1. The top two debuts of the fall season so far among viewers under 50 are ABC’s Black-ish and How to Get Away With Murder. Both feature African-American leads. Perhaps network and studio casting directors will keep this in mind next spring.
  2. CBS’s The Good Wife begins its sixth season on Sunday night in almost unheard of shape for a drama heading into the latter stages of middle age. By Seasons 7 or 8, most series are thinking about retirement, or ought to be. Typically they’ve been flagging for years, the vim and vigor of their youth long since mellowed. But The Good Wife does not know from flagging. As it begins its sixth season, it is sharper than it has ever been, the ageless, wiry athlete sprinting circles around other dramas, tacitly talking trash. “Anything you can do, I can do 22 times a year, without cursing, without much violence, and without a hoity-toity cable-TV address,” it winks, as it runs by in some impeccably tailored workout gear. The Good Wife, a delectable, invigorating series of unprecedented depth and cynicism, is the best drama on TV.
  3. Homicide needs to be widely embraced and venerated, and then the groundswell will start. People will begin chitter-chattering about it. The vast Internet will suddenly become filled with pro-Homicide propaganda. The tides will have turned. And then my other fondest wish can come true: Homicide reunion movie.
  4. The experience of being invisible in our culture has ramifications that I don’t think any of us can really understand. I think that we need to see ourselves, in a lot of ways. It helps us know that we belong. And I think Rickie did that for a lot of people. I know that even for me, playing him, it helped me feel that I was validated in a lot of ways. And everything I heard from people who watched it was validating for me.
  5. I’ve been watching Army Wives for a few weeks now and have worked my way up to season 4. So after season 1, they re-cast Claudia Joy’s (Kim Delaney) daughter Emilyn/Emmalin because the part became larger… or I assumed this was the reason. I thought the original actress was just fine, and looked more like an actual teenager.

    In season 3, they re-cast baby Sara Elizabeth because there was a 6 month fast forward.  Logical.

    But now on season 4, they re-cast the role of Roxy’s (Sally Pressman) eldest son. He went from being 10 at the end of the third season finale to a 12-year-old… and no time has past in the rest of the show. This annoys me so much that I may just have to take a break.  The original TJ looked like a normal kid and was a decent actor.  Replacement TJ looks like a kid who would do cereal commercials.

    Not okay, show! (I know the series ended a couple years ago, but STILL)

  6. It’s been frustrating watching a guy with a boatload of charisma and genuine handsomeness fail to find the right vehicle, but Brody’s screwball charm is a bit out of time. It’s the type of thing that could work well opposite an Elizabeth Banks (I mean, imagine those two doing some sort of Nick-and-Nora thing). Alternately, he could fit well in the fast-talking world of an Aaron Sorkin show.
  7. Girls on Film: 5 ways movies can be as diverse as television - The Week

    Reblogged from: feministfilmclub
  8. As I’ve previously explained, none of these Sunday shows get impressive ratings as a general rule. And that’s because their audience is basically limited to three groups of people: Beltway insiders, really old people, and people who have become immobilized on a semi-permanent basis and are thus unable to reach their remote controls and change the channel.
    A New Host On ‘Meet The Press’ Isn’t Going To Solve Its Problems

    Also a good number of people who might possibly watch are at church… it is on Sunday morning, after all.
  9. There’s a moment where Jamie Fraser, the handsome Scottish fella, tells an AWOL Claire, “Shall I pick you up and throw you over my shoulder? Do you want me to do that?” and you, if you’re a male viewer, realize: oh, this was not actually made for me. Which is a crazy feeling, let me tell you! Because most everything on cable TV is made for dudes! So while there are moments where things get sci-fi-corny — Claire’s ominous palm-reading in the reverend’s kitchen; all the misty portent around MacStonehenge; Bear McCreary’s Hobbits-on-the-Titanic score — Outlander is a nice break from the pummeling of BROOD BROOD BROOD SHOOT SHOOT SHOOT that so populates the cable landscape, especially pay cable. Outlander is an epic, dark, expensive production that doesn’t give a fuck if it ever gets watched in a “man cave,” and that is goddamn refreshing.
  10. The entertainment world keeps producing stories about disabled people, yet almost never casts disabled performers at all—whether in major or minor roles, playing disabled or able-bodied characters. Counterexamples, like RJ Mitte in Breaking Bad or Jamie Brewer in the first and third seasons of American Horror Story, are rare.

I'll tumble 4 ya.

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