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Is April 2017 The Best Month of TV Ever?

From returning greats to new ones, television in April 2017 is a force to be reckoned with.



I will be frank here, everyone — the beginning of 2017 has been pretty tough for me, and I doubt I’m alone in that assessment. Every day it seems the world (and, specifically, my country) is getting more and more crazy, more and more angry, and more and more unstable. I wake up every morning unsure what to expect, and I’m no longer certain in my belief that everything will end up “working itself out”…at least in a way that doesn’t leave the world shattered in some horrifying way.

All that is to say that things seem pretty dark right now, at least from my point of view. But if there’s any silver lining to any of this, it’s this: art so far in the year of 2017 has been pretty damn great. Movies are rocking it with hits like Split, John Wick: Chapter 2, Get Out, and Logan. Games are having a big resurgence with titles like The Legend of Zelda: Breath of the Wild and Horizon: Zero Dawn. And TV? Well, TV…it’s downright nuts, to be honest.

And that fact is no more apparent to me than when I take a look at just how many shows are set to air within the month of April. It’s madness really, with so many great shows set to air within the next few weeks. While I was trying to compose my own personal list of all the TV shows I’m watching in the weeks ahead (yes, you pretty much need a planner to keep up with all of it now), I was honestly flabbergasted by just how much amazing TV is awaiting us in the next few weeks. Though I’ve never stopped to consider the concept before, I am legitimately starting to wonder if April 2017 is going to go down as the best month of television ever.

At the very least, the amount of series that will be stuffed within it puts the month in the running. Here’s a quick rundown of just what TV craziness is in store for the next few weeks:

  • Last week was the premiere of the new season of Archer, and its noir-set reboot is the freshest the show has felt in years. Definitely worth keeping an eye on in the coming weeks.
  • Tonight is the Season 3 premiere of Angie Tribeca, TBS’s wonderful-but-overlooked crime show spoof.
  • And airing just half an hour before is the Season 3 premiere of Better Call Saul, AMC’s actual crime series that has made its way on to my top 10 shows of the year list since it first began. I would be surprised if Season 3 bucked the trend.
  • Mystery Science Theater 3000 returns from the dead, with Netflix giving the show a new lease on life. New cast members Patton Oswalt, Felicia Day, Jonah Ray, and more will continue the show’s mockery of cinema’s worst for an entire set of 14 new episodes. It’s a Netflix show too, so…there’s one weekend out of the way.
  • Unless you’re a fan of Doctor Who: in which case, the highlight of your weekend will probably be the show’s new season. It will be the final one for current doctor Peter Capaldi, so it will be exciting time for you Whovians, I’m sure.
  • Especially paired right afterwards with the premiere of Doctor Who spin-off Class, which is being helmed by the writer of A Monster Calls, Patrick Ness. All in all, a big weekend for the Doctor Who Universe (Who-u-verse?)
  • But as a non-Doctor Who fanatic, the highlight of my April 16 weekend will be the premiere of The Leftovers final season. Damon Lindelof’s post-apocalyptic drama was my favorite show of 2015, with its second season one of the best seasons of television I’ve ever seen. And even considering Lost’s final season, I’m really hopeful that Lindelof and his team are going to deliver something wonderful to end our time in this sad, sad universe.
  • But if the show’s final season is as depressing as I imagine, then the after show of Veep should help cheer things up. Veep has been one of the best comedies on television for half a decade now and, at this point, I have little doubt the series can do no wrong. This cast and these writers are just too damn good for something like that.
  • If April 16 premieres weren’t crazy enough, the new miniseries from John Ridley (12 Years A Slave, American Crime) entitled Guerrilla will be here to bum you out again. It will feature Idris Elba in a starring role though so, as all things, is worth watching just for that. And, with luck, its miniseries status will make it so that Showtime can’t run the series into the ground. Hopefully.
  • Fargo is coming on April 19 and, after its marvelous second season, I couldn’t be more excited. And that’s coming from someone who really didn’t like Fargo Season 1! But Fargo Season 1 didn’t have Carrie Coon, and like Idris Elba above, Carrie Coon makes everything better. So I guess you could say Carrie Coon is the female Idris Elba…somehow.

  • Bill Nye Saves The World hits Netflix on April 21 and, more so than ever, we could probably use Bill Nye’s wisdom and, more pressingly, scientific enthusiasm. The show’s title might not be so hyperbolic anymore, is all I’m saying.
  • Girl Boss will also be released on Netflix April 21, from creator and showrunner Kay Cannon. Cannon was a longtime writer on both 30 Rock and New Girl, and wrote both of the surprisingly fun Pitch Perfect movies. She’s also a Second City and Saturday Night Live alum, which is to say her new series really should be garnering your attention, especially paired with a starring performance from actress Britt Robertson. Robertson showed a lot of charisma and charm in her lead role in Tomorrowland, even with the rest of the movie letting her down. What I’m saying is, Girl Boss is very much in line to be the surprise sleeper of April 2017 which, in this month, is saying something.
  • But for all you Amazon users out there, Bosch Season 3 will be hitting the service for your viewing pleasure on the same day. I’ve heard good things about Bosch. Maybe one day I’ll be able to watch Bosch. But, until then…enjoy Bosch (I really like saying this title in my head, if you couldn’t tell.)
  • Silicon Valley premieres a week after Veep for some reason, but it too is one of the funniest shows on television, and the Veep/Silicon Valley power-hour is always one of my most treasured TV pairings of the year.
  • Genius is Nat Geo’s big foray into the world of scripted television, with heavyweights both behind the camera (Ron Howard in his TV directing debut) and in front of out (Geoffrey Rush as the titular genius, Albert Einstein.) The series will also be an anthology moving forward, because that’s what all the hip young networks are in to. In any case, it will premiere its first episode on April 25.
  • Great News shouldn’t have much going for it on paper, but the NBC comedy is the newest series from 30 Rock and Unbreakable Kimmy Schmidt scribes Tina Fey and Robert Carlock, and is created by Tracey Wigfield, who is largely responsible for the former series’ triumphant final season. Nuff said — I’ll be watching this one on April 25.

  • The Handmaiden’s Tale is getting a ton of buzz, both because it’s A) sadly relevant and B) pretty amazing looking. Could this be Hulu’s first real breakout? We shall see when the first episodes become available to watch on April 26.
  • Catastrophe Season 3 will arrive two days later on Amazon and is pretty great, by all accounts. Except my own, of course. Because I still haven’t watched any of the series. Ugh, peak TV is just…the hardest.
  • Dear White People hits the same day on Netflix because, if anything, all the streaming companies are having their own little arms race right now. Still, it benefits us with great content, and I hope Dear White People is just that. The movie its based on, though a tad sloppy, had some clever and smart satire up its sleeve, and I actually do think a move to television (streaming?) could help benefit the properties tone and help it really hone down on its core messages. Having original writer/director Justin Simien on board for all ten episodes makes me optimistic, at least.
  • Showing just how jam packed April is, the last day of the month still features one hell of a heavy hitter: the premiere of Bryan Fuller’s new show, American Gods. Based on the critically acclaimed Neil Gaiman adaptation, American Gods is Fuller’s first project since Hannibal, and has him sitting comfortably back in the hands of a premium cable distributor in Starz. It’s a fantastic book, and Fuller is a TV genius. If it’s even half as good as Hannibal, we’ll all be in for a treat to take us out of April 2017.

So just to recap: Archer, Angie Tribeca, Better Call Saul, Mystery Science Theater 3000, Doctor Who, Class, The Leftovers, Guerrilla, Veep, Fargo, Bill Nye Saves The World, Girl Boss, Bosch, Silicon Valley, Genius, Great News, The Handmaiden’s Tale, Catastrophe, Dear White People, and American Gods. All those shows are premiering within the span of a month, and that’s not even including the shows that will still be airing new episodes throughout the rest of the weeks: The Americans, Samurai Jack, Feud, The Expanse, Girls, Last Week Tonight with John Oliver, Brooklyn Nine-Nine, Bob’s Burgers, The Last Man on Earth, Into the Badlands, The Good Fight, Bates Motel, The Magicians — I’m not even sure it’s possible to list them all but, combined, they make for literally dozens (if not hundreds) of hours of great TV content.

But more than any other month in the history of the medium? It’s impossible to say, as I’m far from a TV historian. But just from a volume perspective, the possibility seems highly likely to me: April 2017 is going to be one for the TV history books, with many shows in the next month (mainly The Leftovers, Fargo, and American Gods) potentially bringing us all time great TV.

And, at the very least, it will keep us distracted from the world around us. And in 2017, is there anything else we could possibly want?

Also published on Medium.



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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