The Grinder is an odd duck. It’s not exactly a family comedy or a workplace comedy, though it has elements of both. It’s not exactly a lawyer comedy, though some plot points revolve around legal procedures. It’s certainly not a documentary about the origins of the popular gay corollary to Tinder, though it’s easy to see (or hear) why you would make that assumption.
But there’s one thing that’s easy to say about The Grinder: it’s really funny.
Fox canceled The Mindy Project last week, just in time for its upfront presentation to advertisers on Monday. It took less than a week for the other shoe to drop. Hulu announced today that the show will return on its streaming service for a whopping 26 episodes – twice the number it likely would have gotten had Fox renewed it.
Fans of The Mindy Project likely have reason to rejoice. Especially given that the show has been a work in progress from the start, the assurance of more than two dozens episodes gives showrunner and star Mindy Kaling more creative freedom than she might have had under the authority of a broadcast network. Reviews of the show’s third season were the show’s most positive yet, and a fourth promises more of the same appealing qualities that solidified the show’s fanbase.
And yet, something about this news rubs me the wrong way – not the Mindy Project part, but the idea of un-canceling a TV show. For a while, the phenomenon of un-cancellation was a novelty reserved for the most unusual circumstances – Arrested Development on Netflix, Community on Yahoo. Netflix’s decision to pick up a fourth season of AMC’s flailing drama The Killing was one of the opening salvos in what has been twelve months of enthusiastic press releases and nostalgic listicles touting the returns of long-dead and not-so-long-dead shows.
Midway through last night’s American Idol finale, Ryan Seacrest introduced a taped segment in which he explained every aspect of the show’s contestant process, from auditions to Hollywood Week, live shows and the finale. This segment served two purposes: it wasted time and insulted viewers, who would surely have preferred another musical performance instead of a generic explanation of the season of television they were about to finish.
This inept programming decision was one of many on last night’s glorified two-hour results show.
This week in New York City, the four broadcast networks are unveiling their fall schedules, complete with renewals, cancellations and pickups. Though a volley of announcements earlier this week robbed the announcements of much of their suspense, and the very idea of a fixed schedule is irrelevant to a large percentage of the TV viewing public, these announcements remain interesting as the last vestiges of an outmoded business model.
Fox is up second. Click here for the network’s fall schedule with HitFix TV reporter Daniel Fienberg’s analysis. Notable points:
Serious is overrated.
There’s a tendency in critical discussion of modern entertainment to elevate shows that tackle “dark” and “mature” subject matter (drugs, violence, grief) above shows with sillier, funnier, brighter ideas (family, community, professional and personal success). And it’s not just television. The Oscars rarely, if ever, make room for comedies and lighter movies amid the annual barrage of solemn dramas about historical events and “important issues.” Dying is easy, comedy is hard, and getting recognition for making great comedy is the hardest of all.
To be fair, many of the critically acclaimed dark shows earn their praise – in 2013, for instance, Breaking Bad, Rectify, Mad Men and Hannibal tackled unpleasant subject matter with nuance and artistry aplenty. But too often, good or even great comedies fall by the wayside in our hurry to anoint a new drama as a worthy heir to those titans of TV drama’s alleged Golden Age. But it’s just as important to recognize achievements in comedy, a genre that requires as much talent and passion as drama but in service of a different set of goals and emotions.
While wide swaths of television fans have been obsessing over True Detective and biding their time until Game of Thrones and Mad Men return, two network comedies have quietly shoved their way to the head of the TV class. Enlisted and Trophy Wife both have trappings that will be familiar to anyone who’s seen a network comedy before (slapstick, “heartwarming” moments, wacky dancing), but they’re also exploring relatively untapped thematic territory, the casts are deep and diverse, and both shows are (most important for a comedy) really, really funny. But they’re languishing in their timeslots and hurting for viewers as they approach the end of their respective first seasons. Even as critics like Maureen Ryan and Alan Sepinwall have begun to sound the gong in favor of “save this show” campaigns and last-minute timeslot switcheroos, these shows may have been doomed from their first episodes.
Click here to listen to Episode 24 of The M&M Report.
Spring break is over, and The M&M Report is back! This week, Devin Mitchell and I discussed and debated Fox’s little-seen, critically acclaimed comedy Enlisted. Is the show on par with the best of network comedy, or is it merely a promising freshman with room to grow? We attempted to answer these questions and more.
After that, Devin and I returned to True Detective. We discussed the first four episodes a few weeks ago, and now we’ve got thoughts on the first season as a whole. Bonus: we make our dream picks for the cast of season 2.
Next week, we’ll be back with more pop culture commentary. Thanks for listening!
How do you summarize the history of the universe in forty-two minutes?
If you’re Seth MacFarlane, you summon the convenient power to bend an entire television network to your will. You gather a small portion of the obscene amount of money at your disposal, and you invite your friend Neil DeGrasse Tyson to embark on a journey with you. And then you set out to re-introduce the world to the pleasures of space travel and the power of scientific exploration.
The result is Cosmos, a thirteen-episode reboot of Carl Sagan’s wildly popular 1980 PBS series, which sought to make the most daunting aspects of our world and the surrounding multiverses both comprehensible and appealing to a mass audience. The original series came at a time when space discovery had begun to seem commonplace, even though we had only scratched the surface of the knowledge we’ve recently acquired. This new series arrives at a moment when space programs are in serious financial trouble and the prospect of exploring other worlds seems like a cop-out when we’ve got so many problems of our own on this one.