Despite some nifty visuals and a solid cast, Emerald City simply never rises above its predictable Special Snowflake Destined For Greatness central plot.
It's somewhere around the explanation of Incorporated's bifurcated future world, wherein unemployed urchins rule the slums and sleek worker bees look down their noses from glossy high-rises, that Syfy's new show peaks creatively. The vision echoes the futures of plenty of other sci-fi works (weirdly, I was reminded of the Ethan Hawke, us-vs-them vampire flick Daybreakers), but it has undeniably interesting ideas of its own.
If the sixth and final season of Teen Wolf gets anything right - and, admittedly, it gets quite a few things right - it's the impending doom of the series finale tucked and wrapped away into as many quick lines of dialogue and nostalgic flashbacks as possible. "They don't need us anymore," alpha pack leader Scott admits very early on into the premiere, speaking of his little supernatural hamlet, Beacon Hills; he could be talking about his fans as well, although I predict they would vehemently disagree.
More often than not, MTV's sleek high-quality production values and tragically attractive talent pool works overtime in negating the "edgy" content its scripted department has run toward since Teen Wolf became a hit. That show, lest anyone forget, began much the same way: polished to a mirror shine, but without much beating beneath its six-pack-abs-strewn DVD cover art. It's taken years for it to become something special and intricately layered, finally embracing - and elevating - the MTV-ness of it all.
Good Behavior isn't as morally or narratively complex as some of the better dramas on TV right now, but on a level of pure, breezy entertainment, TNT's new series is dangerously addictive.
Production values run high within Netflix's new blockbuster series The Crown, with everything from opulent operating rooms to the sunny waves of Malta providing the backdrop to the show's royal drama. Centering on the cancer-stricken fall of King George VI, and subsequent rise to power of Queen Elizabeth II, The Crown isn't too far removed from other similarly themed period pieces.
People of Earth is easy to love and laugh at because it skillfully marries a ridiculously out-there premise with a tone and main character that are hilariously down-to-earth.
The Great Indoors isn’t just annoying because it’s not funny, but because it simplifies everything - from character interactions to the mind space of an entire generation - for the sole purpose of one tiring joke: millennials are dumb.
Much of my take on Mom's season 4 premiere, which debuts this Thursday on CBS, is a reverberation of what I thought about the season 3 premiere last year. Although that might sound initially damning, it's actually straight-up praise: I loved the show a year ago, and the year before that, and the year before that, when it premiered. Season 4 hasn't reinvented the Mom wheel - take a street-level, taboo topic and find ways to tell funny, affecting stories related to it - but what it has done is iterate itself into what I'd call the best sitcom on television right now.
Although Eyewitness makes a poor first impression, the show eventually twists and turns into a mesmerizing and addictive murder story-slash-family drama with an emotionally dense backdrop, all brought to life by two remarkable leads in Nicholson and Young.
