cream of the crop.

Bojack Horseman (Netflix) - 4.5

If you’re unfamiliar with this show, or you only watched one or two episodes, you’re missing a funny, morose, and moving show that has to actually be experienced to be believed. At times the comedy is ridiculously broad, other times subtle, but all built upon wonderfully layered characterizations. It’s nice to be a fan of every actor doing a voice on the show, but my favorite performance is that of Paul F. Tompkins as Mr. Peanutbutter. (To the uninitiated, that’s going to sound pretty strange; stranger still when I mention he’s a dog.) The show keeps getting better each season.

Bosch (Amazon) - 3.25

A reasonable attempt at the hard-boiled detective genre starring Titus Welliver. Kind of hate the main character, which doesn’t help. The show succeeds or fails mostly on the strength of the cases more than the characters, making season 1 considerably stronger than season 2. Season 3 sits somewhere in between, although what I wouldn't give to an end to his investigation into his mother's death. The show has one of the most annoying theme songs of any television show in history. Bosch fills a niche for me, but I wish it were better.

BrainDead (Amazon) - 4.5

Jonathan Coulton opens each episode with a recap of the story. These songs are always fun to listen to, often laugh-out-loud funny. Fortunately the show itself was genuinely funny and captivating as it satirized politics in Washington DC. Although at times it seems to want to create moral equivalencies between the unhinged people on both sides of the spectrum, for the most part its heart is in the right (er, correct) place. I absolutely loved this series but felt they had done all they could in the story arc. The creator talked about doing a second season in a new city, but I feel like that would have provided diminishing returns. This was the perfect length, and I’ll rewatch it several times down the road.

Breaking Bad (Netflix) - 5

I’m not sure what I can say about this show that hasn’t been said by many others, and better, but in my opinion BB is the single most entertaining and watchable show in television history. I’m going to reserve “best overall” for another show as BB was often highly unrealistic in the service of suspense, forcing the viewer to suspend disbelief, but that’s nitpicking. A tour de force of acting, directing, writing, casting, set design, and probably catering. Kudos to the creators for recognizing the importance of a series story arc, knowing when to wrap things up -- and doing so in style (although I kind of would have preferred them to end with the penultimate episode).

The Brink (HBO) - 4

This Jack Black / Tim Robbins /Aasif Mandvi comedic thriller went completely under my radar when it came out, and I found it after it had aired and not been picked up for a second season. Although I thought Braindead did a better job satirizing Washington politics, The Brink was quite good, adding in international issues to the mix. But like Braindead, a single season was sufficient to make the serious points the creators were trying to convey, while wrenching a good number of laughs along the way.

Brockmire (Hulu) - 4.5
I thought I was going to hate this show, thinking that maybe Hank Azaria's magic only worked in animation, or that the character would be so detestable as to be someone I wouldn't want to spend any time with. But his depiction of the self-destructive, self-absorbed, hedonistic baseball announcer is outstanding, a wonderful combination of comedy and pathos.

Brooklyn Nine-Nine (Hulu) - 4

I enjoy good ensemble comedy, and Michael Schur and Dan Goor are the recent champs of the genre. They did a great job casting the show with Andre Braugher doing amazing work as the precinct captain. Like the previous generation of NBC comedies, the show didn’t find a groove right away, but once they figure out how to write for the varied outlandish characters and found the three-story formula, it’s been genuinely funny week in, week out.

Castle Rock (Hulu) - 3

A series inspired by the work of Stephen King (who's been a favorite of mine since elementary school), the first season was pretty good, with a fair amount of indelibly creepy moments. I was excited to see it return, but then somewhat appalled to find out that the first season's story was evidently over, and the new season would have nothing to do with those events. My wife described the second season as fan fiction, as we would get the back story to Misery, but after a few episodes, I just didn't care enough about the show to keep going.

Casual (Hulu) - 2.25

One of the army of “sadcoms” about people living in Los Angeles… it’s not the worst of the bunch, but I didn’t empathize with any of the characters and found them so unrelentingly screwed up that I just didn’t want to watch beyond the first season. All of the actors are good, but it’s not funny enough for me to get past the darkness. There are similar shows that do this much better.

Catastrophe (Amazon) - 4.75

Sharon Horgan’s and Rob Delaney’s raw and semi-autobiographical story of their relationship from the initial hook-up to the big leap into a family in season 2 is unflinching, honest, and hilarious. Season 3 gets even darker at times, and where some of the plot turns would seem contrived in another show, here they seem thoroughly organic. Part of the new genre of dark romantic comedies, it was the best of the bunch. So sorry to see it go.

Cobra Kai (YouTube) - 2.75
Nostalgic fun, especially over the course of the first season. At times I liked the fact that they made Daniel pretty unlikable, but I felt like they should have then made Johnny a bit more sympathetic. Instead both characters are jerks and their kids are all pretty annoying. The second season made the show even more cartoonish. Granted, the source material wasn't Shakespeare, but there were moments where I thought they were really elevating the story.

Community (Hulu) - 4

Hoping to do a rewatch one of these days to both see how it holds up and to assess one season from another, but there were about two years in there were Community was the funniest show on television. Another great ensemble cast with an amazingly creative set of writers. The exit and return of Dan Harmon as showrunner contributed to the show’s unevenness over the years, but the zany universe created by the show was always fun to visit.

Cracker (UK) (Amazon) - 4
I wish I were rating this for the first couple of seasons, because they were the best/most enjoyable British detective shows I've seen in a very crowded field. Robbie Coltrane was delightful and the procedural mysteries and his interrogation of suspects were super compelling. It's been awhile so I'm not sure when it happened, but they ditched some of his supporting cast and had him travel to Hong Kong and the show lost a huge amount of its charm. I plan to revisit this and will hopefully remember to write up a new review to clarify some things.

Crashing (UK) (Netflix) - 3

Phoebe Waller-Bridge’s OTHER current sitcom (see: Fleabag). This is a mildly diverting ensemble sitcom, that reminded me of a more racy UK version of Friends. Only six episodes in its first series, not sure whether there will be more. I laughed out loud, cringed some (the show’s intent), and mostly enjoyed it. Another series will shed some light on whether some of the stranger aspects of the show had a purpose or whether it was more a “throw stuff at the wall and see what sticks” situation.

Crashing (US) (HBO) - 3.75

I’m breaking a rule here and reviewing a show that has aired less than a full season of shows. I was only vaguely aware of Pete Holmes as a comedian, but he’s a likable, gangly fellow playing a version of himself earlier on in his career as a standup.

I’ve only seen five episodes, but the fourth episode had me cracking up constantly, as he bore the indignities of the lowest rung of stand-up comedy.

Crazy Ex-Girlfriend (Netflix) - 3

First, there are some fantastic musical numbers on this show in a wide variety of genres. Some are downright brilliant. There are also some of the most cringeworthy moments on television as well, as the main character is just an awful, awful person. I really liked the first couple of episodes, but midway through the first season I thought to myself that the things I didn’t like about the show were very unlikely to change. In season 2, there were even more negatives. It’s the clever songs that have kept me on board this long. UPDATE: I couldn't watch S3.

Curb Your Enthusiasm (Amazon) - 4

Okay, it’s basically Larry David’s formula from episode to episode, and sometimes it depends on whatever terrible/awkward thing he’s gotten himself into that determines whether the episode is good or great. I actually prefer Curb to Seinfeld, but both shows could be somewhat one note when they weren’t firing on all cylinders. But when Curb nails it, man is it funny.

Damages (Netflix or Hulu) - 2.25

Although there were some excellent actors involved, I only lasted a couple seasons with this suspense/thriller that relied on as many plot twists and turns as a typical year in professional wrestling or a Dan Brown novel. The good guys turn out to be evil, then the bad guys are actually not so bad… and then everything you know is turned upside down! And then there’s the overuse of the Tarantino jumbled timeline approach. Used in small doses, this sort of thing can be great, but ultimately I found it well made, but unwatchable.

Daredevil (Netflix) - 3.5

A tale of two seasons -- Season 1 was outstanding, Season 2 a massive disappointment. It just didn’t work for me, with too many extraneous characters and ugh, magic. On the other hand, the best action sequences of any television show by far. Season 3 ended up in between the two. Good enough that I was bummed by the cancellation.

Dead to Me (Netflix) - 3.75
A very good first season that could lead to a solid series or be a big disappointment. The leads are both very good in their roles, and there were times where the show seemed to be teetering on ridiculousness, but the acting and writing were deft enough to keep it on track.

Deadwood (HBO/Amazon) - 4.25

Ian McShane’s portrayal of Al Swearengen was amazing, and I’d watch a show of just him alone in his office, talking to himself (or a skull) while pounding back whiskey. David Milch’s show is pretty bizarre, combining the historic old west with iambic pentameter and fanciful imagination. I’ll confess I had a terrible time following the plot machinations and the dialogue, and few characters in literature have made me more repulsed than E.B. Farnum. Some argue this is one of the greatest shows of all time, and maybe it is, but for me it was hard work. I like art that makes me think, but not so crazy about having to work at it.

The Deuce (HBO) - 3.75
This is a tough show to evaluate. David Simon's shows are complicated, ensemble pieces that have a lot to say. At times, watching the show I felt it was more about capturing an era rather than offering any particular perspective. The cast is filled with excellent actors, and the viewer cares about most of the characters, albeit in different ways. It's not exactly a glamorous time period or batch of industries that are focused on here, but as a slice of life, a fake snapshot in time, the show captured the era better than anything I've seen.

The Defenders (Netflix) - 3
Daredevil provided so much promise and Jessica Jones was a superb follow-up, but since then everything they've done, including Daredevil's second season, the tale of two story arcs of Luke Cage, and the truly abysmal Iron Fist has been a let down. The pay off of the Defenders was seriously hampered by the continuation of the insipid Hand story line started in D2 and continued through the Iron Fist. Sigourney Weaver did her best to elevate the material, but it just didn't click with certain pleasurable exceptions, like listening to Jessica rip on Danny. The action sequences were at times impressive, but often shot in such dark lighting and at such a distance, one presumes to disguise that the participants weren't the real actors.

The Delivery Man (Netflix) - 3.5
I've become a huge fan of Darren Boyd (see Spy and several other frustratingly short series). This six-episode sitcom set in a maternity ward trades on his dry wit and the absurd behavior of those around him.

The Detour (Hulu) - 4
Frequently gross -- even vulgar -- this Jason Jones vehicle won me over with sheer audacity and outrageously audacious plotting and characterizations. It was extremely broad comedy, but I don't know that I laughed harder at a show in the last decade. And Natalie Zea, who I knew from Justified, was a revelation as a comedic actress.

Dexter (Netflix) - 3.25

I loved precisely two seasons of the show, 1 and 4. The entire run of the show was plagued by absolutely awful acting outside Michael C. Hall and some cool guest stars (led by John Lithgow’s amazing turn in Season 4). The premise of the original book and show is pretty irresistible - serial killer whose victims themselves are vile criminals who otherwise would escape justice, hiding in plain site as a blood spatter expert. It’s also plagued by an infamously awful series finale.

Derry Girls (Netflix) - 4
Very funny tale of a group of female working class teens living in Northern Ireland. The ensemble cast is terrific, filled with cast members who look like real people, and the writing is crackerjack. It feels like somewhat familiar territory at times, but they do such a nice job, and the setting so unique, that every episode is a treat.

Difficult People (Hulu) - 4.25

Is there a name yet for the Seinfeld/Sunny type of show about horrible people doing horrible things? The two lead characters playing exaggerated versions of their less successful selves, Julie Klausner and Billy Eichner, are just awful people, but somehow eminently watchable. The show had a good first season, but season 2 and 3 were even stronger. Eichner annoyed the hell out of me when I first saw his online stuff, but his part on Parks and Rec and on this show turned me into a fan. I could very easily see it being a dealbreaker for others. Andrea Martin and James Urbaniak were wonderful supporting players. Unfortunately canceled after S3.

Downton Abbey (Amazon) - 3

It’s a soap opera. It’s not actually that good, people, get over yourselves. I guess we’re supposed to identify with either the super rich or their servants? Poor Sybil! Poor Edith! Poor Mary! (Okay, anyone who cares about Mary, something really is wrong with you.) Sumptuous sets and costumes, sure. Some good acting punctuated by the delicious dry wit of Dame Maggie Smith’s dowager countess. Vaguely interesting commentary about the decline of the aristocratic way of life.

The End of the F**king World (Netflix) - 4
Surprisingly good short series about two misfits that sort of combines Harold and Maude with Bonnie and Clyde and God Bless America. It's funny, charming, and unpredictable... and I watched it in one sitting. I do hope that they let the ending stand and don't try to do another season. And yet they chose to do a second season. I have not watched it yet. Not sure if I will.

Entourage (HBO) - 2

An up-and-coming actor and his three hanger-on bros cavort around Hollywood and various other points getting laid and into hijinks. Occasionally funny, with a strong performance by Jeremy Piven, who undoubtedly played an extension of himself, and Kevin Dillon sometimes stealing scenes as the less-talented, ugly brother (a part he was more to play). Some funny cameos (especially Seth Green), but ultimately the show really kind of sucked. I can’t believe we watched the whole run. At least we came to our senses and skipped the movie. Maybe if the show had done more to call the douchebags on their douchebaggery, it would have worked better, but I always go the feeling that we were supposed to think they were just awesome dudes.

Everything Sucks (Netflix) - 3.5 The show has a lot going for it -- solid young actors, some fun nostalgia, fertile subject matter. It also has some unfortunately cartoonish characterizations early on that it fortunately moves past, and a truly unique thing in shows like this -- well realized and sympathetic depictions of parents trying to do their best, even when it's woefully inadequate. Annoying that Netflix gave up on it.

Extras (HBO) - 4

I’ve more than had my fill of Ricky Gervais at this point, but I really enjoyed Extras. It may have gone to the well a few too many times having celebrities play awful versions of themselves (most notably Kate Winslet, killing it), but it was a worthy successor to The Office. The David Bowie appearance was a highlight, and every scene with Stephen Merchant.

The Fall - 3.25

British-Irish cop show had a phenomenal first season as Gillian Anderson tried to stop serial sex killer Jamie (Not. Typecast.) Dornan from doing his evil deeds. Each successive season was a step down, with the third season feeling like two hours max worth of material stretched out to fill the whole run. It really was brutal to watch. The whole series would have made a fantastic ten-show series, or if they had introduced a new case?

Fargo (Hulu) - 4.5

Who would have thought this would work? Noah Hawley kinda, sorta remade the Coen brothers film in Season 1 with some significant departures. And Season 2 took place in an earlier time period, with both years offering Easter egg connections to the movie and one another. Everything about the show is outstanding -- acting, directing, cinematography, writing. I might actually like the show more than the movie, and I loved the movie. UPDATE: Sadly S3 was enough of a disappointment to lower my score by .25, ironically despite a cast that looked amazing on paper. I can't exactly say where things went wrong; they just didn't click. Aspects of the plot seemed too familiar, the accents a bit less charming, and the characters a bit less sympathetic. I did like the ending, though.

The Flash (Netflix, CW) - 3

On the whole, this is probably the best overall of the DC shows, which isn’t exactly a rave review. I watched the show because my daughter was willing to watch it until the endless time traveling irritated the hell out of her. This latest season is really annoying and I’m looking forward to them putting that plot line behind them. Of course, the longer the show runs, the more superheroes get added to the mix, and it makes the main character’s skills less special/interesting.

Flaked (Netflix) - 1

I really, really hated this show. I loved Will Arnett in Arrested Development and in Bojack Horseman, but here… ugh. The show is yet another sadcom set in LA (Venice Beach, specifically), and we’re presented with a main character who portrays himself as the Big Man on Campus type who everybody comes to for advice, and who seems to selflessly give of himself… but actually is a selfish, manipulative bastard. Except the show seems to wants us like him regardless of the terrible things he does, throwing his best friend under the bus, lying to everyone, and so forth. Oh, and then a ridiculous plot twist out of a bad soap opera takes over in the last part of the season. Yuk.

Fleabag (Amazon) - 4.75

Phoebe Waller-Bridge’s utterly raunchy and charming show about a neurotic single woman living in London, based on her play of the same name. It’s extremely funny and surprisingly moving. The second season was a marvel, topping an excellent first season. Sadly, that's it.

Flight of the Concords (HBO) - 3.75
Although I love Bret and Jemaine, I think ultimately the strength of individual episodes often depended in large part on the show's featured songs. Some of the stuff before and after bordered on filler at times. But when the plot built to the perfect musical interlude, the show could really shine.

Freaks and Geeks (Netflix) - 5

Only my favorite show of all time. What a perfect mix of nostalgia, note-perfect recreation of the time gone by (outfits, music, lingo), a brilliantly cast group of future superstars, and comedy based on truth and genuine characterizations. All the feels, as the kids say. Both groups -- the freaks and the geeks -- are lovingly portrayed with depth and understanding. It’s moving, sweet, and hilarious. One of the greatest crimes of the century is that this show was not given a second season, of course the result is that it will never get ruined by a bad sophomore effort.

Friday Night Lights (Netflix) - 3.75

This is a difficult show to rate. The first season was absolutely fantastic, and the show’s ending was really well done. Season 2 was an absolute abomination with an asinine self-defense/murder subplot, and a character who they decided to “disappear” at the beginning of the third season with no explanation to him or the ongoing subplot. The relationship between Coach and Mrs. Coach was one of the best TV depictions of a marriage. Non-football fans enjoyed the show as much as football fans, as the focus was really on the people in the Texas town more than the sport.

Game of Thrones (HBO) - 4.25

It can be breathtaking in its grandiosity. Some of the set piece scenes they’ve pulled off were unbelievable spectacles. Of course at its heart, GoT is an R-rated soap opera with tons of sex and violence. Replete with medieval type lore, family trees, and confusing maps to please the geeks (and make my head spin trying to follow it). Maybe if I were able to read the books, I’d like it a bit more, but I just couldn’t make myself read past the first few pages. The show can be gripping, is chock full of surprises, and is usually extremely entertaining. But… it’s got a lot of flaws from narrative bloat to the gratuitous nature of both the sex and violence, wallowing in sadism, and on and on. The last season had a few moments, but felt horribly rushed and poorly plotted.

Gavin and Stacey (Hulu) - 3.5

Fun British-Welsh show with some great performances from the supporting cast including Ruth Jones, James Corden, and Rob Brydon. It’s a little soapy at times, and a little silly, but a cute love story overall.


Get Shorty (Flix) - 3.75
I really enjoy this show, though I'm not sure how good it actually is. The book and movie were both a lot of fun and I didn't expect to get into the show as a consequence, but they've taken liberties with the story, building it around Chris O'Dowd, who I enjoy in the IT Crowd and the tragically short-live Family Tree. It seems weird for him to play a tough guy, but he does it very convincingly, and despite some of the terrible things his characters does, his charisma overrides that (something that might not actually be such a good thing, but still...)

GLOW (Netflix) - 3

I can't really say what this show ultimately is trying to be or do. I like several of the performers on the show and am somewhat amused by the story and interested in many of the characters, but I'm not really sure how much I like it. Easy enough to binge watch and forget pretty quickly.

The Goldbergs (Hulu) - 3

Desperate for something to watch with our kids, we tried The Goldbergs and it provides what we're looking for even if it's caricatures of the main characters are overbroad (nearly as much as the acting). But all in all, it's a somewhat charming sitcom replete with 80s' nostalgia. Solid family viewing, but nothing more.


Goliath (Prime) - 3

I really like Billy Bob Thornton. I find him eminently watchable. First time I tried Goliath, I fell asleep. But when I tried again, it got a hold of me. It's nothing remotely revolutionary, He's probably playing some version of himself as a down-on-his-luck, alcoholic attorney who keeps sabotaging himself, but I found the story pretty compelling over three seasons. There were some surprising (and maybe silly?) plot twists along the way, but the show feels true to itself. 

The Good Place (Hulu) - 4.5

I found the show charming and delightful from the outset, and late in the first season fell in love with the show’s brilliant premise. Great cast, outstanding execution. It's nearing the end of its run, which is probably necessary for the limited plot options, but what a spectacularly original effort.

Gotham (Hulu) - 2.25

I love the premise of the show, young Jim Gordon and younger Bruce Wayne in the years before Batman. The set design is absolutely awesome. The acting absolutely awful, although at least some of the many villains get to chew the scenery pretty well. I really can’t stand Ben McKenzie, who plays Gordon. It’s possible with a different lead actor I might be able to give the show a 3, but right now I just watch the show out of inertia and the occasional fun villain. UPDATE: The latest season started with the dumbest premise that requires suspension of all logic. But dammit, they keep introducing really fun villains.

The Grinder (Netflix) - 3.5

A pretty well-done sitcom that doesn't work quite as well as I'd hoped. Rob Lowe's character is perhaps just a little too stupid and too many of the other characters play along for no reason (e.g., his father), but I did think Fred Savage was very strong in the Jason Bateman everyman role, who can't believe other people aren't perceiving the world around him as he is. Outside Timothy Olyphant's guest spots, the earliest episodes were the strongest.

Halt and Catch Fire (Netflix) - 3.5

Great idea for a TV that is bedeviled by some wildly unrealistic characters. I would also say there is some bad acting (along with a couple of solid performances), but I wonder how much of that is due to the writing. On the bright side, the plot can be pretty compelling and the show is pretty watchable despite its flaws. It has definitely improved over time, helped significantly by the reduction of Lee Pace’s screen time in favor of an increased focus on Kerry Bishe’s character.

A Handmaid's Tale (Hulu) - 4.25

The first season was an excellent realization of the novel with a tour de force lead performance from Elisabeth Moss. Creepy and powerful and nicely paced overall, unfolding the depth of the story's horrors gradually. I have mixed emotions about the show continuing past the end of the book as there have been countless plot holes, masochistic interludes, and heavy handed allusions to modern America. I'm still watching into the fourth season, but was horrified to hear the showrunner talk about it potentially running ten seasons.

Hannibal (Amazon) - 4.25

The first two seasons were pretty incredible, finding life in a tired franchise. There’s never been a more visually stunning show, finding artistic beauty in the title character’s violent tableaus (distinctly not for everybody) and a fascinating character study of the two principles. The show, however, became a near parody of itself in the third season, moving in slow motion with utterly self-indulgent visual gimmickry. If you can stomach violent imagery -- and I mean super violent (it’s a miracle this was allowed on broadcast television), the first two seasons are fantastic.

Happy Endings (Hulu) - 3.25

It’s a next generation Friends taking place in Chicago. Adam Pally never fails to make me laugh, even as he essentially plays the same character in everything he does (The Mindy Project, Making History). Oh, except he’s gay in this, but is still the same guy. The show made me cringe at times, but I enjoyed the run quite a bit. For a conventional network comedy, it’s pretty funny.

Happy Valley (Netflix) - 4.25

British small town cop show featuring an especially compelling first season. Sarah Lancashire is outstanding in the lead role as an important figure in a working class town. The second season isn’t quite as strong, but the show deepens the characters and broadens its scope. It’s eminently watchable, and hope they give it one more season eventually.

Hell on Wheels (Netflix) - 2

I'm not quite sure how we managed to force ourselves to get all the way through this one. It's really pretty awful in a variety of ways, although none more significant than it's self-important pseudo-commentary about race relations, where the former slave-owning lead character forms a profound friendship with a former slave. Never mind that he and several other main characters regularly murder people, the shifting morality of the show doesn't worry about it. Colm Meaney deserves a better TV vehicle than this. On the other hand, the show is notable for the vast number of actors doing foreign accents.

Heroes (Netflix) - 2

The show had an intriguing premise and started off well, but clearly suffered from Lost syndrome, wherein the creators had no idea where they were going and were making stuff up as they went along rather than have any long-term big picture of where they wanted to go. I couldn’t get through the second season.

Hinterland (Netflix) - 4

Welsh police detective show is extremely slow moving, but absorbing, disturbing, and powerful. I’ll confess to falling asleep during most of the episodes (see River), but enjoyed it nonetheless (after rewatching what I missed).

Homeland (Hulu) - 2.5 The first seasons was quite good. Gripping suspense -- will he or won't he? It should have ended with a bang (or an arrest). The show is a slightly more intellectual version of 24, with a ridiculous premise, that someone with the main character's psychological issues would be allowed to continue in her position. I thought Claire Danes was good in the first season, but rapidly found her performances to be super irritating. Mandy Patinkin is the only reason I made it through four seasons. House of Cards (Netflix) - 2.25

After watching and liking the first season of the show, I watched the original BBC version and enjoyed the limited arc of the show, even as it got somewhat cartoonish with the plot at times. Since this is an American series, they instead decided to design it to run for many seasons, squeezing as much money out of it as possible. The over-the-top performance by Kevin Spacey, as if he were performing Richard III for the subtlety-impaired, is admittedly kind of fun to watch at times. And for awhile. But eventually it, like the show wears. The longer the show runs, the more glaring the ridiculous plot twists that are entirely unrealistic. My suspension of disbelief can only go so far. And just when I thought it couldn't get worse: season 5 broke records in ludicrous plot devices and inconsistent character behavior. One of the worst seasons of television I've ever seen. (I wrote this before the Spacey scandal. Was already not going to watch the next season because of how bad S5 was.)

House of Lies (Amazon) - 3

I’m not sure why I enjoyed this show as much as I did. A show about the world of business, cut-throat, manipulative behavior, with arrogant, largely unlikable characters, the unclear perspective of the show’s creators… and yet. The charisma of the lead actors helped, the witty repartee, the use of Ben Schwartz, all positives. The ending sucked.

Humans (Amazon) - 4

BBC production that in a far lower budget way, explores much of the same territory as Westworld. Suspenseful, well acted, and provocative. My interest waned during the second season and didn't come back for S3.

The Inbetweeners (Netflix) - 3.5

Okay, it’s not high art. And it’s got a TON of cringe factor, but I really loved watching this show about four friends nearing the end of high school. Huge laughs, even in the weaker episode. At its worst it feels a bit like the Porky’s-style teen comedies of the 80s, but at it’s best it’s just plain hilarious. Followed by a disappointing movie, and an all-time stinker of a second movie.

Iron Fist (Netflix) - 2

Almost complete misfire with a terrible performance by the woefully miscast Finn Jones. Actually its not just a problem of casting, it's the character himself. He's an arrogant, privileged jerk, although I'm not sure we're supposed to think that. The action sequences -- which shine in Daredevil, even when the plot sucks -- are especially weak when featuring Jones. I only suffered through it for the cameos and to be ready for The Defenders. It was a real slog. S2 fixed some of the most egregious missteps, but I wouldn't mind getting those hours back.

The IT Crowd (Netflix) - 3

Offbeat British sitcom that has moments of inspired lunacy that suffers badly because of an awful, old-fashioned laugh track. It also veers occasionally into flights of utter stupidity, but those are somewhat forgivable since they’re at least trying to do something different. Enjoyable enough, but one of those shows people tend to overrate.

It’s Always Sunny in Philadelphia (Netflix) - 4

“What if we took the basic outline of Seinfeld, but we took those pretty narcissistic, somewhat morally bankrupt people and made them ten times worse, and set it in a pub in Philadelphia?” is what the pitch probably sounded like. And then they oddly decided to add Danny Devito to bring an extra layer of debauchery and awfulness to the plots. And it worked beautifully. There was a time in the middle of the run where I was tiring of their antics and thought the show was on a rapid decline, but the last couple of seasons have been shockingly strong. In fact, the first episode of Season 12 might have been my favorite of the entire run, including the Dayman musical. That’s right, I said it. Still funny in S14.

Jane the Virgin (Netflix/CW) - 3.75

It took awhile to get past the title of the show, in part because I wrongly assumed it was some kind of Promise Keeper type thing. Of course the description of an English-language telenovela spoof didn't really seem my sort of thing either, but the show was funny and engaging. The narrator, Anthony Mendez, added a great deal of comedy to the show, that otherwise Jaime Camil steals on a regular basis. Side note -- the creators of this show seemed to have actually paid attention to their experiences with childbirth and raising babies and toddlers. It was genuinely refreshing that they avoid all the tropes and TV misnomers about the subject matter. It probably ran two seasons too many.

Jessica Jones (Netflix) - 3.5

As is the case with every one of the Netflix Marvel shows, the series was a few episodes too long each season. Refreshing to have not only a female hero and women in important roles behind the camera. David Tennant was a strong villain in the first season. I was somewhat disappointed by the second and third seasons, where the 13 episode slog seemed even longer.

The Jim Gaffigan Show (Hulu) - 4

Gaffigan is just a genuinely funny guy, who I imagine would amuse if one just sat near him as he watched television. As is often the case with these somewhat autobiographical shows, the main character was a less successful, loose approximation of the real thing. Grossly exaggerating his food intake and people’s outlandish treatment of him, the show did a great job straddling reality and the comic universe the show inhabits. The episodes where he went on trial and where he tried to get cast in movies and pitch the very show that he is in are riotously funny. Really sad this only went two seasons.

Justified (Amazon) - 4

Based on an Elmore Leonard short story, this show stumbled on something far better than the source material, once they recognized that Walton Goggins would make an amazing foil for Timothy Olyphant’s character. The show seemed to be poised to be an all-time great, but went off the rails for a couple of years before a solid final season. It’s worth slogging through the bad story arcs to see Margo Martindale and watch the series come to a relatively satisfying conclusion.

Key and Peele (Hulu) - 3.5

Just when it seemed the sketch comedy genre was nearing the end, these two guys came along and rejuvenated it. There’s plenty of lame sketches, and an overreliance on drag, but more often than not there are multiple strong sketches in each show, some downright brilliant.

Killing Eve (Hulu) - 3.75

I'm not sure why this show works (at least through one season), but it's sexy, quirky, and at times thrilling. I'm looking forward to seeing if they can sustain and deepen the relationship fo the two lead characters or carry the plot beyond a couple of seasons.

The Knick (HBO) - 3

I wanted to like this dark period piece about a hospital in the early 20th century more. Steven Soderbergh’s two-season show tells the story of a groundbreaking surgeon who battles bureaucracy, competitive doctors, and a pesky drug habit. He’s very good in the role, as is Andre Holland, playing a black surgeon dealing with racism and the difficult chief surgeon (who seems a little too modern about racial issues). The show takes quite a few scientific and historical liberties, but those could be forgiven if the rest of the story were better told. That being said, I don’t know if I can handle any more stories about addicts, unless they come up with something utterly unique to say. I would be remiss if I didn’t at least mention the unbelievably gutsy way they ended the last episode. It was pretty much impossible for me to watch, but the intestinal fortitude (get it?) it took to come up with that plot line was certainly one that stayed with me.

Last Man on Earth (Hulu) - 2.25
Loved the first couple of episodes, but ended up making it through the first season with great difficulty as Will Forte's character repeatedly lies out of egregious self-interest and gets caught, but never seems to learn a thing from his experience. I watched an episode or two of the second season and found little had changed, so I abandoned it. I have heard that they figured out that his character had to evolve, but too little, too late for me.

Last Tango in Halifax (Netflix) - 3

I watched this because Happy Valley’s Sarah Lancashire was in it. Was utterly charmed, at first, by the romantic story of two elderly people who had lost one another as youths coming together, then got swept up in the peripheral soap opera. The show ends up getting stolen, in large part, by Nicola Walker’s wonderful acting. But then as it proceeds, it falls apart based on it’s soapy deus ex machinations that wore out their welcome fairly quickly.

The Leftovers (HBO) - 4.75

What a miraculous show this turned out to be. Tom Perrotta's book was a frustrating read: a great premise that had no real payoff. In the first season of the TV show it seemed to be the same thing. And slow and supremely depressing. But something happened early in the second season -- a change of location, some glimmers of hope, and an expansion of the show's sense of humor. By the time of the penultimate episode in season 2, I was almost prepared for the show to take off into the stratosphere, but in truth nothing could have prepared me for what I think was the greatest single episode in television history. And somehow the previous episodes, some of which I felt I slogged through, had more depth and were clearly worth every second. The final season of the show was next level stuff. Every aspect of the show was beautifully crafted: the bravura acting performances of Carrie Coon and Justin Theroux, the artful and skilled direction, the vivid characterizations by the writers, the musical choices, everything. Every frame of those last few episodes was brilliantly realized, with an ending the viewer can debate and discuss endlessly. And no, some of the questions are not answered. And that's a magnificent thing.

Legion (Hulu) - Can't rate

I can't rate this show. The first season was somewhat mindblowing. I had enough faith in Noah Hawley that it would all make sense and watched a visually arresting show with some crazy and intense moments. I thought it could be an all-time great, but one or two episodes into the second season and I was completely lost. I read enough reviews to indicate that it wasn't going to get any more concrete, so pulled the plug.

Longmire (Netflix) - 3.25
A charismatic lead performance by an Australian actor with an impeccable western American accent, beautiful scenery, and some interesting sub-plots involving a Native American reservation make up for some of the show's cheesier instincts. No county in America could have a higher death rate or a smaller police force, but yet I was able to forgive the show these conceits for much of the run. It's a mild diversion for someone looking for a slightly different police procedural after having watched all the usual suspects.

Lost (Netflix) - 3.5

Yes, it started off great and then eventually it became clear the creators didn’t really know how they were going to end the show. They went off on some awful and embarrassing tangents, left some sub-plots completely unresolved, and then came to a fairly disappointing conclusion. But along the way, the show could be utterly compelling. The first couple of seasons were riveting television. That it didn’t manage to maintain that level of entertainment is certainly a disappointment, but unlike some other viewers, I’m glad for the ride even if it was ultimately not fully realized.

Louie (Netflix) - 4.5

Louie plays a less successful version of himself, struggling with many of the problems that he undoubtedly faced as a single father in the years leading up to his ultimate breakthrough. The show is amazingly uneven by design. The timeline is fluid, characters exist in one episode that don’t seem to exist in another. The individual show formats and tone change from week to week. All this indicative of a wildly inventive artist who is unafraid of admitting mortifying things about himself and challenging his viewers. UPDATE: Sad.

Love (Netflix) - 3

I wanted to like this show more, but simply could never buy the central relationship as credible. The male lead, Paul Rust, is a not-very-attractive guy who theoretically is pulling outside his weight class based on his fantastic personality. Except for most of the show, he’s a shallow jerk who even goes so far as to manipulate his addict girlfriend. To the writers’ credit, she calls him on his behavior at the beginning of the season 2. I will admit I still found the show to be pretty funny, and I particularly enjoyed the scenes where he and his friends wrote theme songs to movies that didn’t have them. There are times where aspects of their relationship rings true and in a more truthful way than many other shows, but a little too much cringe along the way and still not buying the central relationship.

Luke Cage (Netflix) - 3.25

This could have been really good, and there were some fantastic moments. The show’s setting and sensibility is unlike anything on mainstream television, and that was super refreshing. What was not so refreshing was the large amount of padding in the show and the lameness of the second villain. The second season repeated a lot of the same mistakes, and as is the case with all of these Marvel Netflix shows, was at least three episodes too many.

Luther (Netflix) - 3.5

Great character for Idris Elba to play, and the first season is pretty terrific. But each series was weaker than the last with the promise of the first season never re-realized and the show began to repeat themes and tones, as dreary Luther goes on to the next situation. Can’t get more charismatic than Elba, but without a good mystery, the show doesn’t really work. I also didn’t buy his creepy quasi-romantic relationship with the serial killer; seemed like the show trying too hard to be edgy.

Mad Men (Netflix) - 5

Top-notch production with stellar everything -- acting, writing, directing, compelling period piece with a lot to say about both the time period and the modern day. A rare show of unparalleled consistency that often reached its lofty ambitions. Other have said it better, but it’s clearly in the Top 10 of all time.

The Magicians (Netflix) - 2

I enjoyed the first novel that this show was based on, despite the fact that it was self-consciously derivative of The Narnia Chronicles meets Harry Potter. The annoying characters from the book are even more annoying in the show. Hale Appelman is the most appealing cast member, but he can’t save the show. I will say the magical hand gestures are pretty cool. Did not watch into S2.

Malcolm in the Middle (Netflix) - 4

Offbeat family sitcom with Bryan Cranston pre-Breaking Bad and a perfectly cast crew of comedic actors, including the kids. Great watch with our kids (it was like looking into a mirror!), and a really wonderful ending to the series that caught me totally off guard.

Manhattan (Hulu) - 3.5

Really well-crafted show about a highly fictionalized version of the Manhattan Project went a bit adrift in the second season. I'm never fully comfortable with shows that use historic figures and make up stuff about them that is either difficult to prove or even demonstrably false. But the acting was strong and the feeling of tension palpable at times. There were too many subplots that felt a bit forced, but it was a compelling watch for one season.

The Man in the High Castle (Amazon) - 2.5

Super cool premise had me intrigued at the outset, and then the show just meandered terribly for the majority of the first season. It had a few interesting sub-plots and a couple of good performances, but overall a tremendous drag. I got through a single episode of the second season before deciding to pull the plug (partly influenced by an epic critical pan of the second season).

Marcella (Netflix) - 3.75

Hey look, it’s a dark British detective cop show. The twist here is that the main character is a woman with blackouts, who just might be the killer she’s chasing. The investigation is full of twists and turns and there’s some strong back story and character development. Did I mention dark? Even darker than that. S2 was fine and could have been the end of the series, but they seem to be rebooting it with her taking on a new identity. Not sure that's going to be credible or worth watching.

Maron (Netflix) - 3.5 A series which took a little while to figure out what it wanted to be, other than a slightly wacky version of Marc Maron's life. His acting improved dramatically as the show continued, and the final season and a half was a ballsy departure from reality where he falls off the wagon and slowly works his way back. If you're not a fan of his, it might not be for you. If you are a fan, you might actually rank it higher.

The Marvelous Mrs. Maisel (Amazon) - 4.5
I'm not a fan of the Gilmore Girls at all, but this Amy Sherman-Palladino vehicle is pretty terrific. While it shares some of the rapid fire banter -- and at times the characters are supposed to endearing when they're primarily annoying -- it's really well done. Rachel Brosnahan is a revelation after stints on House of Cards and Manhattan that gave no indication of her comedic skills. It's difficult for TV or movies to capture stand-up comedy, let alone within a period piece, but Mrs. Maisel does a great job with that. The show is not without its issues, but through three seasons it's been a pretty fantastic run.

Master of None (Netflix) - 4.5
Although I loved Park and Recreation, I couldn't really stand Aziz Ansari's character. I went into this show with trepidation, but actually found the show delightful, combining romantic comedy with commentary about the plight of Indian-American actors (reminiscent of Robert Townsend's Hollywood Shuffle). The show owes a debt to Louie in its overall feel. I look forward to watching it develop. Season 2 was even stronger. Unclear if he will return to this.

Masters of Sex (Showtime) - 3

What is it with Showtime shows that start off with a strong first season and then just implode? An intriguing premise based on a real life story worked reasonably well for another year or so before going off the rails. If really felt like the show’s creators had no idea what do with their main characters after they hooked up. And what a disastrous last couple of seasons, which included a ludicrous near bestiality scene and an inexcusable rewriting of the two main characters' real life views on conversion therapy.

Men of a Certain Age (?) - 4
Andre Braugher is a wonderful actor, and I knew that from Homicide, but this was a fantastic transitional role between his dramatic work and his later comedic hijinks on Brooklyn Nine Nine. He's great in this: but so is Ray Romano. I had no idea he was such a deft actor. The characters and story were a great mix of funny, sad, moving, and uplifting, and it's a shame it only got two seasons.

The Mick (Hulu) - 2.75

I adore Kaitlin Olson, so I’d probably would have watched this show even if it were terrible. It’s had some good episodes, and does make me laugh, but it’s not quite clicking. I actually didn't watch the last few episodes and it's been cancelled.

The Mindy Project (Hulu) - 3.5

There are moments of greatness in this series, with some stellar guest and short-term actors in the cast. It also has plenty of misfires and a couple of super annoying characters, but the rapid fire banter is the next best badinage since 30 Rock. UPDATE: The conclusion of the show seemed rushed, but gave everyone a fairly happy ending which was nice for a light comedy.

The Mitchell and Webb Look (Hulu) - 4.25

There’s no sketch comedy show I’d ever give a 5 to, because although they may be all-time classics, no sketch show can come anywhere close to 100% good sketches, and really if they’re above 50%, it tends to be worth watching. Mitchell and Webb are inventive comedic geniuses, and more often than not I laughed hard at every episode, even if there were some sketches (including recurring ones) that I didn’t find amusing.

Modern Family (Netflix, Hulu) - 3.5

Stopped watching this after season 6 as the kids’ ages forced the show to change, and the plots got simultaneously more repetitive and more outlandish. In the show’s prime (seasons 2 to 4, maybe?), it deserved a full extra point as it was a skillfully produced (massive) ensemble comedy, where the writers managed three parallel storylines that would inevitably merge at the end of the show. It was good while it lasted, but lost the thread.

Mr. Mercedes (Audience) - 3.5
Surprisingly well constructed adaptation of a Stephen King trilogy that understandably veers from the source material. The first season is its best (and most faithful), with some superb performances from an impressive cast for a network no one's ever heard of.

Mr. Robot (Amazon) - 3.5

I found the first season extremely watchable despite the major plot twist that seemed obvious early on. Even though I saw it coming, the reveal was quite skillfully done. For some reason I got completely lost early in the second season and haven’t been able to find my way back.

Mr. Show with Bob and David (HBO) - 4.5

Bob Odenkirk and David Cross are two of the funniest people on the planet and this show meshed their off-the-wall sensibilities in nearly as groundbreaking a format as Monty Python’s Flying Circus. I think some people overrate the quality of some of the sketches, but the show was very, very funny, and extremely important for alternative comedy.

My Name Is Earl (Netflix) - 3.25

Fun show about trailer trash guy who becomes convinced that winning the lottery and getting hit by a car is a karmic message from the universe requiring him to make amends to all the people he wronged earlier in his life. The ensemble cast is a blast, and the show’s sensibility utterly unique at the time. It’s certainly not a great show, but well made, consistently funny, and a good watch with the kids.

Narcos (Netflix) - 3

The show didn’t initially grab me, but after a couple of episodes Wagner Moura’s performance as Pablo Escobar captivated me. I don’t know how much of the story is factual (the show periodically interspersed real life pictures with the fictional depictions), but if half of it was true, what a compelling story. The law enforcement characters were far less interesting, and the show’s over-reliance of grisly violence were somewhat unnecessary and off-putting. It will be a real challenge for them to find a compelling narrative (and characters) for season 2. UPDATE: I watched one episode, but had trouble getting into it.

The Newsroom (Amazon) - 3

Oh Aaron Sorkin, you unbelievingly frustrating mega-talent, you. Sorkin writes liberal wish-fulfillment, and sometimes he sucks me in. Other times I get really irritated by his Sorkinisms, whether it’s the walking and talking, the Magical Republican who embodies everything liberals wish for in the unicorn that is the maverick GOP member who stands up to his own party, or the pretentious monologues. Jeff Daniels’ character is a pompous windbag who delivers the opening mantra about how America has lost its way (but remember, he’s a Republican, so it’s extra cool!). At least he continues to be an asshole throughout the show, I’ll give them that. The show had some pretty impressive ripped-from-the-headlines premises, including some impressively complex fictionalization of real stories, but ultimately I found almost every flawed character annoying in some form or fashion, and the Sorkinisms wore on me rather quickly. Plus Sam Waterston’s righteous indignation… please, can it stop?

Norsemen (Netflix) - 4.25
Riotously funny period comedy about Vikings filmed in both Norwegian and English. I keep forgetting to see if there's other remotely similar work by several of the participants (actors or writers), because this is a wonderful show. 

Nurse Jackie (Netflix) - 3

Edie Falco’s show was at times pretty funny and compelling. She’s a marvelous actor. But watching her fall on and off the wagon and deal with impending doom in one way or another in every episode wore pretty thin after awhile. Entertaining, but not for everyone.

Occupied (Netflix) - 4

Norwegian political intrigue set in ever-so-slightly different universe where the environmentally progressive leader of the country is compromised by evil Russia (totes unrealistic that something like that could happen, eh?). At times it loses its narrative momentum, but the story and plot developments tend to be compelling. An abrupt, off-screen demise to one of my favorite characters makes me wonder if there was some kind of creative dispute. I couldn't get into S2 but might return.

The Office (UK) (Hulu) - 4
The grandaddy of all cringe comedies, Ricky Gervais’s David Brent is such a rotten, self-absorbed human being who merges wild insecurity and wilder arrogance like people of that personality type do so very well. I don’t love the show as much as many others, as I found it hard to watch. Brilliantly done, mind you, just difficult to sit through at times. Martin Freeman was terrific in his role. For me, the show is more pioneering than it was funny, although there certainly are some incredible scenes in it.

The Office (US) (Netflix) - 4.25

At times (maybe seasons 2 to… something), the show was actually better than the British version. Once Steve Carell brought an ounce or two of humanity to his character, it reduced the cringe factor enough for me to fully enjoy the show. The supporting cast was tremendous as well. The show went completely off the rails in the later years. Ed Helms is fine in small doses, but once he became a regular, the show suffered. And the idea of making him the office manager was absolutely abysmal, as his character was way too similar to Carell’s. And the revolving door of other office managers sucked as well. The only way forward was to put Dwight in charge, but they instead thought that his character could carry a spin-off, which was absolutely insane. Anyway, The Office has some of the best episodes of TV comedy of all time.

Orange Is The New Black (Netflix) - 3.75

Another difficult to show to rate because it was extremely inconsistent from season to season. The first season of the show was interesting to watch and promising in some ways, but once Jenji Kohan realized that the ensemble was more interesting than the main character, she was off to the races. A show dominated by women is unusual in the first place, but when you throw the diversity of actresses into the mix, you get something pretty groundbreaking. There were some rather stupid subplots, inconsistent character development, and overly cutesy writing, but there also were some beautiful stories, particularly some of the back stories of the characters. It ran two seasons too long, I think.

Ozark (Netflix) - 3.25
It wants to be Breaking Bad, but it falls far short of it. I confess I almost always enjoy Jason Bateman, and he's fine in this, but the show is consistently stolen by Julia Garner. I think they might have actually done a better job in the second season in trying to make this a sustainable show, but some of the plot contrivances are hard to take.


Parks and Recreation (Netflix) - 5

Like 30 Rock and to a lesser extent The Office, the show’s first season wasn’t very good, but once they realized that Leslie Knope wasn’t Michael Scott, and that the show was better served as less documentary confession and more fly-on-the-wall approach, it really took off. A fantastic ensemble, fun character development, and crackerjack writing make this show an all-time great. For at least two years of its run it was the best thing on television, and a recent rewatch made me like the show even more.

Party Down (Hulu) - 4.25

Underappreciated gem with a stellar cast of characters, stuck working for a crappy catering service. Only ran for two seasons, but loads of fun, with great roles for Adam Scott and Lizzy Caplan before more prominent roles. Of course since Martin Starr is in this, he often stole the show.

The Path (Hulu) - 2.5

A sort of religious cult that seems an awful lot like Scientology might make an interesting subject for a dramatic show. I’m afraid this wasn’t it The show moved too slowly with not enough plot to fill the episodes. Michelle Monaghan and Hugh Dancy are both pretty good actors and do their best with the material, but Aaron Paul’s limitations are on full display here.

Peep Show (Netflix) - 4.5

Mitchell and Webb are two of the funniest people on the planet, and they beautifully inhabit their characters on the show for all eight series. Anyone who watched it wishes they’d go on forever, but it’s understandable that they wanted to move on to other things. Peripheral characters on the show are great, but really it comes down to the comedic timing of the leads. David Mitchell can make me laugh without opening his mouth, but both are fantastic and their chemistry seems effortless.

Penny Dreadful (Netflix) - 2.75

A cool concept and great set design still requires a good plot, and although it could be somewhat immersive, the show just didn’t work very well. Bringing Victor Frankenstein, Dorian Gray, and other fictional characters into a story about a woman fighting off her literal inner demons is a cool idea. Eva Green is quite strong in the lead role, particularly in a killer episode near the end of the show’s third season. On the bright side, the show was allowed to tie up its plots rather than get abruptly canceled mid-cliffhanger. I’ll give them this -- it’s gorgeous to look at, the costumes, the architecture, and the cast.

Person of Interest (Netflix) - 2

It’s kind of an intriguing premise: someone’s built a computer that can tap into camera feeds and phone lines to keep track of everyone and everything, and its artificial intelligence allows it to predict when violent crimes are going to be committed. Michael Emerson is fun to watch in virtually everything he does, but Jim Caviezel’s bizarre choice to deliver every line in a dead monotone is incredibly annoying. The requirement of the suspension of disbelief about a vast array of things increased exponentially as the show progressed. The self-contained early episodes were sometimes more satisfying than the half-hearted efforts to provide episodic storylines that were peripheral to the larger (and increasingly ludicrous) serial plot line.

The Punisher (Netflix) - 3
As usual, there's about half a season's worth of a plot here stretched out over too many episodes in each season. I do find the character and his back story fairly compelling though and felt like the overall arc worked, albeit with some hyper violence that really pushed the envelope unnecessarily.

Raising Hope (Netflix) - 3.5

Offbeat, quirky sitcom with a fun premise that starts off brilliantly and then doesn’t really know where to go. Great comedic acting from just about every in the cast. I’m surprised I haven’t seen Lucas Neff in anything else as he’s extremely likable and genuinely funny. Martha Plimpton and Garret Dillahunt are both outstanding in their roles. Our family was looking for something to watch after finishing Malcolm in the Middle and this was a good choice. Nothing great, but pretty reliably solid.

Rake (Australian) (Netflix) - 4
The first couple seasons of the original Australian show (not to be confused for the awful short-run American version) were tremendous, trading on the rakish charm of star Richard Roxburgh's pathetic Cleaver Green. The show began to wear a bit thin in the third series, and I haven't been able to get through the fourth series as yet. Damien Garvey is a joy to behold as a treacherous right-wing media whore.

Rectify (Netflix) - 4

One of the most beautifully shot shows in television history. It’s also one of the slowest moving, which is not necessarily a weakness, but be forewarned if you need a quicker pace. Ray McKinnon’s vision on this passion project is fully realized… until the meandering final season which didn’t quite gel for me, knocking a ½ point off of the rating. Aden Young is wonderful in the lead role. Clayden Crawford, who seemed like someone whose face needed a punch in the first couple of seasons, did a wonderful job showing the evolution of his character.

Red Oaks (Amazon) - 3.5
What started as a weak attempt to update Caddyshack ended up a very enjoyable show starring (you'd never know it British actor) Craig Roberts with a cavalcade of indie Hollywood directors frequently at the helm. At times it was over-broad or went off into flights of fancy (let's not talk about the body switching episode!), but was more hit than miss.

Ripper Street (Netflix) - 2

Ooh, a show set in Whitechapel at the turn of the century? I’m in… until I’m finding the pace turgid and the various sub-plots alternately silly, hard to follow, or just uninteresting. Some decent acting, I guess, but I couldn’t make myself watch it after a couple of seasons.

Rita (Netflix) - 3.25
At times fascinating character study of a self-destructive Danish school teacher. The portrayal of the Danish school system is fascinating, and the title actor Mille Dinesen inhabits her role thoroughly. I wanted more of a resolution at the end of the show's three-season run. The short companion miniseries Hordis was light and cute.

River (Netflix) - 4

Not going to ruin anything by describing the plot, but this dark detective show was pretty compelling, albeit super duper slow moving. I literally fell asleep during every episode, but some of that may have been due the timing of when we started each night. Very good acting from the two leads and a pretty compelling mystery.

Russian Doll (Netflix) - 3.75
Fun Groundhog Day-style show with the always watchable Natasha Lyonne. I laughed out loud at a number of bits in the show and enjoyed it, but it doesn't feel like a show that could be continued into future seasons... and yet it will be.

Scrubs (Netflix) - 3.75
Although the show could get overly self-indulgent and a wee bit saccharine, it was very funny. John C. McGinley regularly stole the show, but the entire ensemble was quite good. The show ran a few too many seasons, and the final spin-off year was a serious miscalculation.

Sense8 (Netflix) - 3.25

I like this show more than I should. Most of the actors are really bad and it’s not really clear whether they have a clue about where they’re going with the underlying story. That being said, the premise is really cool and they’ve shot some amazing looking scenes. The budget on this must be astronomical. It’s hard to forgive the “Hallelujah” scene, though. They've already used that gimmick, and even then it wasn't as good as it was in Magnolia. Update: season 2 was a disappointment. The number of slow motion shots of people walking, the confusing plot, and the need to over-explain what people are thinking at given moments through clumsy exposition really sapped my enjoyment of the show. The film wrapping up the saga at least gave some closure.

Sherlock (Netflix) - 3.75

Yeah, I know some of the episodes have been disappointing and very uneven, but the two leads are both terrific, and the show super inventive. Andrew Scott’s weird take on Moriarty slayed me, and Mark Gatiss (who is actually the showrunner) is super fun as Mycroft. When the show clicks, it’s one of the most watchable programs on television. Unfortunately it’s a bit too gimmicky at times, and the mysteries less than satisfying. Season 1 was probably a 5, but subsequent seasons have been as low as 2.5.

The Shield (Hulu) - 4

The first season of the show was pretty great, but there were some serious pitfalls along the way before what has proven to be one of the two best finales of all time. Michael Chiklis’s Vic Mackey is an incredible anti-hero and Walton Goggins as his main foil is tremendous. The show was unrelentingly suspenseful, but required immense amounts of suspension of disbelief as Vic and company wriggled out of one jam into a larger jam and so on. The mounting tension was impressively managed, but the show went completely off the rails with the “money train” sub-plot and never fully recovered. That is until the two send-offs for the main characters (in separate shows). Absolutely killer stuff that made the slog somewhat redeemable, and, for better or worse, the spiritual godfather of shows like Breaking Bad and Sons of Anarchy.

Silicon Valley (HBO) - 4.25

Super fun ensemble Mike Judge vehicle with a terrific cast, including my favorite side actor in everything he does, Martin Starr. The show could get somewhat adrift as the plots had to evolve into different business shenanigans, some working better than others. That being said, nothing’s funnier than the Mean Jerk Time algorithm. The show ran too long with somewhat repetitive events, but I did enjoy the rushed final season.

The Simpsons (Hulu) - 5

Come on, do I really need to say anything here? Sure, there are some crappy episodes in there, but even the worst ones have some laughs, while the best ones are transcendent. Mining laughs from the same characters in the third decade of a show is pretty amazing, and yes, it’s still eminently watchable. If I were to rate the series on individual seasons, some would drop to 4 or maybe even 3.5, but nothing below that. If you disagree, you’re wrong.

Six Feet Under (HBO) - 3.75

Really cool idea for a show, and I loved the first season or so, but really disliked most of the middle of the run, particularly developing a disdain for many of the characters. On the other hand, the last six minutes of the finale are the best conclusion to any show in television history, and in a way made the Billy plots worth the investment.

Sneaky Pete (Amazon) - 3.75

It’s a well-acted show about a con artist trying to dig himself and his brother out of trouble. In the first season, co-creator Bryan Cranston has a scene chewing role that probably goes over the top, but is still delightful to watch. But something doesn’t quite click for me in the plot development. It might be that it’s yet another show which is designed to be white-knuckle tension throughout, where the protagonist is constantly dodging calamity only to walk in the path of another one. I feel like I’ve seen that a little too much at this point. And yet I keep watching and my enjoyment of the show seems to be increasing... I'm just not changing the rating.

Sons of Anarchy (Netflix) - 2.75

The first season was really good, if memory serves me correctly, and though it went off course in the second season, my recollection was that the final couple of episodes were very strong, neatly tying up the storylines. Kurt Sutter’s ambition often got out in front of him, and he seems to rely on being able to write himself out of awkward plot situations rather than neatly plot something out. Ironic, since this is yet another show about a character who constantly gets in trouble, and then wriggles out of it dramatically, only to land in even larger trouble. But as the show wore on, and the Sons’ alliances switched every few weeks, it became increasingly ludicrous. There were some good acting turns, though not be Charlie Hunnam whose weird accent (it’s not a simple British accent, go listen to him talk in interviews) kept leaking through his mostly wooden performance. And there were some neat characterizations and plot flourishes, but Sutter’s pretentiousness got the worst of him and the show ran several seasons too long. The entire Ireland plot was awful, although not as bad as the series ending. A more tightly constructed three-season arc potentially could have ranked a 4.

The Sopranos (HBO) - 5

Although the show’s run was uneven (Johnnycakes?), the groundbreaking nature of the show and David Chase’s lofty artistic vision make it an all-time classic when coupled with a fantastic lead performance. I probably should downgrade the rating slightly for the mis-steps (which incidentally do not include the ending, which I liked!), but I’m going with historic importance as the severed thumb on the scale.

Southland (Hulu) - 3

Desperate for a procedural crime drama and familiar with some of the actors from other vehicles, I recently binge-watched the show. It did the trick, to some extent, but the writing was really uneven and the voiceovers super irritating. Several of the characters were undoubtedly supposed to be annoying people, but at times they were just annoying to watch (see C. Thomas Howell). I did think Regina King was excellent in her role.

Spaced (Netflix) - 3.5

There’s only 14 episodes of this fun British sitcom starring a young Simon Pegg and a comic find in Jessica Hynes (who played Mafalda in Harry Potter). The first few episodes were delightful, but as it stretched on the show was more hit and miss. I enjoyed watching them, and their chemistry is great. But the show was just okay.

Spy (Hulu) - 3.75
Absurd British comedy starring Darren Boyd, who is absolutely fantastic in his role. The show's plot didn't always work well (hence the rating), but Boyd's under-his-breath throwaway lines are worth the price of admission.

Stranger Things (Netflix) - 4

The first season was good, but man did people overly praise this series evidently based on their nostalgia for the era. Like the Netflix superhero shows, it seemed several episodes too long with a big sag in the middle. I don’t know that there’s anything that can be done about the cliche of a person confronting the supernatural and having everyone think they’re crazy, but personally I don’t want to see that premise play out unless there’s a new twist to it. The kids were fun to watch and the basic premise a good one. The creepy flashback scenes with Matthew Modine and 11 were the most compelling thing about the show, and I hope they find a way to tell more of the back story in the next season. UPDATE: Season 2 surprised me. The stand-alone 11 episode was truly awful with a set and cast out of the Wanderers or some other cheesy film from the late 70s/early 80s. Similarly the new juvenile delinquent character was really lame. That being said, the rest of the season was quite well done with some good acting from the child actors, some fun pairings of characters that hadn't spent time together before, and a solid story arc. I raised my overall rating .25 as a result. Season 3 was also enjoyable, though with some issues. I do like some of the new actors they've brought in.

Strike Back (Amazon) - 1.5

I was at a point where I’d watched seemingly everything that I wanted to, so I thought I’d check out this action series. I was genuinely impressed by the military/fight sequences, but quickly realized this was a higher budget version of the soft-core porn movies of Andy Sidaris in the 1980s that I would catch late at night. Fitting the show (minus the first British season that is not available for streaming) was made for Cinemax. Only recommended if that’s specifically what you’re looking for. The extra .5 is because stuff blows up bigly. The theme song is really good.

Succession (HBO) - 4
Every last character on this show is awful, ultra-rich, and nothing remotely like me. And yet it is utterly compelling. I didn't think I would find a way into the show, yet I can't wait for Season 3.

Superstore (Hulu) - 3.25

The show wants to another Parks and Recreation or The Office, but doesn’t fire on all cylinders. The leads are super charismatic and have good chemistry, and some of the ensemble are quite good (Colton Dunn, in particular). But I really hate Mark McKinney’s cloying one-note character. It’s a decent sitcom, and perfect fare to watch with my kids. Now in Season 5, it has the benefit of its history to build jokes off of and is now kind of a comfortable old sweater.

Terriers (Netflix) - 4.25

Ah, the quirky private detective show with terrible name. Fantastic chemistry between the two leads, and a somewhat interesting story arc. The characters were interesting and the back story was just getting going, but the show was canceled. To their credit, knowing it was on the bubble, they gave the show a really strong and intriguing final scene. And hey, great theme song.

This Is Us (Hulu) - 3

Great opening episode with a fantastic twist that I did not remotely see coming. Unfortunately the show can’t seem to get out of its way, aiming to repeat shocking twists into the soapy melodrama. Sure, it makes me cry virtually every episode, and sometimes makes me laugh, but other than Sterling K. Brown’s character, all of the (still living) modern characters are paper thin and really annoying. The flashbacks are fun and some of the sub-plots from that era more compelling, perhaps driven by nostalgia for the time. At the same time the nostalgia stories are also some of the shows worst missteps. I considered another half point, but I’m convinced that the show can’t get better as it goes on. (Side note: it’s a shame that they can’t find too many more ways to wedge Gerald McRaney into the show on a weekly basis. He’s wonderful in his recurring role.) On the whole the show is crassly manipulative. If you don’t mind that, you might love it. UPDATE: I'm still watching for some reason in Season 4, despite lots of flaws.

Tom Clancy's Jack Ryan (Amazon) - 3
It's fine for what it is, pretty much exactly what you would expect.

Transparent (Amazon) - 4.5

Jill Soloway’s show was really important. And it was also really, really good. The first season was pretty phenomenal, but not content to rest on her laurels, she raised the bar with the complexity and breadth of the plot in Season 2. I don’t think it worked quite as well, but was a wonder to watch and experience. Season 3 and 4 also had their shortcomings, but I never felt like the writers were taking narrative shortcuts or over dramatizing the events and emotions (well, maybe a bit). Unlike, say, This Is Us. The whole ensemble was really excellent, but it was hard not to single out Jeffrey Tambor’s remarkable performance. A shame about how THAT turned out. The closing musical was fun, if not entirely satisfactory.

Treme (Amazon) - 4.25

David Simon juggles a lot of different characters and stories in this ambitious story about New Orleans after Hurricane Katrina. Affecting performances, nuanced characters, and great storytelling. And if you like jazz, you need to watch it.

True Blood (HBO) - 2

Initially cute premise about vampires being accepted into society started off campy and fun, but very quickly went off the rails as the show introduced shapeshifters, werewolves, and fairies. I jumped off after a few seasons, something that the completist in me hates doing, and am ever grateful for that decision.

Turn: Washington’s Spies (Netflix) - 3

Historically-based period dramas (alternatingly super loose and at other times right on point) don’t have a great track record with me, but I’ve found this show mildly diverting. The historian in me is tickled to on the one hand see certain historical figures come to life, while on the other hand gets super annoyed about some of the liberties they’ve taken with people we know an awful lot about (like that George Washington fellow). I do wonder whether the main character Ben Talmadge is on an early form of a ketogenic diet, because man, check out those six-pack abs! Shout out to Samuel Roukin whose character is so unbelievably irritating (and remarkably inaccurate historically), but in a delicious way. The series ended in a reasonably satisfying way, so hurray for the era of limited series.

The Umbrella Academy (Netflix) - 2.75
I didn't read the comic book, so I have no idea if they nailed it, but the plot feels somewhat half-baked and rushed. I enjoyed aspects of the show, but wouldn't exactly recommend it to anyone at this point.

Unbreakable Kimmy Schmidt (Netflix) - 4.25

Season 1 was a 4.5 (the court episodes were a little weaker than the rest), and Season 2 was a 3, except for the episodes that featured the show’s creator, Tina Fey. The 30 Rock style of whiplash banter sometimes requires rewatching to catch all the jokes, and Ellie Kemper is a wonder as the world’s most innocent human being. Strangely, I felt like most of the awesome guest actors on the show who I normally find hilarious -- including David Cross and Amy Sedaris -- just didn’t quite work. Season 2 focused way too much on other characters, guest and otherwise. UPDATE: Season 3 was an improvement on S2, they're still focused on characters at the expense of expanding Kimmy's story. Sad to see it end.

Undeclared (Amazon) - 3.75

After feeling crushed and defeated by the cancellation of Freaks and Geeks, I was super excited to see a sort-of follow-up show. It was pretty funny, but a lot closer in spirit and tone to Superbad than Freaks. It’s a minor shame the show didn’t have more time to develop, but meh.

Undone (Amazon) - 3.75
Super ambitious Rotoscoped animation partly from the creator of Bojack Horseman. It's got some great characters, an intriguing mystical component, and maybe more. It's hard to say exactly what this could become, but I enjoyed the first season and have hopes that the creators have a vision for where they're going.

Unreal (Hulu) - 2.5

The first season was at times a compelling satire on the Bachelor-type reality show dramas. Probably on its own it might get a point or half point more. But by the time the second season’s exploitation of racism began, all of the characters were so irredeemably compromised that I could watch it anymore. UPDATE: Season 2 had a despicable premise masked in satire and I couldn't bring myself to watch it.

Veep (HBO) - 5

The writing on this show was incredible. The ensemble was magnificent. And Julia Louis-Dreyfus was even better in her role. The reigning best comedy show on TV for several years. I loved everything and everyone about this show, though other than the lead, Timothy Simons found a way to distinguish himself as the detestable Jonah. All good things have to end, but this one will be a show I will rewatch, possibly multiple times.

The Walking Dead (Netflix/Hulu) - 3.25

The show has simply never lived up to the premiere episode, but I stupidly keep watching it. I almost quit after the opening episode of the current season, as the show more than usual luxuriated in its pornographic violence, but last year I read the books and wanted to see how they’d depict the next major crisis. I can suspend my disbelief about how these rotting corpses sustain themselves and don’t rot away to nothing over the weeks, months, and years the story is taking place. But what I have great trouble ignoring is how stupid the survivors so often are, and how inconsistent their behavior is. You’d think people would learn a little from their experiences, but they keep repeating similar mistakes over and over again. When they caught up to what I'd read of the graphic novels I decided I'd had enough.

Watchmen (HBO) - 4.5
I am largely unfamiliar with the original comic books and I had no idea what to expect. The first episode told a compelling story that was rooted in historic events and I was hooked. And then there were four exceptionally confusing episodes that only started to make sense in episode 6. But what an amazing flurry of episodes that explained virtually everything that had gone over my head in the previous episodes. This was a brilliantly conceived production with intricate plotting and resonant and timely messages that will be even more impressive upon a rewatch, which I hope to do soon.

Weeds (Hulu or Amazon + Showtime) - 3

The first season was a great deal of fun, but as soon as they moved, the show went downhill fast. The lead character's reckless behavior and self-absorption loses it's charm before long. Nonetheless, I stuck with it until the bitter end, and there were some fun moments -- Kevin Nealon was surprisingly good in his role.
The West Wing (Netflix) - 4.5

I really kind of hate Aaron Sorkin. Clearly he’s a brilliant writer, but like lots of brilliant writers, he’s so good that no one can tell him when to reign himself in. His shows are liberal escapism/wish fulfillment, and while there are things about that that appeal to me, it would be nice if the plots and actions of the characters were more realistic. That being said, The West Wing is his best show by far, and they got an awful lot right. There are things in the show that made me cringe (not just in the non-Sorkin years), but it was the smartest show about politics in America until Veep came along. The cast is outstanding and the show was compelling from start to finish even when guilty of excesses.

Westworld (HBO) - 3

There are many, many things wrong with this show that others have written about at length -- the plot twists everyone saw a million miles away, the unnecessary sadism, the loooong middle section, etc. And yet it’s still really watchable, with some truly transcendent acting and great sets. Season 2 had interesting moments, but also had a lot of plot holes that bothered me. I'm still on board, but could jump off of the stagecoach at any time.

Wilfred (US) (Hulu) - 3
I really loved the opening of the series, but as the show dug deeper into the mystery of where Wilfred came from, it became increasingly uninteresting to me. Never quite finished watching it. Starting watching the original Australian series, but quickly lost the thread of that as well.

The Wire (HBO) - 5

Nothing to see here, just the best show of all time. David Simon’s work has always been outstanding -- Homicide, The Corner, Treme, Generation Kill, Show Me a Hero -- but this is his masterwork. Combining drama, insightful social commentary, and technical skill, The Wire tells the story of the city of urban America (not just Baltimore, really) through the eyes of drug dealers, police officers, politicians, educators, and journalists. It’s an absolute tour de force with great performances all around, including breakout performances from Michael Kenneth Williams, Idris Elba, and Andre Royo. It’s really challenging to follow for the first couple of episodes because Simon doesn’t resort to exposition, instead immersing the viewer in the midst of the action.

The Wrong Mans (Hulu) - 4

Delightful British show about two hapless guys who accidentally get swept up into international intrigue. It’s a wild ride and sometimes goes off into flights of fancy, but deftly comes back to very effective comedy. Now that James Corden is busy with his late night show, I assume its run is over.

You’re the Worst (Hulu) - 4
Terrible people who hate everything and everyone (mostly anyway) are not the usual choice for comedy shows… until the last couple of years. Now there’s a glut of those shows, but this was nearly the best of the bunch. Catastrophe was a bit more realistic, while this got silly (which is fine, just makes it less artful). Wickedly funny and then just when you least expected it, profoundly moving, but in an extremely un-neat way. It may not be for everyone, ultimately, but everyone should at least watch a few episodes before making that decision. Somehow wore out it's welcome all at once, and ended a little bit strangely, but overall a very good show with a spectacular first season.