Asking the Wrong Questions

This year's fall pilot season is shaping up to be rather muted.  Which, to be fair, is an improvement on the dreck of previous years, but also not much to talk about.  It probably tells you all need to know about the fall pilots of 2016 that there are two different time travel shows-- Timeless and Frequency --and neither of them are worth saying anything about.  Nevertheless, here are a few series, good and bad, that I thought were interesting enough to write about, even if I'm not sure I'll be sticking with all of them. No Tomorrow - Over the last few years, I've come to trust the CW and its programming instincts.  Not only does it air some of my favorite shows-- iZombie , the smartest superhero show on TV; Jane the Virgin , still going strong and finding real drama at the heart of cheesy soap opera plot twists; Crazy Ex-Girlfriend , one of the funniest, most original, most heartbreaking shows in existence--but its DC superhero block is easily the most rock-soli...

One of the main points about writing a pop culture blog is that most of what you write about is available for your readers to consume.  In fact, much of what I write is from a perspective that assumes that my readers have already read the book, seen the movie, watched the TV show, and are now willing to talk about them with someone who is equally informed.  Which is part of the reason why I don't tend to write much about theater (the other being that most of the theater available to me year-round is in Hebrew), and that when I do, it's about something like Hamilton , whose original cast recording has become its own phenomenon, available to millions of fans who may never even see the play. Today, however, I'm breaking my rule to talk about Bedlam Theater's adaptation of Sense and Sensibility , which I was lucky enough to see this week on my vacation in New York.  If you're in the city, I strongly urge you to try to get to see this play before it closes in November...

As I've mentioned already, I spent much of the summer working on a large writing project, which is now online.  Over at PopMatters, you can read my essay "This is the Next World": The Stealth Futurism of Person of Interest , in which I discuss how an initially inauspicious high-concept procedural transformed, over the course of five seasons, into one of the most explicitly SFnal shows on TV, one that tackled core SF concepts like AI, and explored the ways in which an artificial life might see the world, and how its existence would challenge our ideas of personhood and free will. I ended up rewatching Person of Interest in preparation for writing this essay, and though some aspects of the show remained unimpressive throughout--the standalone plots start out halting and overwrought and, almost impossibly, get worse as the show draws on--what struck me at the end of that rewatch was how much I had to say.  My essay is quite long, and yet it leaves so much out that I could...

"For black lives to matter, black history has to matter."  A character says this shortly into the first episode of Luke Cage , Netflix's third MCU series, and the fourth season of television it has produced in collaboration with Marvel as it ramps up for its Defenders mega- event.  It's easy to read this line as a thesis statement on the nature of the show we're about to watch, but it's not until some way into Luke Cage 's first season that we realize the full import of what creator Cheo Hodari Coker is saying with it, and how challenging its implications will end up being.  As has been widely reported and discussed, Luke Cage is the first black MCU headliner--not just on TV or on Netflix, but at all.  And, unlike the forthcoming Black Panther , whose story is set in a fictional African superpower, Luke Cage is explicitly a story about African-Americans in the more-or-less real world, at a moment when the problems and indignities suffered by that commun...