This update behaves the way it always has, and the way my Netflix originals ranking does: Programs are ranked on overall quality, dialogue, originality, influence on culture, and my subjective preferences.
I watched it initially because it sounded like they were targeting it exclusively at me, and then, upon realizing it wasn’t very good, just to hate-watch it.
Though, to be fair, in the second season they got a bit disciplined and settled for trying to maybe just capture an ephemeral moment in what that kind of fashion-y cool kid scene was like in 2010 when everyone was really into wearing old Pervis Ellison throwbacks with shawl collar cardigans.
The idea was to rank the shows definitively, eat some sea-salted pita chips, and go on with my life.
But HBO keeps putting out new ones, so my work is never done.
Anyway, I managed to see only a little of this show, but true TV junkies have called it a precursor to selfish protagonist shows like , and cite Resnick as being too far ahead of his time with the concept. Stephen Merchant is a tall, skinny Englishman who isn’t good at picking up women due to a confluence of factors. Plus Nate Torrence and the geeky guy from Best character: Jake Berman. She “poses as his computer consultant.” Mike Binder’s show “focusing on the challenges of married life from a male perspective” came out when I was in college and wanted nothing to do with learning about the challenges of married life from a male perspective.
So basically, this might’ve been the Friendster of modern television comedy, but the lack of availability gives me no choice but to keep it up here, next to the therapy shows. After watching some of it, I can safely tell you the best part of this show is the dated Wikipedia summaries of each episode.
, put its characters in Pakistan embassies, Naval planes, and wherever the Secretary of State lives (Crystal City? ) and b) the clever words and turns of phrase in Mc Call Smith’s novels sound weird spoken aloud. And as I watched more episodes featuring Goggins and Mc Bride engaged in all sorts of abominable and fiendish behavior, I stopped rooting for them, and started rooting for the show to stop. Well, then you likely wrote this halfway decent mystery series from the 1980s featuring Powers Boothe, which is entertaining if only for the throwback language and the amusing way people in the '80s portrayed people from the '30s.
has some darkly caustic humorous elements, and refuses to flinch or look away when things get depressing and all too real.
Do we really need to use the German executives there to buy the company as an excuse for Richie Finestra (Cannavale)'s exposition theater on "how things work in the record industry"?