SUPERGIRL: Playing It Safe Keeps Her From Soaring

OVERPRAISING A FRUSTRATINGLY FLAWED PILOT DOESN’T DO TV VIEWERS (OR FEMALE SUPER HEROES) ANY FAVORS

AIRS MONDAYS AT 8PM E/P ON CBS

The good news: SUPERGIRL doesn’t totally suck. It’s no ARROW or THE FLASH but it is more fun than that torpid Marvel clunker AGENTS OF S.H.I.E.L.D. The bad news: SUPERGIRL is on CBS. Everything has been run through their de-fanger and given a sanitizing scrub-a-dub; a process perfected by the official network of “TV That’s Never Thinky.” It’s not quite DC-CSI, but the opener plays it too safe and isn’t worthy of the overpraise being heaped upon it by some critics.

While everyone is certainly entitled to their opinion, we’re all spinning our pearls of wisdom off the same pilot. It was “leaked” online months ago and subsequent episodes have not been made available for review. So, right off the bat, let’s stop pretending SUPERGIRL is the first coming of She-Christ or a significant feminist milestone. It is neither of those things and ignoring a host of frustrating flaws does a disservice to an audience hungry for a series with a fully-realized female super hero at the helm. SUPERGIRL is the right gender for the job, but she’s trapped in a vehicle that refuses to let her soar.

As we’re reminded repeatedly in hour one, Supergirl (aka Kara Zor-El and Kara Danvers) is Superman’s cousin. Originally sent here to watch over Kal-El, she ended up getting sucked into the Phantom Zone en route and arrives years later than planned. By the time Kara does touch down on Earth, the citizens of Metropolis are already in thrall to the powers of Superman, a development that renders her original mission obsolete. She’s shipped off to be raised in safe anonymity by the Danvers family. Jump to present day. Twenty-something Kara is now living in National City where she toils away as the put-upon assistant to media mogul Cat Grant (Calista Flockhart).

If almost none of that sounds familiar to fans of the DC Comics heroine, that’s because series creators Greg Berlanti, Ali Adler and Andrew Kreisberg have jettisoned almost the entire Supergirl backstory. Absolute purists are never going to be happy with TV adaptions of their beloved favorites so trying to please them is a pointless exercise in frustration. Besides, as we’ve seen with ARROW and THE FLASH, when something is re-imagined well, it doesn’t really matter how much you tweak the source material. The problem with SUPERGIRL? For every creative master stroke there’s an even bigger misstep.

To be fair, part of the blame for what doesn’t work here has to be attributed to licensing issues. Superman is a big-screen character and it’s quite obvious CBS was not granted permission to use him for much more than cursory mentions. Unfortunately, it doesn’t look like the producers got the memo about necessity being the mother of invention. The whole Superman/Supergirl thing is awkward and messy throughout the first episode. The writers end up contorting themselves so much that you can almost hear the multi-layered legal vetting process chugging along in the background.

Speaking of writers, though Berlanti, Kreisberg and Adler share credit for the pilot script, way too much of what ended up on screen sounds like the words of the latter. Ali Adler joined the writing staff on GLEE in season three. That’s about the same time things started to go downhill fast at William McKinley High School. The series went from infectious to insipid and never recovered. Adler also teamed up with her GLEE co-conspirator Ryan Murphy to create THE NEW NORMAL, one of the absolute worst television comedies of the past twenty years. She’s one of those lazy wordsmiths incapable of thickening her thin treacle with anything that might stick to your mental ribs. That could explain why big chunks of SUPERGIRL feel more akin to WONDER WOMAN circa-1975 than they do a primetime drama debuting in 2015.

What saves SUPERGIRL from its own creative Kryptonite is the one-two punch of Melissa Benoist in the title role and Mehcad Brooks as James “Jimmy” Olsen. The pair have delightful on-screen chemistry and do some pretty amazing things with what amounts to a script full of empty calories . They’re the reason you’ll come back for seconds.

Benoist oozes charm and charisma. If you’re not rooting for her, you’re a hard ass with no heart. She deserves every bit of the effusive advance buzz you’ve been hearing. There’s so much more to her exuberant performance than perkiness and pluck that it’s a real bummer every time she’s swatted down by a shaky plot thread or weak writing.

Brooks has finally been cast in a role that lets him shine. He brings a potent combination of good looks and gravitas to the proceedings. His portrayal of Olsen is modern and refreshingly mature. Both he and Benoist will be among the biggest break-out stars of the fall TV season. That says more about them as actors than it does the vehicle they’ve arrived in.

Elsewhere on the call sheet, Flockhart and Chyler Leigh (playing Kara’s adoptive sister Alex) don’t fare so well. Riffing off limited range, Leigh gives us a slightly less annoying take on her Lexie Grey. It’s an unwelcome nostalgia trip that also results in unintentional laughs. You see, Alex Danvers is a doctor and scientist who (wait for it) also works as a secret government agent. She’s on staff at the Department of Extra-Normal Operations, a group tasked with keeping tabs on interplanetary aliens living among us. FYI, none of it comes off any less asinine on screen. The reveal of Alex’s double life is handled in such an off-hand manner that I’ve chosen to take it as tacit admission by the creators of their epic casting fail re: Chyler Leigh.

Fans of bitchy dialogue and hammy acting will probably love whatever it is that Flockhart does with the role of Cat Grant. Personally, channeling Alexis Carrington seems out of sync with the sunny-bright tone of the series. The “powerful woman as uber-witch” meme is also the kind of lazy stereotyping SUPERGIRL should have avoided. Oddly, whenever a “girl-power” message does slip out, it usually comes from Grant. If I had a daughter, I’d prefer she not take life lessons from a one-note character played by someone who looks like she chews more scenery than she does food.

Action sequences are wildly uneven and run the gamut from bang-up (like a thrilling passenger plane rescue) to bust. Taken as a whole, this incarnation of SUPERGIRL plays very young and runs the risk of alienating as many genre fans as it might attract. While there’s absolutely nothing wrong with appealing to teen and pre-teen girls, don’t expect the whole of the 18-49 set to stay engaged long term if fisticuffs between hero and villain continue to look like they were filmed and choreographed by alumni from the MIGHTY MORPHIN POWER RANGERS.

When something like SUPERGIRL comes along, there’s a tendency to overstate the role it’s supposed to play in the pantheon of television milestones. While it might be wrong to burden a piece of pure entertainment with the task of correcting all the wrongs and slights that came before, it is more than fair to expect a series to walk the walk of its own PR talk. CBS has not been shy about parroting the mush-gush of delusional critics (like Daniel Fienberg from The Hollywood Reporter) who have convinced themselves that what amounts to the TV equivalent of a Katy Perry song is also a significant leap forward or progress of some kind. Sorry, it isn’t. Want further proof? Check out the atrocious companion website for the series. It’s an embarrassing crap hole of cheap looking creative, shameless network synergy (“The 12 Hottest Bad Boys On CBS”) and vapid “mommy and me” content (“15 Mom Superpowers We Will Always Appreciate”). The headless close-up of Supergirl’s chest in the sidebar is especially tacky.

Just as women should receive equal pay for equal work, they should also be depicted as complex, multi-dimensional characters in popular entertainment. On that front, SUPERGIRL does a face plant. Sure, it takes more work to inject some substance into frothy style, but our mothers, sisters and daughters are more than worth the effort. They certainly deserve better than what is currently just a cutesy flight of fancy masquerading as the next big thing in superhero lore.

 

 

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SHERLOCK: Watch the Trailer For “The Abominable Bride”

A GORGEOUS SECOND FULL PROMO REEL REVEALS A CREEPY NEW YEAR’S TREAT FOR “SHERLOCK” FANS

When SHERLOCK executive producers Steven Moffat and Sue Vertue teased an upcoming episode set in the Victorian era, fans at San Diego ComicCon went wild. If the first full trailer for this stand-alone special is any indication, the excitement is most definitely justified. It’s packed with lush, creepy visuals and just about everything else you’d hope for in a retro outing of this modern TV classic.

 

In keeping with tight-lipped tradition, the BBC is holding their cards close to the vest. While short on specifics, it’s clear that  Moffatt intends to  make good on his desire to explore the more gothic and ghostly tales in the Holmes lexicon. While these stories might land with an anachronistic thud in the slick, contemporary world of SHERLOCK, putting Benedict Cumberbatch and Martin Freeman in the way-wayback machine is a stroke of genius.

 

On October 25, the BBC revealed the official title and airdate for the 90-minute special. SHERLOCK: THE ABOMINABLE BRIDE will air on January 1, 2016 in both the US and UK. The simultaneous premiere is especially welcome news to Stateside fans who are used to a delayed airing of new episodes. An updated trailer was also released. Enjoy!

 

 

SHERLOCK airs on BBC One in the UK and as part of the PBS Masterpiece franchise here in the States. Series 1-3 are available for streaming on Netflix and can be purchased from Amazon Instant Video. Amazon also offers a one hour pilot version of “A Study In Pink” (S1/E1) that was not shown on TV. Click on either icon below to catch up with or re-watch SHERLOCK.

 

STARDUMB: A Shiny New Year Of Celebrity Stupidity

MILEY CYRUS: She Opens Wide

While class acts like Lorde and Meghan Trainor were topping the charts without going topless, a familiar face crawled out of the skank tank. Shocking no one, Miley Cyrus kicked off the new year by spreading for a spread in V magazine. She (and V) dropped a bunch of the photos on Instagram because Cyrus doesn’t think there’s enough female nudity on the internet. Reminiscent of tawdry Polaroids shot 70’s style in the basement of a dirty old man, the latest trash wallow from the reigning queen of Whore Pop will appeal to online cellar dwellers and fans of pseudo kiddie porn. Along with that famous potty mouth, Cyrus can now add her legs to the list of things she can’t keep closed.

NAYA RIVERA: No Ethnic Cleansing

With ratings in the cellar and THE TALK nipping at its heels, daytime disaster THE VIEW is grasping at straws to save itself. You know things are bad when producers resort to a desperation move like dragging a semi-lucid Barbara Walters back on air. As if resurrecting the Crypt Keeper wasn’t pathetic enough, a fired (or not fired, if you believe Rosie O’Donnell) Rosie Perez has been replaced by a rotating roster of much younger guest hosts. Enter GLEE diva Naya Rivera, an apparent dingbat who blew up Twitter for all the wrong reasons. Managing the difficult task of being racially offense to just about everyone, Rivera advanced a bizarro theory that “white people shower a lot more than ethnics.” It was a stunningly ignorant statement that recalled those awful “dirty Mexican/Cuban/Puerto Rican, etc” stereotypes (Rivera, it should be noted, is Puerto Rican and black) and completely ignored perpetually dirty white people like Kristen Stewart, Johnny Depp, Robert Pattinson, Uma Thurman and Mickey Rourke. Rivera was forced to give the obligatory on-air mea culpa but, by then, the damage was done.

RYAN SEACREST: Shits On Sherlock

Perhaps it’s sadly appropriate that the Oscar snub of “Selma” was presaged by someone just as white, vapid and clueless as the majority of Motion Picture Academy voters. Ryan Seacrest, one of the most inexplicably over-employed guys in Hollywood, once again proved himself to be as tiny in intellect as he is in stature. On the red carpet for E! at the Golden Globes, Little Ryan was chatting it up with SHERLOCK star and best actor nominee (for THE IMITATION GAME) Benedict Cumberbatch. Seacrest asked him which movie he watched during his flight from the UK. Cumberbatch, known for his gracious praise of fellow artists, took the opportunity to heap accolades on SELMA and fellow best actor nominee David Oyelowo. Unfortunately, he made the mistake of wasting a heartfelt response on a miniature mannequin with the gnat-like attention span of most E! viewers. Seacrest cut Cumberbatch off mid-sentence and dismissed him in favor of a throw to co-host Giuliana Rancic, making an ass of herself elsewhere on the red carpet. Speaking of…

GIULIANA RANCIC: Bag Of Bones

When she’s not hawking crappy recliners and love seats for Ashley Furniture, the disturbingly bulbous head of Giuliana Rancic can be seen on E!, the one network that makes Bravo and MTV look smart. Like her on-air cohort Ryan Seacrest, Rancic keeps getting work even though no one can tell you why. She’s not particularly warm, witty or engaging yet there she is, popping up on air like the cable version of a cold sore. While we have no idea (or interest in) what she does in her off hours, it look like eating isn’t a big priority. How else to explain her scary-thin appearance of late? Rancic has always been on the bony side but these days she’s fast approaching the  outskirts of Karen Carpenter country. Social media was all over her disappearing act. If her plan is to look like a life-size Bratz doll all we have to say is: mission accomplished.

NANCY GRACE: Gone To Pot

On a good day, Nancy Grace makes us wish for an a-la-carte option to freedom of the press. The self-appointed judge, jury and executioner always has something to say even when she has no idea what the hell she’s talking about. Making matters worse, her mind-numbing blah, blah, blah is packaged with an outsized ego and a smarmy Georgia drawl (that you just know she overplays). Membership in the “STFU Nancy Grace Fan Club” grew exponentially in the past few weeks following a ramp-up of her crusade against marijuana legalization. Armed with research that we’re pretty sure can be sourced to REEFER MADNESS, Grace used her HLN show to misinform the network’s tens of viewers. She even tried some good, old-fashioned stereotyping to breathe life into her bogus boogeyman. When you’re preaching to a “pot is the devil’s weed” crowd, a stoner rap artist is a must-have accessory. That’s where 2 Chainz enters the picture and an already silly story boards the crazy train. Grace opens the segment in hyper-bitch mode and greets level-headed, reality-based responses to her questions by yelling…just because. How dare the scary black man not be scary!

JOHN TRAVOLTA: No Selfie Control

John Travolta is not gay. We repeat: NOT gay. If he’s not being gay while ridding the world of Xenu’s thetans, then he’s not being gay butchering names on award shows. In fact, Travolta is so secure with his complete lack of the gay, he’s willing to share it with the world…even when the situation sounds like a scene from gay porn. While the gays were going about their nocturnal cruising, the not gay actor was hitting the gym for a late-night workout. We know this because of a selfie that made the rounds last week. In it, Travolta is pictured with a much younger gym patron who thought he was alone for his 3 AM workout. Surprise! John Travolta was there too, not cruising for muscle boys and definitely not being gay. So what if it was way, way after hours and the guy just happened to be pretty darn cute? There’s nothing gay about any of that. Just like it’s totally not gay that gym boy had no idea Travolta was even there until the actor approached him and started the chit chat. Sure, that might make this the first time in selfie history where the celebrity stalked the fan but, John Travolta is not gay. Just ask Tom Cruise. He’ll back us up.

Scary TV: Big Screams On the Small Screen

Last Halloween, we unearthed a special three part series that revealed our picks for the “Scariest Movie Moments.” If you’re still looking for the perfect fright film to watch during the witching hour, it’s a can’t miss guide. From well-known classics to gore obscure, there’s something for horror fans of every stripe.

 

While big screen titles are still the lifeblood of the genre, TV series and made for television movies have a long tradition of bringing tales of terror into our living rooms. To that end, we’ve narrowed down hours of network programming into a short list that includes some of our all-time favorite television specials and series episodes. Each of these thirteen selections is also a stand-out example of small screen scary. Turn the lights on and enjoy.

 

NOTE: Titles available for streaming on Netflix, Hulu Plus and/or Amazon Instant Video are noted as such. Clicking on any image below will take you to the Amazon product page for the DVD and/or Blu-ray release of that title.

 

BUFFY THE VAMPIRE SLAYER

“Hush” (S4, E10) is one of the best episodes of the series. It’s also the scariest, thanks to a quartet of truly evil baddies known as “The Gentleman.” They steal the voices of their victims to prevent them from screaming. Adding to the creep factor, The bulk of the episode has no spoken dialogue. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

 

GREY’S ANATOMY

“Sanctuary” and “Death and All His Friends” (S6, E23 & E24). The sixth season of the sudsy ABC drama wrapped with a dark and shocking finale. A shooter turns Seattle Grace into a bloodbath over two excruciatingly tense hours. It’s a dead-serious outing that trades the usual melodrama for uncompromising brutality. Stream: Amazon Instant.

 

 

 

HARPER’S ISLAND

This CBS summer series is a gory whodunit. At least one character is offed in every episode, often in brutally creative ways. Adding to the tension, the identity of the killer isn’t revealed until the finale. Though the entire run is grim and scary, a harrowing battle to the death makes “Gasp” (E12) the episode that sticks with you. Stream: Netflix and Amazon Instant.

 

 

INVASION

This creepy, well crafted ABC series (cancelled after one season) is equal parts family drama, sci-fi thriller and gothic horror. It’s a slow burn storyline draws you in and keeps you guessing. Things get full-tilt disturbing in “Round Up” (E21), a series highlight. You can pick up the complete series on DVD for under $10 on Amazon. Stream: Amazon Instant.

 

 

 

KOLCHAK: THE NIGHT STALKER

Darren McGavin is spot-on as Carl Kolchak, a tabloid reporter with a knack for working a crime beat populated by vampires, ghosts, demons and ghouls. Two stand-alone movies and the first batch of weekly episodes are standouts. The series aired for a single season. “The Zombie” (E2) gets the nod for scariest installment. Stream: Netflix and Amazon Instant.

 

 

 

LITTLE HOUSE ON THE PRAIRIE

“Sylvia” (S7, E17 & E18) was a jarring departure from the norm for this long-running hit. This heavy two-parter had it all: body image crisis, gender politics, the rape of a young girl, her subsequent pregnancy and the fallout from all of that. You want more? The attacker stalks his victim wearing a freaky porcelain mask. Yikes! Stream: Amazon Instant.

 

 

 

SALEM’S LOT

This 1979 mini-series is still one of the best adaptations of a Stephen King novel. It’s an atmospheric and genuinely chilling tale of a small town on the verge of being taken over by a nasty looking vampire. James Mason, oozing sinister evil, heads a first rate cast. Be sure to get your hands on the full-length cut. A heavily edited version was also released but it’s a mess.

 

 

 

TRILOGY OF TERROR

This 1975 ABC horror anthology would have faded into obscurity were it not for “Amelia,” the third and final segment of an otherwise forgettable movie. 70’s B-movie queen Karen Black is trapped with a Zuni fetish doll that has suddenly come to life. The little bastard is pissed and he’s out for blood. It’s a balls-to-the wall battle royale that ends with a nifty little twist.

 

 

 

THE TWILIGHT ZONE

“Living Doll” (S5, E6). There are dozens of episodes from this classic series that make your blood run cold. What separates our scary pick from all the rest?  Meet Talky Tina, the toy from hell. In reality, this is a rather sad story about a family in crisis. The addition of an increasingly hostile doll adds a delightfully freaky twist. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

 

TWIN PEAKS

“Lonely Souls” (S2, E7). This was the episode that finally revealed “who killed Laura Palmer” while also treating us to some of the most frightening images ever seen in primetime. Take, for example, that handsome guy to the left. He’s Killer Bob, an unforgettable villain and the stuff of nightmares. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

 

THE WALKING DEAD

“Days Gone Bye” (S1, E1) kicked off the exceptional first season of this AMC hit. It’s a bone-chilling exercise in visceral horror that offers us a front row seat to a world gone mad. When a show zombifies a little kid, you know it’s not going to pull any punches. Full of iconic, unforgettable moments. One of the best drama pilots in TV history. Stream: Netflix and Amazon Instant.

 

 

THE X-FILES

“Squeeze” (S1, E3) introduced us to genetic mutant Eugene Victor Tooms, a frightening fellow with a taste for fresh human livers and the ability to squeeze into the narrowest of spaces. Doug Hutchison plays Tooms to terrifying perfection. He makes a return visit later in the season (EP 21, “Tooms”) but this first outing is vintage X-FILES. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

 

THE X-FILES

“Home” (S4, E2) is easily the most disturbing and controversial episode of the entire series. It’s also scary as hell. Though the plot is heavy on perversion and inbreeding, snappy dialogue and flourishes of gallows humor elevate the proceedings. Extra points for turning a Johnny Mathis song into a harbinger of death. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

So, what do you think? Did we hit most of the highlights or is one of your scary TV favorites missing from the list? Let us know. If you’re reading this on the post page, you should see the new Facebook comments area below. If not, CLICK HERE to go to the actual post page and scroll to the bottom of the article.

SUMMER TV 2014: WEDNESDAY BEST BETS

It’s Wednesday and we’ve got something for everyone tonight. Unscripted competition series? Check! Goofy sitcom? Check! Moody police drama? Check! Viva Hump Day!

In addition to this trio of Wednesday “best bets,” you can also check out new episodes of the hit ABC Family sitcoms MELISSA & JOEY and BABY DADDY. Both are holdovers from my 2013 “Summer TV Guilty Pleasures” list and make for a perfect hour of mindless fluff (add a glass or two of pinot to “enhance” the comedic experience).

SO YOU THINK YOU CAN DANCE (FOX)

WHY IT'S A BEST BET: Because in a sea of crappy, carbon copy reality shows, SO YOU THINK YOU CAN DANCE is one of the few that consistently delivers the goods. The talent on display is off the charts and Cat Deeley remains one of the best hosts in the business. This is a show that celebrates dance, choreography and true artistic vision. It’s never a shoo-in for renewal year to year and, honestly, that’s a real shame.

WHO SHOULD WATCH: Anyone who loves a television experience that mixes heart-tugging personal stories, engaging competition and eye-popping dance moves. SYTYCD crosses all disciplines and is the perfect way to jump the midweek hump. Tonight is only audition week three so it’s still early enough to jump on the “Hot Tamale Train.”

SO YOU THINK YOU CAN DANCE airs Wednesdays at 8PM E/P on Fox.

HOT IN CLEVELAND (TV LAND)

WHY IT'S A BEST BET: Because the show is damn funny and Betty White continues to amaze with her razor sharp comic timing. This is that rare sitcom where you know everyone is having the time of their lives. Five seasons in, HOT IN CLEVELAND is still firing on all cylinders and rarely misses an opportunity to engage in some truly loopy fun.

WHO SHOULD WATCH: Anyone who likes the laugh out loud experience of a sitcom classic peppered with big dollops of wholly inappropriate dirty jokes. Each episodes spins a lot of simultaneous plates but somehow manages to bring home the comic bacon. If you’re a comedy snob or total tight ass, this won’t be your cup of yuk yuks.

HOT IN CLEVELAND airs Wednesdays at 10PM E/P on TV Land.

MOTIVE (ABC)

WHY IT'S A BEST BET: Because MOTIVE completes the trio of exceptional summer crime dramas that kicks off on Mondays with MAJOR CRIMES and new hit MURDER IN THE FIRST. The fun twist here is the structure of each episode. Within the first few minutes, the “killer” and “victim” are ID’d (with dramatic on=screen graphics, no less) and the rest of the hour is spent trying to figure out why the crime was committed. It’s a gimmick that works quite well because the conclusion is typically not telegraphed early on. Extra fun: trying to figure out where supporting player Lauren Holly ends and her plastic surgery begins.

WHO SHOULD WATCH: Anyone who likes their crime drama dark, twisty and morally ambiguous. Things are usually wrapped up nicely at the end but, you rarely feel sunshine and roses at the tragic outcome. This Canadian import is beautifully produced and well acted. Leads Kristin Lehman and Louis Ferreria look the part and do fantastic work every week. It’s also refreshing to watch a police drama that never plays the “woman in peril” card.

This is A-list, must-see stuff.

MOTIVE airs Wednesdays at 10PM on ABC

SUMMER TV 2014: TUESDAY BEST BETS

After a strong start to the week with a quartet of tune-in worthy dramas on Monday, it looks like the TV Gods have declared Tuesday their day of rest. There’s a boat load of unscripted crap to sift through, including two hours of Duggar hell on TLC (home of some of the worst programming this side of WE and MTV). While some people think FARGO is the bee’s knees, I think it’s as insufferable and overrated as the movie that inspired it. That means my “best bets” list for tonight is a bit skinny, with one new drama making the cut.

CHASING LIFE (ABC FAMILY)

WHY IT'S A BEST BET: Because when you think “summer TV” and “ABC Family” I’m sure the first thing that comes to mind is “cancer show.” OK, that’s a gross oversimplification of this surprisingly well done and engaging series. Credit some above-par writing and an appealing cast, including a nice turn by lead Italia Ricci. Extra points for the presence of one of my favorite character actors, Vondie Curtis Hall. CHASING LIFE is life affirming, often gut wrenching and has more than a few surprises up it’s sleeve.

WHO SHOULD WATCH: “Too cool for the room” haters can take a powder. This isn’t a show for the tragically hip. Should your appetite for serious, medical issue dramas lean more towards THE BIG C-lite, sidle up to the DVR. If you’re looking to add a little serious stuff to your plate of fluffy summer TV fun, you could do a lot worse than this promising ABC Family original.

CHASING LIFE airs Tuesdays at 9PM E/P on ABC Family.

SUMMER TV 2014: MONDAY BEST BETS

Start your week off on a high note with four scripted dramas that will add some sex, humor and intelligent crime drama to your Monday nights. These quick hit reviews will give you the highlights you need to know and enough of a tease to match the right show with the right viewer. Fire up those DVRs and enjoy!

MAJOR CRIMES (TNT)

WHY IT'S A BEST BET: Not only is this spin-off from THE CLOSER a thousand times better than the show that birthed it, a first rate cast and smart writing keep the drama crackling. MAJOR CRIMES manages to mix hard-hitting police action with well-placed flourishes of humor and emotional drama. Veterans Mary McDonnell, Tony Denison, Michael Paul Chan and G.W. Baily anchor an exceptional cast that also includes fine work from Raymond Cruz, Phillip P Keene, Kearran Giovanni and Graham Patrick Martin (one of the best young actors on series television).

WHO SHOULD WATCH: Anyone who enjoys a crime drama that mixes the best elements of police procedurals with serialized storylines. Extra points if you don’t need a neat and tidy resolution at the end of every hour. Like a moral quandary? MAJOR CRIMES has you covered.

MAJOR CRIMES airs Mondays at 9PM E/P on TNT.

MURDER IN THE FIRST (TNT)

WHY IT'S A BEST BET: Two big reasons: Taye Diggs stars and Steven Bochco is one of the creators. The supporting players include James Cromwell, Steven Webber and Richard Schiff. Unlike typical police procedurals, newcomer MURDER IN THE FIRST will follow a single case across the entire season. Sound familiar? TV trivia points for you! This is the same format used in the 1995/96 first season of MURDER ONE, also from Bochco.

WHO SHOULD WATCH: Fans of Diggs who have their fingers crossed that he’ll finally take the lead in a series that lasts more than one season (and showcases his talent a bit better than the tepid PRIVATE PRACTICE). Also, if you are looking for a return to gritty form by Bochco, this could be just the fix you’ve been longing for.

MURDER IN THE FIRST airs Mondays at 10PM E/P on TNT.

LONGMIRE (A&E)

WHY IT'S A BEST BET: I hate westerns. Seriously, can’t stand them. Maybe that’s why it took Netflix to expose me to this excellent A&E original. Robert Taylor plays Walt Longmire, a weather-beaten Wyoming sheriff who is as moody as he earnest. The cast that also includes Lou Diamond Phillips and BATTLESTAR GALACTICA vet Katee Sackhoff, both doing some of the best work of their careers. LONGMIRE is first-class stuff.

WHO SHOULD WATCH: Anyone who makes public proclamations that they hate western-themed things as well as those who feel the exact opposite. Be warned: LONGMIRE has a unique pace and “feel” that might not work for those who require non-stop, in-your-face action. If you’re looking for intriguing police mystery with a side of thoughtful introspection, aim your long gun at LONGMIRE and tune in.

LONGMIRE airs Mondays at 10PM E/P on A&E.

MISTRESSES (ABC)

WHY IT'S A BEST BET: After three hours of crime time, check your brain at the door and fire up your libido! It’s time for the slutty antics of MISTRESSES. The catch here is an interesting yin/yang of tawdry soap opera storylines being interpreted by a genuinely talented quartet of lead actors. Alyssa Milano (who has never looked better), LOST alum Yunjin Kim (as the worst therapist…ever), Rochelle Aytes (who is so insanely beautiful you’ll get lost in her eyes) and Jes Macallan (a genuine find). This stateside re-make of a UK series made my “Summer Guilty Pleasures” list last year. Thus far, season two has not disappointed.

WHO SHOULD WATCH: Well, no one really but you shouldn’t suck down potato chips and hot fudge sundaes either. Yes, girls and gays are the core viewers here but I know more than a few straight guys who are rarely disappointed by the often eye-popping sexual escapades. Speaking of eye-popping, Justin Hartley drops in this season as does newcomer Ricky Whittle. Ricky who? See below and thank me later.

MISTRESSES airs Mondays at 10PM E/P on ABC.

STREAM: GREAT TV COMEDIES [NETFLIX]

IN TWEET: HELPING YOU GET THE MOST OUT OF YOUR NETFLIX SUBSCRIPTION WITH A LOOK AT “MUST SEE” CONTENT BEYOND NEW RELEASES.

Welcome to “Stream,” a new regular feature that highlights great content available on streaming video services like Netflix and Hulu. We’ll take you beyond new releases and bring you movies, TV series and documentaries that are worth adding to your queue. Up first: eight “must see” TV comedies available now on Netflix.

NOTE: All series featured were available for streaming via Netflix at the time this post was written. Some programming may become unavailable at a future date due to terms and conditions in the carriage deals between Netflix and content providers. Netflix has not paid any sponsorship or promotional fees for this post. If available, links are also included for Amazon Instant Video and Hulu.

I’m not a fan of most adult-targeted animated series. I’ve never sat through a full episode of THE SIMPSONS or FAMILY GUY and I stopped watching SOUTH PARK about ten years ago. Maybe I’m trapped in a Bugs Bunny bubble but, most of what’s out there plays like repetitive snark; same joke, different poorly animated character. That’s why ARCHER is such a pleasant surprise. It’s a gleefully dirty, whip-smart send-up of the spy genre that also has more than a few things to say about gender roles and current social issues (though you’ll be hard pressed to figure out when, decade-wise, the show is set).

ARCHER works because creator Adam Reed knows how to balance low-brow humor with intelligent dialogue and spot-on pop culture references. The uniformly excellent voice cast includes H. Jon Benjamin, Chris Parnell, Judy Greer, Aisha Tyler and the amazing Jessica Walter.

ARCHER is currently in first-run on FX (and was recently picked up for two more seasons). The previous four seasons are available for streaming on Netflix. The series is also available on Amazon Instant Video and Hulu.

 

 

 

Picture one of the many series starring Tracy Ullmann…but funny. Really, really funny. That’s THE CATHERINE TATE SHOW, a bawdy British import that has Tate playing a variety of recurring characters in short-form sketches. My personal favorite is the bitter, foul-mouthed grandmother from hell (pictured above), a role that stirred up more than a little controversy in the UK. Tate and her supporting players shine and, unlike SATURDAY NIGHT LIVE, the show knows when to end a sketch before it wears out its welcome.

If stateside audiences know Tate, it’s most likely from a two-season stint as Nellie Bertram on the US re-make of THE OFFICE. That’s a shame because it’s a role that only scratched the surface of her considerable comedic talents.

THE CATHERINE TATE SHOW ran for three series (18 episodes) all of which are available for streaming on Netflix. The series is also available on Hulu.

 

 

 

I stumbled upon re-runs of FRASIER on the Hallmark Channel. Despite ham-handed censorship by the network (words like “slut” and “bitch” are bleeped) and frequent commercial interruptions for mail order catheters and Angie’s List, I found myself laughing at something I refused to watch when it was on NBC. FRASIER was a spin-off from CHEERS, a show I always hated, so naturally I assumed its offspring would suck too. Color me dead wrong.

What could have been another ill-conceived star vehicle (think JOEY or anything with Kirstie Alley) turned out to be a finely crafted ensemble comedy. Bucking a sit-com trend, FRASIER ran for eleven seasons and actually got better with age. A strong cast (including an impressive array of A-list guest stars) and exceptional writing give each episode a play-like feel. The show never went off the rails and ended on its own terms. It’s “comfort comedy” that won’t leave you feeling guilty for enjoying it.

All eleven seasons of FRASIER are available for streaming on Netflix. Seasons 1-9 are in SD (4:3 aspect ratio) and seasons 10 and 11 are in HD (16:9 aspect ratio). The series is also available on Amazon Instant Video and Hulu.

 

 

 

KEEPING UP APPEARANCES is one of my favorite British imports. It’s broad farce and classic slapstick given new life by the bravura comedic performance of Patricia Routledge. She plays Hyacinth Bucket (who insists her last name be pronounced “Bouquet”), the ultimate wannabe social climber and town gadfly. Each episode centers on her latest scheme to see and be seen and the disastrous results that follow. Along for the ride: Hyacinth’s long suffering husband Richard, her nervous neighbor Elizabeth and a decidedly low-brow extended family.

Routledge plays Hyacinth like a force of nature and gives Lucille Ball a run for her money when it comes to physical comedy. She’s that good. This is one of those sit-coms that would be hard to pull off with anyone else in the lead. Routledge was in her 60’s when KEEPING UP APPEARANCES was in production and, with few exceptions, she performs all of her own stunts. The series is silly fluff but it’s also undeniably funny and well worth your time.

All five series of KEEPING UP APPEARANCES are available for streaming on Netflix. NOTE: as of this writing, Netflix erroneously lists all 45 episodes as being from 1 series. Also, for some odd reason, episodes 30 and 34 are transposed. That’s important because “Indoor/Outdoor Luxury BBQ With Finger Buffet” is my favorite episode and it’s actually #34, not #30.

 

 

 

NBC has two sit-coms that feature the exploits of a group of small-town crazies. One, COMMUNITY, is an unfunny and wildly overrated mess that keeps coming back like a cold sore. The other, PARKS & RECREATION, is that rare single camera comedy that can handle the meta-humor while also wearing its heart on its sleeve. It’s such a great show, it somehow manages to make Aubrey Plaza tolerable. In my book, that’s no small feat.

What helps PARKS & RECREATION rise above the clutter is a genuine love for its characters and the ability to skewer small-town life without being mean. The lion’s share of the credit goes to star/producer Amy Poehler. In less capable hands, the character of Leslie Knope (Poehler) would be a one-note annoyance. Instead, she’s blossomed into a lovable do-gooder who genuinely believes there’s an upside to be found in just about every situation. The series also features a strong supporting cast, with a special nod to stand-out work by Nick Offerman, Aziz Ansari, Adam Scott, Retta and Rob Lowe.

PARKS & RECREATION is currently in first-run on NBC (and was just picked up for another season). The previous five seasons are available for streaming on Netflix. The series is also available on Amazon Instant Video and Hulu.

 

 

 

PORTLANDIA is an acquired taste. Of all the series highlighted here, it’s the one most likely to leave you scratching your head. Give it a few episodes and let the heavily improvised, slow-burn satire wash over you. It’s a smart comedy that is worth the extra effort.

Fred Armisen and Carrie Brownstein created the series and appear in most sketches. Armisen never impressed me on SNL but here he shines, especially when playing one of several recurring female characters. Uptight Lefties might be put off by the barbs directed at tree huggers, feminist lesbians, vegans and other Portland-centric progressives but tweaking the unflinchingly self-righteous is a big part of what makes PORTLANDIA so much fun.

PORTLANDIA is currently in first-run on IFC. The previous three seasons are available for streaming on Netflix. The series is also available on Amazon Instant Video and Hulu.

 

 

 

THE VICAR OF DIBLEY is a gentle comedy from the UK that features a stand-out performance by Dawn French. It’s also proof that religion doesn’t have to be a comedy killer or a lightening rod for controversy.

French plays The Reverend Geraldine Granger, newly arrived in the farming town of Dibley. She exudes a joie de vivre that helps her win over naysayers who initially greet her with equal parts prejudice and suspicion. This is another comedy that knows how to balance small town satire with genuine affection for its characters. It’s also a show that isn’t afraid to tug at your heart strings, as the death of a beloved character in “The Easter Bunny” episode demonstrates. It’s unexpected and quite poignant.

THE VICAR OF DIBLEY ran for three series (16 full-length episodes) all of which are available for streaming on Netflix. Two stand-alone Christmas specials are also available. The series is also available on Hulu.

 

 

 

30 ROCK combines the best elements of improvisation, single camera comedy and biting satire. Each episode crams a dizzying array of in-jokes and pop culture references into a loosely structured format that almost never spins out of control. It has star/creator Tina Fey’s fingerprints all over it (and that’s a very good thing).

Fey plays Liz Lemon, a loveable curmudgeon who helms a middling sketch comedy series called “The Girlie Show.” 30 ROCK opens with network honcho Jack Donaghy (Alec Baldwin) forcing her to add out-there comedian Tracy Jordan (Tracy Morgan, pretty much playing himself) to the cast and re-title the show “TGS with Tracy Jordan.” Subsequent episodes involve Lemon trying to balance the egos of her cast and writers, a roller-coaster personal life and an increasingly complex relationship with Donaghy.

30 ROCK is funny but what really sets it apart is the fearless gusto with which it bites the hand that feeds. The “hand” in this case is NBC and a revolving door of corporate parents. The network is the butt of many jokes, with the anti-corporate humor getting particularly sharp in the seasons that follow the buyout of NBC/Universal by Comcast (here scathingly referred to as Kabletown).

The final season is wildly uneven and I hate every single guest appearance by annoying comedy killer Kristen Schaal (as equally annoying NBC page Hazel) but, by just about every other measure, 30 ROCK shines.

30 ROCK ran for seven seasons, all of which are available for streaming on Netflix. The series is also available on Amazon Instant Video.

 

 

 

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