Though things do occasionally get exciting thanks to swords and army battles, Marco Polo is like a string of dialogue-heavy video game cutscenes with all of the interesting gameplay removed.
It's not unreasonable to feel apprehensive about TV specials based on popular movie franchises, as there's always the chance that it won't be very good.
If you're worried that adding Constantine to your schedule will cause some serious superhero fatigue, rest easy. The new NBC series isn't like the other comic-book adaptations on TV. It's got more in common with Angel than it does with the costumed crime-fighting of The Flash or the origin story of Gotham. Of course, being different doesn't mean much if the quality isn't there and Constantine's pilot is 'super' inconsistent.
Thankfully, Big Driver is one of the better Stephen King adaptaitons, with Maria Bello bearing the brunt of this story on her bruised shoulders. Not a movie where you’re meant to keep guessing who the “killer” is, this is one where every road leads to palpable dread.
Showtime has set up The Affair with a title and a format that follows two people committing adultery. Regardless, it’s not really a drama that is simply about adultery. It’s more about memory, and how two people can look back and see events unfold in two very different ways.
The CW has a surprisingly good track-record adapting super-shows and The Flash should also be a quick hit. Bright, colorful and fun, it's the daylight to Arrow's dark night.
Psycho clowns, bearded ladies and lobster hands are only clawing the surface of American Horror Story: Freak Show's erratically mature new storyline. Come on down for the sights and sounds, and tell the ticket lady Jimmy Darling sent you.
Twenty-five years after Seinfeld debuted, Fox is trying to make history repeat itself with an obvious homage to the ground-breaking NBC sitcom. So. What's the deal with Mulaney? Sadly, the great material behind the throwback can't save it from feeling out of time. And we all know how important timing is for comedy.
It seems impossible to imagine a kind of murder that hasn’t been tackled by a CSI or Law & Order episode, and so the murder itself must be surrounded by equally important and engaging characters and settings. And while I wasn’t ready to allow myself to admit it at first, Fox is home to a potential masterpiece in the startlingly realized Gracepoint. At least, for people who haven't watched Broadchurch.
Thankfully, it isn’t jarring to see dramatic actress Kate Walsh getting raunchy for NBC’s new comedy Bad Judge, but it makes one wish that creator Anne Heche and executive producers Will Farrell and Adam McKay shot for the prestige of Walsh’s other series this year, FX’s Fargo.
It’s getting tougher and tougher to put together a half-hour sitcom premise that will work for the networks. Most of the time, writers and producers can’t simply pitch “family comedy with strong female lead” or “romantic comedy with witty dialogue and two oddball characters.” There often needs to be a gimmick, and ABC’s latest, Manhattan Love Story, offers a big one.
In order to capitalize on the reboot and/or reimagining craze that is hitting televisions this fall, ABC has turned to the classics, adapting George Bernard Shaw's "Pygmalion" into a sitcom. Okay, it's probably influenced more by the Lerner and Lowe musical (and Cukor film) My Fair Lady than Shaw's play. Don't worry, Selfie doesn't live up to any of them. The reimagining is not very good, but, to be fair, it's still not nearly as bad as its terrible title suggests.
There aren’t enough black families on television, much less primetime, network television. Because of this absolute failure by the networks to represent reality, a show like ABC’s black-ish should be a welcome addition to the sitcom world. So far, it has garnered a lot of comparisons to another family-oriented African American TV franchise, The Cosby Show. Yet, Anthony Anderson isn’t Bill Cosby. And the Hollywood-based Johnsons are nothing like the Huxtable family.
How To Get Away With Murder is more youthful than either Grey’s Anatomy or Scandal, but especially the latter. It’s a good thing, as ABC’s new drama should have the capability to pull in both younger and older audiences, with a pulsing soundtrack and earnest young students holding the attention of the former and a madcap, emotive performance from Viola Davis earning viewers in the latter category.
These days, the goal of most television shows is to give the viewer a compelling enough reason to come back. Through cliffhangers, pieces of personal life drama or unresolved issues, these programs try to create long-term storylines that are too intriguing to abandon.