Ghosted sounds cute, but People of Earth already exists, with what I think is a more adventurous concept, and even that didn't engage me very much. As for LA to Vegas, has there been a successful "bunch of kooky, down-on-their-luck characters meet regularly in a confined location" sitcom since Night Court?

Camp was magnificent. It really pisses me off that she hasn't broken out in a bigger way. In a just world, she'd have her own show by now.

I mean, that's probably part of it too (though on paper, "Ichabod fights his evil son, who because of time-travel shenanigans is actually much older than him" seems like a solid story). But it's not like the show's strength was ever in its plotting. Even starting out it was incredibly silly and not well-plotted, and…

I've said this before, I think, but is there any reason to believe that This Is Us won't follow in the footsteps of all these other shows? If I were NBC, I'd wait another season to see if it can actually hold its audience.

I'd say that an important distinction in Sleepy Hollow's case is that the producers ran the show to the ground, either because they completely failed to grasp what their fans liked about it, or because they wanted different fans. The first season was embraced in no small part because it had a black heroine and…

Yeah, this is the sort of situation where normally you'd root for injuries, except that the injuries that would be sustained in this case would mostly be inflicted on ordinary Americans, not the people who actually created this mess. Hell, Comey's probably shopping a book as we speak.

I saw someone commenting the other day that there's a slow changing of the guard at the Nixon library, with the original founders, all die-hard partisans who skewed the exhibits at the library's museum to defend Nixon's legacy, particularly where Watergate was concerned, moving on. The new generation appears a little…

The issue throughout most of the season is whether this guy is crazy, or is there really an asteroid. Towards the end it turns out he's right, but there might be a way to save the earth. The season ends with him going off to work with NASA on a possible solution, and his girlfriend accepting a new job abroad at…

The review touches on a problem I've been having with the final stretch of the Shinwell arc, which is that I don't think the show ever fully articulated why we were meant to distrust him. Is it because he turned out to be a murderer? Because that's pretty rich coming from a series that expects us to be OK with…

TL;DR, for the simple reason that I know all this. So, I'm pretty sure, does Emily Stephens, and everyone else commenting in this thread. You know why? Because it gets dredged up as derailing tactic every time the Trans-Atlantic slave trade and the undeniable, outsized culpability of white people in it are brought up.…

I loved and was simultaneously frustrated by that scene, because it completely breaks the rules of how the gods in this story work. The whole point of "coming to America" is that the gods come over in their old forms, and are transformed under the pressure of American society and culture - usually in ways that turn…

Well, you see, because a black person once did a bad thing, that means that all white people are absolved forever from any responsibility for their bad actions, and that our continuing to benefit from economic foundations laid on the back of slave labor totally doesn't matter.

Well, I think that's probably how it's seen now, but the show started airing in 1999, and Aaron Sorkin's last season aired in 2003-4, so before the full awfulness of the Bush era had become apparent (at that point a lot of the world was still on the US's side, including the invasion of Iraq). That doesn't mean that…

I haven't read the story so I don't know, but if I had to guess I would assume that the entire subplot about the solicitor is an invention. It's consistent with the way And Then There Were None reworked many of the characters' backstories to be about the sins of empire.

The first twist is in the miniseries, but the second isn't. Though there is a reference to it, when the wife laughingly tells her husband that he'd better not piss her off, now that he knows what she's capable of.

I get that it's now twenty years since Diana's death so the retrospectives make sense (even though she was a private individual with two living sons so it's pretty creepy). But she died in August - I remember because it was the night before the first day of school. Why air the retrospectives in May?

I don't have any numbers, but I think The West Wing did very well in international markets, and it was about as inside baseball as you could get.

My plans to do more TV catchup this weekend got scotched on account of I didn't really feel like it. I did read George Saunders's Lincoln in the Bardo, which is a bit hard to get a grip on at first, but ends up really moving and engaging. And I saw Guardians of the Galaxy, Vol. 2, which is the complete opposite in…

Since the metric for measuring the success of TV shows is ratings, and AoS has been fractional since last year?

I mean, it could be. But I'm having trouble imagining a situation where Marvel seriously thinks that they can use a TV show to launch a movie, rather than the other way around. Especially since I'm pretty sure the AoS writers didn't decide that Skye was going to be an Inhuman (much less Daisy Johnson) until they sat…