The Bold Type, a new series set at a Cosmopolitan-like magazine in New York City, is the best surprise of the TV year so far. It’s part journalism drama, part Sex and the City–style female-bonding comedy with sex and romance; it’s equally interested in being both things at once, to the best of its ability, and damned if it doesn’t pull it off more often than you’d think.
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The third season finale of Better Call Saul was the kind of episode where you know what could happen, and whom it could happen to, yet somehow, you’re still shocked.
Clunk, clunk, clunk went the noise of Chuck McGill (Michael McKean) kicking the table until a lantern fell and caught his house on fire; the episode cut to black on a shot of the house as flames filled the windows. We may have recalled the time that Chuck’s brother, Jimmy (Bob Odenkirk), warned him that, between all the books and legal papers and the gas and oil lamps he used to the light the place, death by fire was a real possibility. We might also have been reminded of the clever but not all that subtle signals strewn throughout the episode that registered subliminally on their own, but that added up to, “Chuck will commit suicide by fire tonight.” Read More Netflix’s new wrestling comedy GLOW is about women making opportunities where none existed. The key to success, it tells us, is pretending that you don’t know that the patriarchy’s rules exist, the better to ignore them. The pilot starts with its heroine, Ruth Wilder (Alison Brie), at an audition, pretending she doesn’t know she’s reading the man’s part in a scene because the woman’s part is a demeaning waste of time that consists of telling a powerful man his wife is on line two.
Read More The Carmichael Show, Jerrod Carmichael’s refreshingly old-school NBC sitcom, returns for a third season tonight, and what a pleasure it is to see the cast and crew settling into such a confident groove. The series is a hot-button comedy strongly modeled on the collected works of Norman Lear (All in the Family, Good Times, Maude, The Jeffersons). Carmichael is too young to have watched any of these programs during their original airings; he discovered them in repeats and became fascinated with them because, during his own childhood in the ’90s, network sitcoms had largely moved away from the sort of topic-driven, let’s-fight-it-out material that Lear and his collaborators specialized in.
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