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There are loud revolutions and then there are the ones that wear capri pants, sit on a couch, and politely wait their turn to speak. The Dick Van Dyke Show belongs squarely in the second category. It did not burn down television’s house. It didn’t even rearrange the furniture. It just lived in the room like it belonged there, and somehow that was enough to change everything. This is what makes the show so difficult to explain to people encountering it for the first time today. On paper, it looks safe. Black-and-white. Laugh track. Married couple. Living room. Office job. No long speeches about liberation or identity. No winks to the audience announcing progress. And yet, sixty-plus years later, it still feels oddly modern in ways that newer shows strain to replicate. The baffling part isn’t that it was ahead of its time. The baffling part is that it never seemed interested in proving it. Television history likes clean narratives. We prefer our progress labeled, color-coded, and accomp...

Hollywood has long specialized in creating trainwrecks so shiny that we can’t look away. But All’s Fair isn’t just a trainwreck—it’s a whole luxury rail system collapsing into a canyon while Kim Kardashian adjusts her contour lighting and Glenn Close wonders how to activate her “I’m not really here” clause. Ryan Murphy, the man who gave us American Horror Story and Feud , has now unleashed something that could charitably be called Divorce Court: Botox Edition . This show is so bad, it loops back around into performance art. The problem is, it doesn’t know that. 1. The Plot (Or Whatever’s Left of It) The series follows three high-powered women running an all-female law firm that supposedly delivers justice to the ultra-rich. Think Suits , but without the suits, structure, or sense. Kim Kardashian plays Allura—because of course she does—a glamorous attorney whose main skill seems to be talking in contour-perfect lighting while blinking with the rhythm of a legal disclaimer. Naomi ...

There are superhero shows that wink at you. There are superhero shows that smirk. And then there is Gen V season two, which unzips its pants, tosses subtlety out the nearest dorm window, and gives you a prosthetic salute that would make a Greek fertility statue blush. Yes, the penis thing is real. Yes, it’s everywhere. And yes, the “thunder-dong” locker-room moment people are buzzing about is only one of roughly two dozen “did-they-really-shoot-that” sequences that make up Amazon’s gleefully unhinged R-rated spin-off of The Boys . But let’s not get ahead of ourselves—or behind anyone’s strategically CG-enhanced behinds. To understand how we arrived at a point where every other camera pan threatens to turn into a PSA for cold showers, you need to appreciate what Gen V is up to. Or, more accurately, what it’s sending up. Previously on Gen V: Elmira, Vought, and the Art of Getting Screwed Season one ended like an after-hours dorm party that got way out of hand. Emma, Marie, A...

Well, well, well. Who would’ve thought the loudest voice in late-night TV would come from a guy who once hosted Red Eye at 3 a.m. while looking like your weird uncle who quotes Ayn Rand during Thanksgiving dinner? But here we are in the glorious dystopia of 2025, and Greg Gutfeld—yes, that Greg Gutfeld—is now the reigning king of late-night television. And he didn’t just edge out the competition. He outdrew, outlasted, and out-snarked Stephen Colbert so hard that CBS took their beloved “Late Show” behind the barn and shot it like Old Yeller. Let’s pour one out for Colbert—preferably a kale smoothie served in a reusable cup etched with ironic Catholic guilt. His version of “The Late Show,” once the smug liberal’s lullaby, is now just another entry in the ever-growing list of once-relevant media relics put out of their misery by corporate overlords and market apathy. You know, the usual suspects. “How could it be a financial decision?” Colbert actually said that. Out loud. With a st...

If the Gotham Television Awards are any indication, the surefire way to capture the hearts of critics, audiences, and confused streaming executives in 2025 is still the same as it's been for the past two decades: find a sad boy, toss in a murdered girl, set it all to moody lighting, and boom — prestige television. Adolescence , the Netflix miniseries that dared to ask, “What if a child killed another child but also cried a lot about it?” swept the ceremony with three wins and one collective shrug from the ghost of every Britcom that died for this. Let’s start with the headline: Adolescence took home Breakthrough Limited Series , Outstanding Lead Performance (Stephen Graham), and Outstanding Supporting Performance (Owen Cooper, in a tie with Jenny Slate because apparently the Gotham judges are as indecisive as the ending of The Sopranos ). So congrats to Netflix — it turns out all those layoffs and canceled animations were totally worth it so they could funnel money into another...

It’s April. That cruel month when you’re still pretending you’re going to “touch grass” but also increasingly glued to your couch because pollen is a terrorist and everyone you know has decided to become a “runner.” You, however, are choosing joy . And by joy, I mean television. And movies. And copious amounts of snacks that whisper, you’re valid for not leaving the house today. Thankfully, 2025 is already delivering some unreasonably good screen content to drown in, whether you want trauma, murder, prestige satire, or a sentient chicken riding a Minecraft pig. (Yes, really. Stick around.) So here are 15 things to glue your eyeballs to right now. No, not someday. Now. Because your spring wardrobe can wait, and let’s be real—you weren’t going to organize your spice rack anyway. 1. Sinners Where to watch: Theaters This is Ryan Coogler in full “I’m tired of making Marvel money and want to scare Sundance” mode. Sinners is an operatic, genre-jumping megaton of a film that feels like ...

Marvel Studios’ approach to television over the last four years has been nothing short of a wild ride. It’s as if they were trying to create a new genre of entertainment entirely—one where television shows masquerade as slightly elongated movies, and audiences are left wondering why they’re still sitting on their couches waiting for something to happen. But now, after over 15 seasons of “television,” Marvel has finally cracked the code: Maybe, just maybe, people like it when a TV show behaves like a TV show. You’d think it wouldn’t take a multi-billion-dollar studio four years to realize that the magic of television lies in its ability to tell stories over time, to keep audiences engaged with the promise of new episodes and new seasons arriving with the same regularity as your seasonal allergies. But hey, at least they got there. Eventually. The Early Days of Marvel TV: Miniseries in Disguise When WandaVision kicked off Marvel’s Disney+ era in 2021, it felt like a breath of fresh air. ...

There’s something inherently disturbing about the trajectory of modern television hardware. What used to be a straightforward product category—screen, pixels, maybe a few HDMI ports—is now a Frankenstein-esque mishmash of "smart" features no one asked for. Worse yet, these features seem more like Trojan horses for targeted ads and surveillance capitalism than anything genuinely useful. But fear not: Apple Television might be the antidote to these absurd trends, or at least it could offer a break from the sheer madness of CES announcements. Let’s dig into the problem, revel in the absurdity, and explore why Apple might be uniquely positioned to fix—or at least laugh in the face of—what’s happening in the TV market. TVs Have Gone from "Smart" to "Big Brother, but Dumber" Every year, CES provides a dystopian glimpse into how TV manufacturers aim to ruin a perfectly good viewing experience. This year was no exception. Instead of focusing on essentials like bet...

Oh, the humble television repairman—a relic of a bygone era, now nearly as extinct as Blockbuster Video or landlines that don’t call about your car’s extended warranty. In Youngstown, Ohio, the quiet death of Doc’s Radio & TV wasn’t just a retirement party; it was a funeral for an entire trade. Let’s pour one out for Doc’s, which hung up its tools after 73 years of saving TVs from the brink of oblivion. Or maybe don’t. The note on their door reads less like a goodbye and more like a parent dropping their kid off at college: “Thanks for the memories. We’re done. Good luck.” The End of an Era For anyone out there who remembers when televisions were considered an investment —yes, those days existed—it’s no surprise this industry is fading faster than a plasma screen with burn-in. Back in the mid-20th century, a TV set wasn’t just a purchase; it was a lifestyle choice. You didn’t just pick one up at Costco on a whim. You agonized over it, maybe took out a loan, and probably talked ab...