There seems to be a lot on these days. And while I wouldn’t exactly call it a golden age for television (because a lot of the follow-up seasons I’ve been watching have been disappointing), after the dry spell during COVID, I am grateful for the entertainment. I thought I would drop in to discuss some of the shows I’ve been watching.
- Call Me Kat, Season 2:
This is a cute, dorky little show with Mayim Bialik (of The Big Bang Theory fame) as the protagonist, Kat. It’s easy watching and feels like a welcome relief from more serious themes. I didn’t think the second season has been as good as the first. A lot of what drives sitcoms of this ilk is the romantic plot, and they got that off kilter. But it’s a cute show. Innocuous, but I like if for that.
Streaming on Hulu.
- Sweet Magnolias, Season 2:
The second season was mostly a good follow-up to the first. The first was better, in my opinion, because there were some frustrating storylines in this new one. Most of the frustration is character-based, so I try not to complain that I don’t like where a character’s storyline is heading until I see the conclusion. But as of right now, I am a bit concerned about several things: Dana Sue’s relationship, Helen’s situation overall, and the anger management issues that seem to have suddenly cropped up in Maddie’s boyfriend (Maddie’s was a love story I particularly liked before, and this felt out-of-nowhere and unfair). There was a tendency to let side stories have too much airtime, which took away from the main stories. The setting was confined to a summer when the kids are off from school. Whereas the first season was given space to grow and be what it needed to be, this one felt like a placeholder, which was a bit disappointing. But I watched the show very quickly, and it held my interest, so I’m hanging with it.
Streaming on Netflix.
- All Creatures Great and Small, Season 2:
This is a great little show, not ambitious, but so heartwarming. Season 2 was in keeping with the Season 1, which means it was good. It was a little dull, recycling a couple of storylines and dragging out a few others. But there was a reward this season, and it was quite romantic. Overall, well done, and worth it to escape into an hour of gentle, relaxing drama.
Streaming on PBS Passport.
- Dollface, Season 2:
Basically, the same as the others… Not quite as good as Season 1, but not terrible. This is a show about a girl on the cusp of thirty who breaks up with her boyfriend and has to reintegrate with her friends and find what she wants from life. I really enjoyed the first season. But this recent one was another season that wasn’t given space to breathe, and I can’t remember that we actually got anywhere… There were some storylines that were obviously not going anywhere which had way too much time devoted to them. Anyway, I can’t say it was terrible because, again, I did watch it very quickly.
Streaming on Hulu.
- The Marvelous Mrs. Maisel, Season 4:
I came to this show reluctantly, because it all seemed a bit musical-ish and vaudeville-y, and that really isn’t my style. But the clothes were beautiful, and I decided to stick with it. I hardly ever know what to say about this show, which has the same creators as Gilmore Girls. For instance, the first episode of this latest season is so exhausting that I had to watch it in two installments. That’s not good TV, in my opinion. It’s a little too self-indulgent sometimes (the writers explore unique interests that are just not going to resonate with an audience). It’s all over the place, and you feel like you need a tether, or something to bind the whole thing together. Half the time you wonder what the point is. On the other hand, it’s brilliant. While excessively grand in its sets and almost theatrical in its movement, it’s doggedly realistic. It’s not just concerned with romantic relationships. They’re a part of life, but no part of life is neglected. The show cares about relationships—between co-workers, between colleagues, between rivals, between friends, between exes, between ex-in-laws, between parents and children… No relationship is too small for it to absorb itself in and bestow its dignity upon. And I really like that. The cast is amazing. I like the family aspect and the depiction of Jewish life. I like the 1960s setting. I like the way that, with a few exceptions, the show relentlessly follows the mores of the era, even when they make you cringe. But…I still can’t tell you what the point is. It views like a fictionalized, involved origin story of a deeply famous person (in real life), which we all want to watch because she is that famous. Like think if it were Lucille Ball. But of course, Miriam Maisel is fictional. The creators might argue back that the show is about a young female comedian finding her footing on the comedic scene of the 1960s. But that wouldn’t really be honest. The show rambles, takes on much more expansive sidelines. The only thing that really binds it together is the beauty of the filmography, and there is, to be sure, the strong thread of Miriam’s career. On one hand, I actually like this rambling in a way. It makes it super realistic, just like life, and I like realism. Of course Miriam would have to pause her career briefly when her ex-father-in-law has a heart attack. Of course she would have grand squabbles with her parents, who are living with her. Those are the kinds of things that wouldn’t normally make it into the story. We have the fly-on-the-wall view to Miriam’s whole life. I’m just not always sure why we’re supposed to care. Again, she wasn’t a real person, and, in and of herself, while she is a good character, she’s not that compelling. And while I am a huge fan of realism, I deeply believe in storytelling, and I think that is a bit absent here. We need a thread. I had thought it was actually going to be romantic. There’s no doubt that the character of Lenny Bruce is her equal. In books, movies, or shows when a character’s love life is open-ended, I have literally never guessed wrong who the female lead was supposed to be with, her soulmate or true partner, and I thought that was Bruce for Miriam. I may have been living under a rock, but I didn’t know until this year that Bruce was a real person, who tragically ended his life about three years after when Season 4 would have taken place. So I really think the show has backed itself into a corner here by making Miriam’s chemistry so electric with a real-life character with whom she is not destined to be. The upward arc of her career along with the slow burn of her romance with a character like Bruce could have made some story-telling sense of the show. It could have explained why we were so invested in her personal life. But anyway…I actually really enjoy the show for the most part, and I’ve learned a lot. So I’ll keep watching.
Streaming on Amazon Prime.
- Zoey’s Extraordinary Playlist, Seasons 1 & 2:
Wow. What a show. Props to my sister for discovering it because it seems to be a bit obscure. Anyway, it’s about Zoey, who is a coder at a big tech firm. Her dad is dying from a rare neurological disorder (which the writer’s dad also died from). She gains a superpower in that people, without knowing it, sing their feelings to her through popular lyrics. Okay, so technically, it has a fantasy element, which I don’t usually like. But for anyone who believes in a spiritual realm (and as a Christian, I do), it feels less like fantasy and more like a creative illustration of what happens when the Spirit reveals nuanced truths to you. We can see other people’s hurts and needs so much more clearly, and it felt like that, so it wasn’t such a stretch for me. The show has so much heart and empathy (the real kind). The love between the characters, the struggles they face, the feeling of family and community – it’s just the best I’ve seen in a long time. There is also a love triangle that keeps you on the edge of your seat until the end of Season 2. I actually didn’t know who Zoey was going to end up with (although I did guess her soulmate correctly 😏)! I do have to flag one episode: Season 2, Episode 6, in which the show was more or less paused to speak to political events of that year, and it was a disaster. It completely departed from the show’s character and storyline to pursue a pretty radical theme. I feel like I beat this drum all the time in reviews, but here we go again… I just cannot say this plainly enough: this is detrimental to art and unnecessary. Shows need to be what their original writers intended and not worry about pleasing anyone. Even though the show got right back on track, I felt like viewers really never recover from being let down in that episode. In a show that is entirely about deep love and loss, which spoke so profoundly to grief, it was jarring to pause for a militant political theme that took our characters…out of character and far from empathy. Anyway, I have almost come to expect shows self-destructing in this way, so… I did finish the show, and I was happy with the ending. Roku commissioned a Christmas special that progresses the show basically one episode beyond Season 2. That episode is free if you have Roku. It was enjoyable, but not very well-directed. A little cheesier, a little less serious… But it still wrapped everything up pretty nicely. As hard as I was on the show for its mistakes, overall, it’s the best I have watched in a really long time. It got one thing very wrong, but it gets a lot so, so right.
Streaming on Peacock.
- Fleabag, Seasons 1 and 2
I had heard such glowing reviews about the literary elements of this British show that I felt like I had to watch it. Reviewers had spoken of it as being laugh-out-loud funny… I wouldn’t say that. Rather, it had a collection of unique humorous moments that stick with you. For instance, Fleabag’s sister was one of the most quietly hilarious characters I’ve seen. The first season is about a woman who is basically unhinging following the deaths of her mother and best friend, and it is actually quite dark in theme. The second season was just pointless to me. I follows Fleabag’s desire for a relationship with a priest. I have seen this sort of fascination with a priest’s celibacy from authors before, with the goal being to crack through that. As a religious person, this makes no sense and always feels disrespectful. I didn’t see how it was supposed to be brilliant when it is a theme that has been rehashed many times. Another criticism I have is about the vulgarity aspect. I am the last person to pearl-clutch over the media I consume, but I think there is a nuance to this that needs to be addressed. Phoebe Waller-Bridge (the writer) was impressed with Bridesmaids, and believes it did a lot for how women are portrayed on screen. I believe this too. However, you have to be careful in this balance. If you begin to be vulgar just for the sake of being vulgar…that’s just gratuitous and may become demeaning. So overall, I was not a huge fan. A lot of people are passionate fans, however, so take my analysis for what you will.
Streaming on Amazon Prime.
- The Gilded Age, Season 1
Julian Fellowes’s long-awaited American answer to Downton Abbey finally hit HBO this year. I am a little uncertain how to approach this one. On the one hand, Fellowes obviously did his research and accurately portrayed the Gilded Age for the ultra-wealthy of New York. On the other, it was boring. The Gilded Age is a tough era. I once wrote a novel set in 1903 and immersed myself in all things gilded. It is overwhelming, simultaneously fascinating and boring. The history of the time is so overbearing, so to speak, that if you don’t push back and say, as a writer, “This story is mine,” the history won’t let you have three-dimensional characters. You don’t feel you have the freedom to carve out your own stories unless you do that. That was the problem in The Gilded Age. None of the characters were super compelling. None of them had great storylines. Every once and a while, there would be a flicker, like with the Russells or Peggy Scott, but it would quickly peter out into the mundane. Marian Brook particularly was insipid as our lead. There were some aspects I liked and some I didn’t like, but I won’t go into them too deeply because the show had the pretty fatal flaw (to me) of being slow-moving. I think this may have been, in addition to the difficult era, a tough production due to the American/British differences in filming. Camilla Long, writing for The Times (UK) said, “You can feel every last torturous second of rewrites, reschedules and rethinks…” I feel bad for giving criticisms because you can tell there was a lot of earnestness put into the show, particularly by the actors. I will watch Season 2, and hope for more compelling storylines.
Streaming on HBO Max.