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How The Good Place Utilized The Strengths of Peak TV To Become One of The Best Shows of The Year

Michael Schur’s latest project is forking fantastic, and a strong encapsulation of modern TV’s best attributes.



NOTE: As you might have heard, there’s plenty of twists and turns in the first season of The Good Place. However, as this article is mostly written to convince readers like you to watch the show, this piece will be mostly spoiler-free, discussing the initial premise and that’s it. There is actually a surprisingly lot to spoil about this show, but rest assured spoiler-phobes: read away!

Television has become, for lack of a better word, overwhelming. I’ve spoken many times in the past about the pros and cons of the age of Peak TV, and how good (and, hell, even great) shows can get lost in the shuffle. But whenever the issue comes up, my mind often drifts to this line of thinking: in a world where literally hundreds of TV shows are vying for attention, how do showrunners make their’s stand out? What is the key to attracting an audience in such a crowded pop culture landscape?

Well, the obvious first factor is quality: the truly great shows are the ones that people tend to watch and talk about, for the most part at least (I can’t explain The Walking Dead and The Big Bang Theory, for what it’s worth.) But beyond that, there are a few factors that contribute to a show going from an ignored piece of decency to a critical sensation. And, in my mind, The Good Place utilized most of them — and became one of the best new shows of 2016 in the process.

By now, I hope you have at least a passing knowledge of The Good Place. It’s far from a ratings bonanza, and disappointingly didn’t get a lot of buzz going into its debut season. That’s a shame, and my only line of reasoning going into its first season was that shows of this nature (a.k.a. episodic, standalone sitcoms) simply can’t amass “buzz” anymore, at least not on the level of a Game of Thrones or Westworld. So many prestige shows depend upon a twisty story and strong, serialized storytelling to gets fans involved, and more importantly, to get them talking. Could a show like The Good Place, with the simple premise of “a bad person trying to do good,” ever compare?

Well, by the time I watched the first few episodes, I quickly realized I was very wrong about this series. The Good Place is not the show I thought it would, and likely isn’t the show you think it is either. No, The Good Place is far more special than that.

But to explain why, let’s go back to the show’s initial premise. A woman by the name of Eleanor Shellstrop dies and ends up in “The Good Place,” which is basically a non-direct way of saying “Heaven.” The twist? She was a pretty bad person in her time on Earth, and only ended up in The Good Place due to a rather complicated case of mistaken identity. But determined not to be kicked to the curb and sent to the rather grisly “Bad Place,” Eleanor teams up with her miss-assigned soul mate Chidi (a former ethics professor on Earth) to try to learn how to be good.

Is this a bit of a high concept? Sure — hell, the show was originally pitched as “a bad person tries to be good,” and the whole Heaven/Hell thing was only revealed after filming concluded. But still, even with such a “big” premise, the day-to-day of the show is still pretty easy to assume: it would basically be a slightly more fantastical take on My Name is Earl, with the lead character spending every episode going against her baser instincts in an effort to improve as a person.

And you know what? That would have been a-okay! Michael Schur is a brilliant TV creator, and with his shows like Parks and Recreation and Brooklyn Nine-Nine, has very much proven himself capable of delivering great, fun “hangout” comedies. He didn’t need to have an overarching storyline, or deep serialization, or thematic depth. These things are necessary for a Mr. Robot or Stranger Things, but a network comedy on NBC? All it had to be was charming, funny, empty filler. And make no mistake: The Good Place IS funny, and charming. But yes, it also has a strong overarching storyline. It is deeply serialized to its core. And it has more thematic depth than any other network sitcom I can think of.

But all of that goes back to the serialization. Network sitcoms have always been weird with serialization, with most shows in the past desperately trying to avoid it. Sure, you would have the occasional three-part episode or hour long finale, but long-term, episode-to-episode serialization was never the intent of a network sitcom. After all, they were made primarily in the hope of syndication, and nothing kills syndication more than a story you literally have to watch every episode of to figure out. But as syndication has become less of a holy grail, and serialization has taken off in the age of Netflix binges, TV creators and outlets are quickly changing their tune. Shows like The Good Place started to realize that nothing attracts a dedicated audience more than a series telling one long, twisty story.

Of course none of that would matter if the story behind said TV series wasn’t very good. Thankfully, The Good Place has a wonderful story, full of twists, turns, and surprises aplenty. Pretty much every episode ends with some type of “twist,” but it never felt like the show was stringing us along — instead, the twists just added to the comedic escalation, putting the series into overdrive at least a half dozen times. Every time the series started to feel like it was getting comfortable, an out of nowhere plot development would send the ensemble scattering. This is a basic component of strong story telling, ESPECIALLY in a TV setting. You never want your characters to be comfortable, because the fun in that gets very boring very quickly. Where would Breaking Bad be if everything just sort of worked out for Walter White at the end of each episode? Who would care at all about Game of Thrones if it was just Eddard Stark solving episodic mysteries with Tyrion Lannister (actually…) “How are they going to get out of this one?” has been an essential element of longform filmmaking since the age of serials, and The Good Place was skilled enough to pull on that history with its many, many cliffhangers.

Making that process all the easier was the season’s short running length, another touch taken straight from the “Peak TV” playbook. Simply put, the “traditional” 22 episode season is dead. Well some would argue that its demise came from the demands of a more crowded marketplace, it’s clear to me that shows started producing less episodes because, almost always, it makes the show better. If Stranger Things ran for 22 episodes, it likely would have been bogged down in nothingness and filler. With a tight eight episode structure, the series was able to tell a constantly enthralling tale that never bored viewers and always left them waiting for more.

Going back to classic sitcoms, it would be almost unheard of to have a successful show run less than 20 episodes. Hell, even the previous series that Michael Schur created, Parks and Recreation and Brooklyn Nine Nine, ran for at least 22 episodes a season. And for what they were trying to be, that was perfectly fine — going into an episodic sitcom, you kind of expect to have a bunch of incredible episodes mixed in with the forgettable ones. Just because only 75% of Parks and Rec was good doesn’t mean it’s not one of the best TV comedies ever made. But it was clear from the get-go that The Good Place, despite all its comedic similarities, was going for something entirely different in its ongoing story. And because the overarching plot was such a key part of what made the show great, they had the common sense to keep it brief and concise. Shorter isn’t always better but, if you want people’s constant attention, it’s probably a better gambit. I mean, if I made this article five paragraphs less than it turned out to be, you would have definitely finished the whole thing. But that’s why Michael Schur is a smarter writer than I am, right?

Which, overall, is why The Good Place succeeded. Earlier I wondered what made a show gain an audience in Peak TV-land, and sort of dismissed quality so I could move on to the other things. But in terms of why this show in particular works, it is the fact that Michael Schur and the rest of his writing team are damned good at their jobs. For all the things that The Good Place does that separates it from the rest of its sitcom brethren, the basic tenets of making a successful TV comedy are still followed.

The characters are all wonderfully written, brought to life brilliantly by its crazy good cast. This might be one of the best comedic ensembles working on TV right now, which is pretty stunning when you consider how much of it is made up of relative unknown. Ted Danson and Kristen Bell aside, everyone else has limited acting experience, especially in the comedy realm. But every damn one of them bring their A-game, and create a very lovable and fascinating group of people in the process. And paired with the great and extremely funny writing (which I certainly don’t want to downplay in this piece; the series has left me laughing out loud many times an episode), The Good Place would be a great sitcom even putting aside everything else it manages to accomplish.

But really you can’t put aside the other things, because they are crucial to understanding how special The Good Place is. By focusing so strongly on story and theme (the latter of which I can’t really get into without spoiling things), the show managed to rise above itself, and become far more than what its initial pitch might suggest. As much as I’ve claimed that Michael Schur DIDN’T need to make the show more than just a fun sitcom, I think a part of him knew that he kind of did.

The TV landscape is so overwhelming that viewers are more picky than ever. As silly as it might be to say, your show can no longer just be “good” in order to get attention — it has to be great. It has to spur on conversation, and theories, and fan enthusiasm over the CRAZY twists. Simply put, it has to be “must watch” TV. And if you ask me, The Good Place more than proved itself worthy of such an honor.

The Good Place was renewed just a few days ago for a second season, so there’s no time like the present to give the first 13 episodes a whirl. The season is currently available in its entirety on Hulu.

Matthew Legarreta is the Editor and Owner of Freshly Popped Culture. A big ol' ball of movie, TV, and video game loving flesh, Matthew has been writing about pop culture for nearly a decade. Matthew also loves writing about himself in the third person, because it makes him feel important (or something.)



The Definitive, Unarguable Ranking of Every Black Mirror Episode

This is my Black Mirror episode rankings. There are many like it, but this one is mine.



I had no intention of actually publishing a full ranking of every Black Mirror episode. Sure, I very much had my personal ranking saved and ready to go (who doesn’t in this day and age?), but I figured such a ranking would serve no purpose on the internet, what with the show being so radically different on and episode-to-episode basis, and the beauty of the anthology format allowing radically different opinions on what is the “best” and the “worst” installments of the show. What would posting my arbitrary ranking on the interweb ultimately prove?

But my opinion on the matter dramatically changed when, a few days ago, I got a phone call from out of the blue. I say “phone call” but, really, it was a weird video chat thing that popped up in my field of vision, projected from the tip of my iris. To be honest it freaked me the hell out and, personally, I can’t imagine much good can come out of continuously using the technology. But, in any case, the most important thing here isn’t the tech, but the message (kind of like Black Mirror itself, actually.) It was from seriescreator Charlie Brooker and, rather than butcher his beautiful words, I will simply quote the man himself.

“Yo Matthew, how’s it hanging? Saw you were watching Black Mirror via the neural connectors I have installed throughout all the social networks — people keep telling me there will be a downside to that technology, but what the hell do they know? I’m Charlie FUCKING Brooker, bruv. Don’t tell me the dangers of motherfucking technology!

Anywho, I’ve been reading a lot of people ranking episodes of Black Mirror on the internet, and I’m here to tell you they are ALL WRONG. They have no idea what they are talking about, actually — YOU are the only one who has the 100% factual ranking, the objective truth on which episodes of my work are amazing, and which ones are slightly less amazing. Only you have the correct ranking, Matthew. Please, spread your truth. Spread THE truth. You are the only one who truly can.

Your pal, Charlie Brooker.”

I don’t really know why he signed a video message, but that’s not the point — I had just been assigned a task from on high. Like God speaking to Moses, or God speaking to Abraham, or God speaking to Kevin Costner, I now knew what my purpose was. I knew what my task had to be. I knew why I was ALIVE, damn it — my opinion on Black Mirror was the only correct one, and it was my job to spread the truth of which episodes, objectively, rock. And so that’s what I’m doing. Here’s my ranking of every Black Mirror episode so far, all 19 stories of bad tech…and even worse people. Enjoy, but remember: I am the only one who is correct. And the rest of you are, simply, wrong.

19. “Playtest”

Black Mirror tackling the world of VR and future gaming should have been a home run, but man what a misfire this one was, on practically every level. Simultaneously failing to be an interesting look at the technology AND failing to tell an emotionally powerful story about its main character, “Playtest” came to an overtly twist-filled end mostly feeling like a waste of time. Director Dan Trachtenberg and star Wyatt Russell deserved a hell of a lot more than being a part of Black Mirror’s all-time worst episode. As it shall be known, since I said it.

18. “Men Against Fire”

Men Against Fire’s biggest crime by far is being mostly unmemorable. Despite being a rather recent episode of the show, I can barely remember what actually happened in it. The idea of manipulating soldiers into doing whatever you want through mental augmentation is extremely fucked up, fantastic territory for strong Black Mirror material, but I just wish the finished project was more noteworthy than what we got. As is stands, you’re better off playing Bioshock to essentially get the same message. Or, hell, even watching Hardcore Henry!

17. “Metalhead”

Metalhead is undeniably a cool episode technically, with the beautiful black and white cinematography and terror-inducing direction from David Slade making a strong initial impression. But at the end of the day it’s the thematically lightest episode of Black Mirror, one that can easily be summed up as “Woman runs from robot dog, defeats robot dog, but dies anyway.” There’s nothing else thematically or character wise to really latch on than the simple atmosphere, and well I can appreciate the bare bones approach works for some, it didn’t work for me. And since my opinion is the only one that is correct when it comes to Black Mirror, BOTTOM THREE TIME, “Metalhead.”

16. “Crocodile”

I liked “Crocodile” more than most I imagine, and kind of appreciated how wonderfully fucked up the entire journey is (it might be Black Mirror’s most darkest, or at the very least, most cynical episodes.) But despite Andrea Riseboroughs’ stellar performance, it’s hard to deny there’s more thematically interesting and emotionally powerful episodes of Black Mirror. 15 more, in fact!

15. “Arkangel”

The first half of “Arkangel” is GREAT, and what the episode says about child rearing in the modern (and near modern age) is really interesting. Too bad it kind of devolves into standard “teenage daughter dealing with controlling mother” fair in the second half, though. Turns what should have been an all-timer into a merely decent episode of the show. Jodie Foster’s direction was aces, though.

14. “Hated in the Nation”

Yes, I like the robot killer bee episode. Don’t @ me.

13. “The National Anthem”

Black Mirror’s inaugural episode is not even close to its finest hour, and is honestly probably not the best place to introduce viewers to what the show can really be at the height of its power. Why they would choose to open the show with the episode in which the Prime Minister fucks a pig is beyond me.

12. “Black Museum”


11. “White Bear”

I know a lot of people love “White Bear” but, man, I just found the entire episode to be mentally and emotionally exhausting. I can appreciate the subversion of the final scene and the important message it sends about how we treat those we view as criminals…but, man, I’d be totally fine to never have to experience this episode of television ever again.

10. “The Waldo Moment”

“The Waldo Moment” is bar none the most underrated episode of Black Mirror. I’m pretty certain that at least 50% of viewers probably have it as their least favorite episode, but I’m just here to say that they are completely wrong, that their opinions have no validity, and that they don’t deserve to ever watch this show again. “The Waldo Moment” is smart satire, the kind that only grows finer and finer as the world turns to shit and everything goes crazy. Ever since The Trump Infestation, the episode’s themes and message have failed to leave my mind. Certainly one of the show’s most surprisingly prescient installments.

9. “U.S.S. Callister”

“U.S.S. Callister” is, first and foremost, a surprisingly fun episode of Black Mirror. It doesn’t take itself extremely seriously, which is an enjoyable and different mood for the show to be in. The performances are also all top tier, from Cristin Miloti (who rocks everything) to Jesse Plemons (who rocks everything) and even Jimmi Simpson (who…you get the point.) I think it missed an ending that packed a bit more of a punch but, other than that, “U.S.S Callister” is a super enjoyable episode of Black Mirror, one that rightfully skewers the occasional grossness of obsessive, entitled video game players. After GamerGate, they probably deserve to be taken down another peg.

8. “San Junipero”

Is it a contrarian take to put “San Junipero,” undebatably the most beloved episode of Black Mirror, right at the halfway point in the rankings? For many of you, probably. But, to that, I say with the height of all my powers: BOO HOO, YOUR 80’s NOSTALGIA LESBIAN ROMANCE STORY ISN’T THE TOP OF THE LIST. HOW SAD.

But, in all seriousness: “San Junipero” is good! The performers do a great job, the writing is pretty good, and the direction is well-handled. But this episode didn’t punch me in the gut with greatness in the way the best episodes of the show usually do, and I can’t help but feel like the overwhelming love for it stems primarily from the fact that it was the first episode of the show to have a happy ending, which in 2016 filled people with so much joy and enthusiasm it became overwhelming. But, don’t worry, I’m here with clarity: the episode is straight down the middle of Black Mirror installments. Let the truth be known!

7. “Hang the DJ”

“Hang the DJ” is pretty much in the same basic territory of “San Junipero,” in that it tells a fundamentally romantic story in the midst of a crazy science fiction concept. And though it’s close, I would have to say that I like “Hang the DJ” a tad bit more, which is probably considered something of a Black Mirror crime from the fanbase. But, remember: you are wrong. “Hang the DJ” is a sweet episode of Black Mirror anchored by a fantastic main relationship, and a fascinating look into the world of future–and modern–dating. Plus, the song where the episode is SUPER catchy:

6. “Nosedive”

“Nosedive” is the rare episode of Black Mirror not written by Charlie Brooker, but in no way does that take away from the greatness of the episode. It helps that Brooker brought in equally talented writers Michael Schur and Rashida Jones to pen the episode, both of who give “Nosedive” a nice satirical drive, in the midst of the typical Black Mirror tragedy. And, sure, Community might have done it first, but A) the MeowMeowBeenz episode isn’t very good if we’re being honest and B) this episode does a far better job of bringing the concept to its proper, inevitable conclusion. Add on the best performance Bryce Dallas Howard has given in pretty much anything, and some excellent visuals from director Joe Wright, and you have one of Black Mirror’s best installment. In fact, I would wager that it’s the SIXTH best one! You heard it here first.

5. “Shut Up and Dance”

Remember in 2016, when Black Mirror Season 4 came out and everyone gave “Shut Up and Dance” its proper due as an amazing episode of television? No. of course you don’t, because it didn’t happen. But, don’t worry guys, I have come to pass the only correct judgement on the episode: it’s Black Mirror’s most socially relevant episode, a hell of a ride to watch, and features the show’s most shocking and subversive conclusion. In essence, it’s one of the show’s top 5 episodes. IT HAS BEEN KNOWN.

4. “The Entire History of You”

Probably the episode people think of most when they think of Black Mirror, “The Entire History of You” is so awesome that it’s the only episode of the show that got a deal for its own standalone movie. And, to that, I say why not? The central tech at the center of “The Entire History of You” is so cool that Charlie Brooker returned to the basic idea a few times throughout the show (he likes eye based, pervasive tech you guys), and the story that the tech lends itself to in “The Entire History of You” is aces. Also, lead actor Toby Kebbell! Give Toby Kebbell more things, Holllywood. The Black Mirror God™ demands it.

3. “White Christmas”

“White Christmas” had me at “Jon Hamm making potatoes in a trailer,” and the episode only got better from there. Comprised of three mini-vignettes that ultimately combined to tell one grand story, “White Christmas” is something of a deviation for the show, even by Black Mirror standards. The anthology episode concept would ultimately be tried again in “Black Museum” but, given its position on the list, it is clear the show couldn’t top its first take on the idea. All the stories in “White Christmas” represent the show at some of its very best, and the fact it comes together in a haunting, thought-provoking way only adds icing on the cake. But…seriously. Jon Hamm. Makin’ potatoes. This episode was destined for greatness from the start.

2. “Fifteen Million Merits”

By far the show’s most ambitious, most intriguing, and most pure sci-fi leaning the show has ever been, it’s kind of insane that “Fifteen Million Merits” was the SECOND episode of the show to be created. It already presented such boldness and confidence, and a willingness to take the audience on a journey that is equal parts horrifying and intriguing. The world that “Fifteen Million Merits” manages to build is extremely impressive, especially when you consider they only had an hour to build it. Props especially have to be given to director Euros Lyn, whose experience with visually complex science fiction (particularly in Doctor Who) helped give the episode its most striking look. And lead by an absolute powerhouse performance from Daniel Kaluuya (who showed his penchant for largely non-vocal performing a full five years before Get Out), Fifteen Million Merits was Black Mirror going full swing into crazy science fiction, and I loved pretty much every single moment of it.

1. “Be Right Back”

I was very much torn with my ranking of the show’s best episodes, which just goes to show how great Black Mirror can be at its strongest. Conceivably, ANY of the Top 5 could have made this spot. But, as The Grand Decider of All Things Black Mirror (TM), it was my duty to actually dub an all-time best episode of the show. And, ultimately, I went with “Be Right Back.” After all, I I will never forget the first time I watched this installment of the show.

Easily the most emotionally powerful episode of the series, the first episode of Season 2 is unforgettable, it’s exploration of death and grief so brilliantly executed in its 48 minutes that I was left breathless by the end of it…and absolutely devastated. The performances from both Hayley Atwell (as always, R.I.P. Agent Carter) and Domhnall Gleeson are absolutely fantastic, and the direction from Owen Harris is memorable and beautiful (Harris also directed San Junipero, which  is only Ranked #8 on this list. Just thought I would remind you.) The best thing I can say about “Be Right Back” is this: I didn’t see it until after I saw Her, and in no way was the concept any less powerful or unique. Hell, considering the circumstances of the phone AI love story, “Be Right Back” is even more emotionally stirring. And I LOVED Her, you guys, so that’s a pretty big deal for me. Regardless, as THE ULTIMATE BLACK MIRROR DECIDER (TM) “Be Right Back” is complete TV brilliance. And I will hear no argument otherwise!

…But in complete, 100% seriousness: my list probably divulges substantially from yours. And that’s 100% okay. I’m not wrong for having “The Waldo Moment” in my Top 10, and you’re not wrong for having “San Junipero” as your likely number one. To quote the real Decider of All Things, Oprah Winfrey…live your truth. One of the best things about this show is that it affects viewers in wildly different ways, and what some might find great others might end up hating. By its anthology nature, you’re bound to get a lot of reactions to the dozens of things the show attempts to do.

But that’s the beauty of Black Mirror, isn’t it? Any show that can do “Be Right Back” AND “Metalhead” AND “San Junipero” is one very much worth praising. I don’t know if this is it for Black Mirror, but even if the show is never perfect and veer wildly from amazing to only okay between installments, there’s nothing else like it on television. And I’ll gladly take more of it any day of the week.

Also published on Medium.

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J.J. Abrams Is Creating A New Sci-Fi TV Series, So Commence Your Bitching Accordingly

I, on the other hand, will commence getting excitement for the project. Because I allow myself to like things.



J.J. Abrams gets an absolutely terrible rap on the internet but, really, that shouldn’t be much of a surprise. It seems like everything that becomes successful is ultimately hated on these here internets, and is there any director in the fanboy circle who has found as much genre success as J.J. Abrams? He created a TV sensation in Lost. He got the chance to direct TWO Star Trek films AND two Star Wars films. He produces Mission: Impossible, owns one of the most prolific production companies in the world (Bad Robot), and has ultimate carte blanche to make pretty much whatever comes to mind. That level of notoriety and success was bound to create some detractors…but, man, with J.J. Abrams, it’s a bit much. Some geeks really have it out for the guy, and it makes me super uncomfortable to seee.

Because, you know what? I love J.J. Abrams. He makes things I like, is a fantastic blockbuster director who excels at pacing and character creation, and even more importantly, has commissioned some of my favorite pieces of genre storytelling in the modern age. From Westworld to Cloverfield, Abrams is a man who seems to love big, grand sci-fi stories. And I give him props for using his celebrity to make as much of it as he can possibly can. But even with a busy personal schedule of writing and directing Star Wars: Episode IX, producing a Quentin Tarantino Star Trek film, and doing a billion other things, Abrams has somehow found a way to add another big project to the pile.

But, even more so than his franchise commitments, this seems to be a concept close to Abrams heart. According to The Hollywood Reporter, Abrams is currently shopping around the idea for a new sci-fi show, an original concept that he has apparently written the script for. This is notable — even though Abrams remains a huge TV presence with the stuff he produces, he hasn’t actually created a TV show since 2010’s Undercovers. You remember Undercovers? It had Gugu Mbatha Raw in it. It was very much unnoteworthy.

But hopefully this project won’t be, as it will be Abram’s return to telling an original sci-fi story. He hasn’t done that since 2011’s Super 8, and hasn’t done it on TV since 2008’s Fringe. But considering how AMAZING Fringe is (seriously, one of the all-time great shows that criminally gets so little love), I am super excited to see what Abrams is cooking up with this one. No surprise there’s not a lot of details about the show so far, but THR did release the following vague plot synopsis:

[The show] is about a family — consisting of a mother who works as a scientist, her husband and their young daughter — who all get into a terrible car crash. After the mother winds up in a coma, her daughter begins digging through her experiments in the basement and winds up being transported to another land amid a world’s battle against a monstrous, oppressive force. Her father then follows her into this new world.

Transported to a new land? Sounds promisingly Lost-y. And the mad scientist, experiment angle? That was right up Fringe’s alley. Hopefully this show will tell a different story than those two but, even if it doesn’t, it has my interest based on Abram’s involvement alone.

Seriously y’all, watch Fringe. It was the dopest.

And I am far from the only one who feels that way — already both HBO and Apple (who is a television creator now, apparently) are trying to bid for the rights to the show, and I doubt they will be the only ones who do so. Love him or hate him, based on his past experience, you can’t deny that J.J. Abrams is good business.

…I mean, mostly. After all, he did produce Alcatraz…

Also published on Medium.

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Hulu Renews Runaways & Future Man, Two Shows That Were *Purses Lips, Slowly Bobs Head Up and Down* Pretty Good

And yet it seems no one even watched them.



Oh Peak TV, you silly, silly beast. You make the mere concept of being a TV watcher a stressful hobby, one rife with potential FOMO and overall anxiety about the things that, simply, you cannot find the time to watch. It’s a subject that I have railed upon many times in the past but, with the number of scripted series somehow still growing on a year-to-year basis, it bears repeating: there are too many TV shows out there guys, and so many of strong quality too. Granted, a lot of them are pretty bad too, but I chose to focus on the ones that are great…or in many cases, even just good. Because, honestly, it’s the latter category of TV that is getting the biggest shaft in the age of Peak TV.

And, in a certain way, it makes a lot of sense — with so much great content at our fingertips, why settle for things that are just good? Well, personally, I chose to watch the good because I love watching the moment when it evolves into something great — and, in my experience, most good shows do. Even if they aren’t consistently great like a Mad Men or The Americans, sometimes you have to take in some bad to get to the good, right?

I have just done that recently with two Hulu shows, both I feel very comfortable describing as “mostly pretty good”: The Runaways and Future Man. One is a Marvel superhero series based on an acclaimed Brian K. Vaughn comic, and the other is a sci-fi comedy from producers Seth Rogen and Evan Goldberg. They are pretty different conceptually, but have one thing in common: no one is talking about them nearly as much as they should be.

Seriously: I think I can count the number of tweets I’ve seen for the two shows on like four hands, max. I barely read anything about them on other TV websites either, which leads me to believe the audience for both series is not that large (or, at the very least, vocal.) Which is a shame, I think — though they have a fair share of problems (Runaways namely in the plot momentum department, and Future Man in its over-reliance on juvenile humor), I found a lot to like in both shows, and really wish I could at least participate in balancing the pros and cons of them with an audience of fellow TV nerds, rather than the pair just fading away into the social attic of the internet.

Runaways has a recurring raptor, for god’s sake! A VELOCIRAPTOR!!

But even if Runaways and Future Man fail to be buzzworthy TV in the way that Hulu probably hoped they would be (especially when compared to their breakout hit earlier in the year, The Handmaid’s Tale), apparently they did well enough for the streaming service to renew each for a second season. The renewals comes about a month and a half after the first season of Future Man first dropped, in a Netflix style “all-at-once” style. Runaways, on the other hand, chose the more tried-and-true weekly release route, a discrepancy between the two I frankly don’t understand. If you want to be like Netflix, be like Neflix. If you want to be like all other TV, be like all other TV. Pick a lane, Hulu! Anyways, Runaways renewal comes right on the eve of its season one finale, so it was probably a good way for Hulu to further keep the show in the news…something that has failed to happen in its run so far, quite frankly.

But, hey, now that both are guaranteed to come back, maybe people will actually give them a chance. Like myself, they may end up liking what they see. At the very least, it would mean that other people would be talking about the James Cameron episode of Future Man, expect just me. The joys of Cameronium must be known to all.

Also published on Medium.

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