"Diversity is about the color and the gender of people who are writing and shooting television, but it is also about whether or not we tell the same stories, with the same dramatic beats, and the same resolutions over and over again. Changing the composition of writers’ rooms and the occupants of directors’ chairs would be a relatively easy task, if only the entertainment industry made the decision to do it. Yet pulling away from trusty old archetypes, and stories we know viewers respond to, is an entirely different challenge."

What ‘Alice in Arabia’ teaches us about how to make Hollywood more diverse

"[W]hile her attraction to and brief romance with Will were captivating parts of her process of finding an identity outside of being a mother and wife of a disgraced political figure, Alicia proceeded to evolve into a confident and ambitious attorney—and her yearning for Will and strained reconciliation with Peter became the least interesting aspects of her. The past five seasons have seen her progress from a smart but insecure first-year associate to a partner at Lockhart Gardner to the head of her own fledgling law firm. She also has strong, multifaceted ties to many other characters on the show—such as her complex relationships with Diane and Kalinda, her professional partnership and friendship with Cary, and her fierce devotion to her children. Perhaps more than any other TV protagonist, Alicia’s world is populated with vibrant people—friends and antagonists alike—who offer tremendous story potential for seasons to come."

Why That Big Twist on The Good Wife Is a Breakthrough for TV - Kirthana Ramisetti - The Atlantic

"But even as we’ve supposedly left the “third golden age of television” behind, we’re still using the same rhetoric: if a show looks beautiful, has a complicated narrative, and offers a showrunner (and Hollywood stars to boot, if available!), then it’s quality. The problem with this paradigm should be apparent, as everything from Downton Abbey to The Newsroom fits the bill. And if you really think about it, most of the shows on ABC Family do as well: Pretty Little Liars is nothing if not narratively complex and aesthetically gorgeous."

Anne Helen Petersen, House of Cards is Just Okay. And That’s Okay.

"I have been a HIMYM fan since day one, and I still think the series’ first episode is one of the best comedy pilots I’ve ever seen. I love this show. I have been devoted to this show. I have stuck with this show through these last few garbage-y seasons, even as the series has squandered my affection, out of a combination of loyalty, pathetic optimism, curiosity, and the conviction that, everything else aside, the show was designed to have a happy ending. It’s in the title and everything! I have spent nine stupid years of my stupid life waiting for this happy ending, and if it turns out to be a tragic ending about a hearty widower, there is no way for me to get a refund on all this."

Please Don’t Let the Mom Die on HIMYM — Vulture

How many times can I repeat my refrain? I’m so glad I stopped watching this show a few seasons ago.

"What’s funny for me is Chuck fans are the hardest to peg down. I can spot a Gossip Girl fan a mile away. But Chuck fans are very unpredictable bunch. It’s as much female as it is male and families and kids who watched it with their parents and parents who got to share that time with their kids. So it has a surprisingly diverse fanbase."

'Chuck': Josh Schwartz on beloved series returning | Inside TV | EW.com

"[I]t’s entirely possible — you might even say pretty likely, given the long life and lucrative nature of HIMYM — that when we get to the fall, an actress strongly associated with independent film will be moving, in her prime, to the world of half-hour network comedy.

The checkmarks in the pro and con columns are all over the map with this particular project: CBS is the home of Two And A Half Men, but it’s also currently employing Allison Janney on Mom and Melissa McCarthy on Mike and Molly. HIMYM and its long, slow, poorly executed march to the end have frustrated the blue French horn out of many of those who loved its first few seasons, but Carter and Bays have, along the way, done some beautiful, evocative, really funny, deeply felt television. And they’re working with Emily Spivey, who spent years writing for Parks And Recreation and Saturday Night Live. And they say Gerwig is going to have some creative input on the writing and producing end, though it’s hard to know exactly how much, even with shows that … you know, exist, let alone those that are still eye-twinkles."

How Indie Star Greta Gerwig Met Her New CBS Sitcom : Monkey See : NPR

"Nashville, in its second season on ABC, still has great bones: good songs, a juicy setting, a cast of talented actors, and in Hayden Panettiere’s Juliette Barnes a complicated, fiery, brash, moving heroine. But this skeleton is draped in outfits with slogans like ‘boring,’ ‘pay no attention to me,’ ‘definitely wasting your time.’ No single episode of the show is ever satisfying. Each episode devotes too much time to characters which even the show itself clearly does not care about. Plot gets held back. The pacing is beyond erratic. That heart attack scene was copied directly from Homeland’s very worst episode and another character is developing an addiction last seen on Saved By The Bell."

Nashville on ABC: In its second season, time to kill off a few characters.

*nods head* I still watch it faithfully, but I know it’s a mess.

"I don’t like Seinfeld, I don’t miss it, and every time I’m asked to participate in some sort of acknowledgment of its greatness, or its place in the pantheon, I feel myself cringe and lie and say I understand, but I am here to tell you, and then never to be so cowardly again: I don’t understand."

Not-stalgia: Why I Don’t Miss ‘Seinfeld’ : Monkey See : NPR

CO-SIGN