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"disqusTitle": "All Hail The CW: How the Youth-Geared Network Became One of the Best on TV",
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"content": "\u003cp>Gina Rodriguez \u003ca href=\"https://www.youtube.com/watch?v=veftkYtLVBM\">won a Golden Globe\u003c/a> on Sunday for her work on The CW’s \u003ci>Jane the Virgin\u003c/i>, the first Golden Globe in the network’s eight year history. This came hours after The CW announced it would be \u003ca href=\"http://insidetv.ew.com/2015/01/11/cw-renews-8/\">renewing its entire fall schedule\u003c/a>, an unprecedented move that demonstrates the degree of confidence the network has in its current programming and direction.\u003c/p>\n\u003cp>You can't dispute The CW is enjoying a great year. Not only are its viewing ratings \u003ca href=\"http://variety.com/2015/tv/news/cws-flash-ratings-gains-kudos-buzz-drives-nets-new-momentum-1201396919/\">up across the board\u003c/a>—something harder to do at a time with so many channel and platform options—but it has some of the best shows on television. Traditionally stigmatized as a youth-geared network, it is becoming more socially acceptable to admit that you watch The CW as a grown adult. (Unfortunately, that confession often comes with the loathsome qualifier “guilty pleasure.”) But I say embrace The CW love! Here's why:\u003c/p>\n\u003cp>\u003cb>Beautiful shows with character-driven narratives.\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W1AWJupRqXM\u003c/p>\n\u003cp>If you haven’t checked out the CW lineup recently, then do yourself a favor and try out some of its shows. There is a wide variety, from superhero fare (\u003ci>Arrow \u003c/i>or \u003ci>The Flash) \u003c/i>to smart, brutal science fiction (\u003ci>The 100) \u003c/i>to visually-luscious, historical romance (\u003ci>Reign)\u003c/i>. The production values are on par with or better than other broadcast networks despite the comparatively small budgets. \u003ci>The 100 \u003c/i>was \u003ca href=\"http://www.zap2it.com/blogs/the_100_executive_producer_jason_rothenberg_emmy_nomination_reaction_season_2_scoop-2014-07\">nominated for an Emmy\u003c/a> for its visual effects last year, and \u003cem>HuffPost TV\u003c/em>'s Maureen Ryan \u003ca href=\"http://www.huffingtonpost.com/2014/05/15/arrow-finale-review_n_5333304.html\">makes the argument\u003c/a> that \u003ci>Arrow \u003c/i>consistently employs some of the best and financially-efficient directors on TV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it isn’t just the visuals that make The CW’s programming so effective. Unlike some of the more procedural dramas on other networks, The CW’s shows all make character-driven storytelling a priority. Even on the most formulaic of its shows—i.e. \u003ci>The Flash\u003c/i>, which employs both a police procedural and supervillain-of-the-week structure—character rules.\u003c/p>\n\u003cp>The CW has a reputation for and history of romance drama, and perhaps this is directly related to its prioritization of character over action. Last week, NPR’s Linda Holmes\u003ca href=\"http://www.npr.org/blogs/monkeysee/2015/01/08/375849088/parenthood-and-the-strange-case-of-the-missing-family-drama\"> lamented the dearth of family drama\u003c/a> on television today. She dug out Ken Tucker's decades-old assessment of TV drama for \u003cem>Entertainment Weekly\u003c/em> as divided into two categories: the drama of action and the drama of emotions. Most of The CW’s programming employs both kinds of TV drama in fun and compelling ways, but—when it comes down to it—these shows care about emotion first, and that’s what makes them great. And, until recently, unfairly stigmatized.\u003c/p>\n\u003cp>\u003cb>Catering to a younger, often female audience. \u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9IPLmDP6opo\u003c/p>\n\u003cp>The CW manages to stay on television despite relatively low ratings because of its success in the coveted 18-49 demographic. And though the network has increased the number of men watching with the introduction of \u003cem>Arrow \u003c/em>and \u003cem>The Flash\u003c/em>, a majority of those viewers are still women. Perhaps this is why The CW is full of female characters and that shows with female leads don’t become That Show With the Female Lead.\u003c/p>\n\u003cp>On this network, central female characters are a given. Better than that, they talk to other women—and often times not about men (hi, Alison Bechdel!). \u003ci>The 100 \u003c/i>regularly features scenes in which female leaders sit around discussing decisions that will influence the future of humanity. The same goes for \u003ci>Reign\u003c/i>, in which arguably the two most compelling and powerful characters on the show are Queen Mary and Queen Catherine. These characters are not only allowed to lead unapologetically and (usually) without comment, but they are allowed to make mistakes, be villainous, and put themselves first without punishment.\u003c/p>\n\u003cp>Writing to and for young women isn’t a secondary feature of The CW like it is on many other networks, and this is reinforced by the number of female showrunners active behind-the-scenes. Julie Plec and Caroline Dries run the ever-popular \u003ci>The Vampire Diaries\u003c/i>. Laurie McCarthy runs \u003ci>Reign\u003c/i>. Jennie Urman runs \u003ci>Jane the Virgin\u003c/i>. And, even on the shows that have men in the lead writing position, the writers' rooms have a gender balance that is all too rare on TV.\u003c/p>\n\u003cp>\u003cb>Filling the feel-good gap. \u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BfT6ec7ONAM\u003c/p>\n\u003cp>TV has recently been characterized as The Era of Gritty Anti-Hero Television so much so that the balance between feel-good television and dark, gritty drama has been lost, with the latter becoming synonymous with “good” television and the former dismissed as vapid fare. But two CW freshman dramas—\u003cem>Jane the Virgin \u003c/em>and \u003cem>The Flash—\u003c/em>fall firmly into the feel-good drama department (especially \u003cem>Jane\u003c/em>), and are also recognized as two of the best new shows of 2014. In a television industry that is trying to copy the \u003cem>Breaking Bad \u003c/em>grittiness, The CW is trying something different with these shows, and it is paying off.\u003c/p>\n\u003cp>It's also worth noting that \u003cem>Jane the Virgin \u003c/em>is one of the few shows on TV with a main character who not only speaks solely in Spanish, but is an undocumented immigrant, which not only increases this network's diversity in important ways, but makes me feel good about the show on a meta level, in addition to feeling good about the delightful narratives it delivers week after week.\u003c/p>\n\u003cp>\u003cstrong>Launching successful spin-offs. \u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_H0o5nf_pkA\u003c/p>\n\u003cp>Though The CW has fewer primetime shows than its \"Big Five\" counterparts, it still has an incredible amount of diversity. Though it may have some of the best feel-good dramas on TV, it also has one of the most brutal in \u003cem>The 100\u003c/em>. And, while the network may be launching new and exciting shows, it is also doubling down on proven favorites.\u003c/p>\n\u003cp>It isn't easy to launch a successful spin-off, but The CW has done it twice in the past two seasons—in 2013 with \u003cem>The Vampire Diaries' \u003c/em>spinoff \u003cem>The Originals\u003c/em> and in 2014 with \u003cem>Arrow \u003c/em>spin-off \u003cem>The Flash\u003c/em>. Both are successful enough to warrant renewals for fall 2015, with the latter boasting the most-watched premiere in network history.\u003c/p>\n\u003cp>\u003cem>Flash \u003c/em>and \u003cem>Arrow \u003c/em>are not only solid programs in their own right, but they have also seemingly figured out the secret to crossover success, sharing a two-hour event this season. The episodes were a success in the ratings, but also creatively, expanding the fictional universe in a way that other spin-off ventures have either failed at or not even attempted. In the era of the Marvel Cinematic Universe, \u003cem>Arrow \u003c/em>and \u003cem>The Flash \u003c/em>have done for TV what \u003cem>The Avengers \u003c/em>has done for film (when it comes to pushing the boundaries of the fictional universe), and is a model for what other television franchises could accomplish.\u003c/p>\n\u003cp>\u003cb>A shift in critical weight. \u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lEeujoHl4yM\u003c/p>\n\u003cp>The truth is: The CW—and, before it, The WB—has always had some great television. \u003cem>Gilmore Girls. Buffy the Vampire Slayer. Veronica Mars \u003c/em>(originally on UPN before the merge). \u003cem>Dawon's Creek\u003c/em>. \u003cem>Felicity\u003c/em>. These have all become classics, and many of them changed what television was doing in interesting and progressive ways, while still telling compelling narratives (with, might I mention, some of the best female TV characters \u003cem>ever\u003c/em>).\u003c/p>\n\u003cp>Though the network is enjoying a particularly excellent period in its history, I would argue that it’s not that The CW has gotten so much better, but that mainstream criticism has accepted that youth-geared media is worthy of attention and, in some cases, acclaim. There has been a lot of attention paid in the last year to the rise in popularity of young adult entertainment for adults, and much of it \u003ca href=\"http://www.slate.com/articles/arts/books/2014/06/against_ya_adults_should_be_embarrassed_to_read_children_s_books.html\">has been negative\u003c/a>. Critics worry that adults are consuming more \"dumbed-down\" television and books meant for their children, but many of these youth-geared entertainment properties are complex, ground-breaking stories in their own right with only the age of their protagonist separating them from their more \"mature\" counterparts. The CW, and The WB before it, has always known this. The bulk of mainstream television criticism is just catching on now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Are you a fan of The CW? Why or why not? Share your thoughts in the comments below.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gina Rodriguez \u003ca href=\"https://www.youtube.com/watch?v=veftkYtLVBM\">won a Golden Globe\u003c/a> on Sunday for her work on The CW’s \u003ci>Jane the Virgin\u003c/i>, the first Golden Globe in the network’s eight year history. This came hours after The CW announced it would be \u003ca href=\"http://insidetv.ew.com/2015/01/11/cw-renews-8/\">renewing its entire fall schedule\u003c/a>, an unprecedented move that demonstrates the degree of confidence the network has in its current programming and direction.\u003c/p>\n\u003cp>You can't dispute The CW is enjoying a great year. Not only are its viewing ratings \u003ca href=\"http://variety.com/2015/tv/news/cws-flash-ratings-gains-kudos-buzz-drives-nets-new-momentum-1201396919/\">up across the board\u003c/a>—something harder to do at a time with so many channel and platform options—but it has some of the best shows on television. Traditionally stigmatized as a youth-geared network, it is becoming more socially acceptable to admit that you watch The CW as a grown adult. (Unfortunately, that confession often comes with the loathsome qualifier “guilty pleasure.”) But I say embrace The CW love! Here's why:\u003c/p>\n\u003cp>\u003cb>Beautiful shows with character-driven narratives.\u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W1AWJupRqXM'\n title='//www.youtube.com/embed/W1AWJupRqXM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you haven’t checked out the CW lineup recently, then do yourself a favor and try out some of its shows. There is a wide variety, from superhero fare (\u003ci>Arrow \u003c/i>or \u003ci>The Flash) \u003c/i>to smart, brutal science fiction (\u003ci>The 100) \u003c/i>to visually-luscious, historical romance (\u003ci>Reign)\u003c/i>. The production values are on par with or better than other broadcast networks despite the comparatively small budgets. \u003ci>The 100 \u003c/i>was \u003ca href=\"http://www.zap2it.com/blogs/the_100_executive_producer_jason_rothenberg_emmy_nomination_reaction_season_2_scoop-2014-07\">nominated for an Emmy\u003c/a> for its visual effects last year, and \u003cem>HuffPost TV\u003c/em>'s Maureen Ryan \u003ca href=\"http://www.huffingtonpost.com/2014/05/15/arrow-finale-review_n_5333304.html\">makes the argument\u003c/a> that \u003ci>Arrow \u003c/i>consistently employs some of the best and financially-efficient directors on TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it isn’t just the visuals that make The CW’s programming so effective. Unlike some of the more procedural dramas on other networks, The CW’s shows all make character-driven storytelling a priority. Even on the most formulaic of its shows—i.e. \u003ci>The Flash\u003c/i>, which employs both a police procedural and supervillain-of-the-week structure—character rules.\u003c/p>\n\u003cp>The CW has a reputation for and history of romance drama, and perhaps this is directly related to its prioritization of character over action. Last week, NPR’s Linda Holmes\u003ca href=\"http://www.npr.org/blogs/monkeysee/2015/01/08/375849088/parenthood-and-the-strange-case-of-the-missing-family-drama\"> lamented the dearth of family drama\u003c/a> on television today. She dug out Ken Tucker's decades-old assessment of TV drama for \u003cem>Entertainment Weekly\u003c/em> as divided into two categories: the drama of action and the drama of emotions. Most of The CW’s programming employs both kinds of TV drama in fun and compelling ways, but—when it comes down to it—these shows care about emotion first, and that’s what makes them great. And, until recently, unfairly stigmatized.\u003c/p>\n\u003cp>\u003cb>Catering to a younger, often female audience. \u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9IPLmDP6opo'\n title='//www.youtube.com/embed/9IPLmDP6opo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The CW manages to stay on television despite relatively low ratings because of its success in the coveted 18-49 demographic. And though the network has increased the number of men watching with the introduction of \u003cem>Arrow \u003c/em>and \u003cem>The Flash\u003c/em>, a majority of those viewers are still women. Perhaps this is why The CW is full of female characters and that shows with female leads don’t become That Show With the Female Lead.\u003c/p>\n\u003cp>On this network, central female characters are a given. Better than that, they talk to other women—and often times not about men (hi, Alison Bechdel!). \u003ci>The 100 \u003c/i>regularly features scenes in which female leaders sit around discussing decisions that will influence the future of humanity. The same goes for \u003ci>Reign\u003c/i>, in which arguably the two most compelling and powerful characters on the show are Queen Mary and Queen Catherine. These characters are not only allowed to lead unapologetically and (usually) without comment, but they are allowed to make mistakes, be villainous, and put themselves first without punishment.\u003c/p>\n\u003cp>Writing to and for young women isn’t a secondary feature of The CW like it is on many other networks, and this is reinforced by the number of female showrunners active behind-the-scenes. Julie Plec and Caroline Dries run the ever-popular \u003ci>The Vampire Diaries\u003c/i>. Laurie McCarthy runs \u003ci>Reign\u003c/i>. Jennie Urman runs \u003ci>Jane the Virgin\u003c/i>. And, even on the shows that have men in the lead writing position, the writers' rooms have a gender balance that is all too rare on TV.\u003c/p>\n\u003cp>\u003cb>Filling the feel-good gap. \u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BfT6ec7ONAM'\n title='//www.youtube.com/embed/BfT6ec7ONAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>TV has recently been characterized as The Era of Gritty Anti-Hero Television so much so that the balance between feel-good television and dark, gritty drama has been lost, with the latter becoming synonymous with “good” television and the former dismissed as vapid fare. But two CW freshman dramas—\u003cem>Jane the Virgin \u003c/em>and \u003cem>The Flash—\u003c/em>fall firmly into the feel-good drama department (especially \u003cem>Jane\u003c/em>), and are also recognized as two of the best new shows of 2014. In a television industry that is trying to copy the \u003cem>Breaking Bad \u003c/em>grittiness, The CW is trying something different with these shows, and it is paying off.\u003c/p>\n\u003cp>It's also worth noting that \u003cem>Jane the Virgin \u003c/em>is one of the few shows on TV with a main character who not only speaks solely in Spanish, but is an undocumented immigrant, which not only increases this network's diversity in important ways, but makes me feel good about the show on a meta level, in addition to feeling good about the delightful narratives it delivers week after week.\u003c/p>\n\u003cp>\u003cstrong>Launching successful spin-offs. \u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_H0o5nf_pkA'\n title='//www.youtube.com/embed/_H0o5nf_pkA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though The CW has fewer primetime shows than its \"Big Five\" counterparts, it still has an incredible amount of diversity. Though it may have some of the best feel-good dramas on TV, it also has one of the most brutal in \u003cem>The 100\u003c/em>. And, while the network may be launching new and exciting shows, it is also doubling down on proven favorites.\u003c/p>\n\u003cp>It isn't easy to launch a successful spin-off, but The CW has done it twice in the past two seasons—in 2013 with \u003cem>The Vampire Diaries' \u003c/em>spinoff \u003cem>The Originals\u003c/em> and in 2014 with \u003cem>Arrow \u003c/em>spin-off \u003cem>The Flash\u003c/em>. Both are successful enough to warrant renewals for fall 2015, with the latter boasting the most-watched premiere in network history.\u003c/p>\n\u003cp>\u003cem>Flash \u003c/em>and \u003cem>Arrow \u003c/em>are not only solid programs in their own right, but they have also seemingly figured out the secret to crossover success, sharing a two-hour event this season. The episodes were a success in the ratings, but also creatively, expanding the fictional universe in a way that other spin-off ventures have either failed at or not even attempted. In the era of the Marvel Cinematic Universe, \u003cem>Arrow \u003c/em>and \u003cem>The Flash \u003c/em>have done for TV what \u003cem>The Avengers \u003c/em>has done for film (when it comes to pushing the boundaries of the fictional universe), and is a model for what other television franchises could accomplish.\u003c/p>\n\u003cp>\u003cb>A shift in critical weight. \u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lEeujoHl4yM'\n title='//www.youtube.com/embed/lEeujoHl4yM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The truth is: The CW—and, before it, The WB—has always had some great television. \u003cem>Gilmore Girls. Buffy the Vampire Slayer. Veronica Mars \u003c/em>(originally on UPN before the merge). \u003cem>Dawon's Creek\u003c/em>. \u003cem>Felicity\u003c/em>. These have all become classics, and many of them changed what television was doing in interesting and progressive ways, while still telling compelling narratives (with, might I mention, some of the best female TV characters \u003cem>ever\u003c/em>).\u003c/p>\n\u003cp>Though the network is enjoying a particularly excellent period in its history, I would argue that it’s not that The CW has gotten so much better, but that mainstream criticism has accepted that youth-geared media is worthy of attention and, in some cases, acclaim. There has been a lot of attention paid in the last year to the rise in popularity of young adult entertainment for adults, and much of it \u003ca href=\"http://www.slate.com/articles/arts/books/2014/06/against_ya_adults_should_be_embarrassed_to_read_children_s_books.html\">has been negative\u003c/a>. Critics worry that adults are consuming more \"dumbed-down\" television and books meant for their children, but many of these youth-geared entertainment properties are complex, ground-breaking stories in their own right with only the age of their protagonist separating them from their more \"mature\" counterparts. The CW, and The WB before it, has always known this. The bulk of mainstream television criticism is just catching on now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Are you a fan of The CW? Why or why not? Share your thoughts in the comments below.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We just finished an incredible year of television drama, and 2015 promises to be just as good. New projects from beloved creators, risky genre mashups, and further expansion in what constitutes television promise to make this year another groundbreaker. Here are 11 exciting television projects to look forward to.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Galavant\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hPNVhGbw_Sg\u003c/p>\n\u003cp>\u003ci>Galavant \u003c/i>isn’t breaking the TV mold so much as betting on the fact that audiences are missing the more family-friendly fare that once had a regular place on network TV (something \u003ci>Jane the Virgin \u003c/i>and \u003ci>Flash \u003c/i>have recently proven). A musical fairy tale comedy about a down-on-his-luck knight, I'm getting some serious \u003cem>Spamalot \u003c/em>vibes from the promo. If it's half as good as the Monty Python musical and manages to sustain creative momentum in both storytelling and soundtrack, \u003cem>Galavant \u003c/em>could be something special. Of course, it could just as easily be a spectacular failure, but we applaud its kooky ambition and its diverse cast, and the immense fun they \u003ca href=\"http://www.rottentomatoes.com/tv/galavant/news/1932435/watch_galavant_sneak_peek/\">seem to be having.\u003c/a> Early guest stars include John Stamos, Weird Al, and Ricky Gervais.\u003c/p>\n\u003cp>\u003cem>Premiere date: Sunday, January 4th at 8pm on ABC.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Agent Carter\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FmwDSolYG1Q\u003c/p>\n\u003cp>Another network mid-season filler, \u003cem>Agent Carter \u003c/em>is the newest addition to the Marvel Cinematic Universe—and the first MCU property to be led by women both in front of and\u003cem> \u003c/em>behind the camera (Tara Butters and Michelle Fazekas will serve as showrunners). The eight-part miniseries will pick up shortly after the events of \u003ci>Captain America: The First Avenger \u003c/i>in 1946 as Peggy Carter deals with a post-war America. Working for the Strategic Scientific Reserve by day and going on missions with S.H.I.E.L.D. founder (and Iron Man's dad) Howard Stark at night, \u003cem>Agent Carter \u003c/em>seems like the perfect mix of \u003cem>Alias' \u003c/em>spy drama and \u003cem>The Hour\u003c/em>'s mid-century office period piece.\u003c/p>\n\u003cp>This promising set-up is bolstered by an excellent returning cast from the \u003cem>Captain America \u003c/em>films (namely, the talented and charismatic Hayley Atwell in the lead role, but also notably Dominic Cooper as Howard Stark). The first installment was penned by Christopher Markus and Stephen McFeely, \u003cem> \u003c/em>writers of both \u003cem>Captain America \u003c/em>films, with the second written by Eric Pearson, who was responsible for writing the superb \u003ca href=\"http://www.dailymotion.com/video/x1b8lwz_%E0%B8%8B-%E0%B8%9A%E0%B9%84%E0%B8%97%E0%B8%A2-marvel-one-shot-agent-carter_shortfilms\">\u003cem>Agent Carter \u003c/em>short film \u003c/a>that inspired the television series.\u003c/p>\n\u003cp>\u003cem>Premiere date: Tuesday, January 6th at 9pm on ABC.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Sense8\u003c/b>\u003c/p>\n\u003cp>We’re not sold on the name of the upcoming Netflix drama, \u003cem>Sense8\u003c/em>, but that may be the only reservation we have for the newest project coming from the Wachowski siblings (a.k.a. the directors of \u003cem>The Matrix\u003c/em>, \u003cem>Cloud Atlas\u003c/em>, and the upcoming \u003cem>Jupiter Ascending\u003c/em>), created in collaboration with J. Michael Straczynski (creator of \u003cem>Babylon 5\u003c/em>). Given that the Wachowskis are known for their visual flair and philosophical storytelling, while Straczynski is considered one of the first TV creators to bring long-form serialized storytelling to television, it’s hard not to get excited about this project based on its creators’ pedigrees alone, but the show is also incredibly ambitious in its scope and refreshing in its casting.\u003c/p>\n\u003cp>Set and filmed in locations around the world -- including Nairobi, Reykjavik, Chicago, London, Mexico City, and Mumbai -- \u003cem>Sense8\u003c/em> tells the story of eight strangers who become emotionally and mentally linked following a tragic death. Familiar faces include Naveen Andrews (\u003ci>Lost\u003c/i>’s Sayid), Freema Agyeman (\u003ci>Doctor Who\u003c/i>’s Martha), Bae Doona (\u003ci>Cloud Atlas\u003c/i>, \u003ci>The Host\u003c/i>), and Daryl Hannah, along with a diverse cast of actors from Spain, India, and Germany, as well as a transgender actress.\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on Netflix\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Bloodline\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=de50trNEvf8\u003c/p>\n\u003cp>So far, Netflix has kept many of the details concerning its new drama \u003cem>Bloodline \u003c/em>shrouded in secrecy, but I'm putting anything starring Kyle Chandler on my must-see list based on \u003cem>Friday Night Lights \u003c/em>withdrawal symptoms alone. This drama about four adult siblings whose dark pasts are brought to the surface upon the return of their black sheep brother to the Florida Keys is brought to you by the men behind \u003cem>Damages\u003c/em>, which probably means edge-of-your-seat storytelling.\u003c/p>\n\u003cp>The moody teaser trailer has a similarly dark and mysterious aura about it, but will it capture the same narrative energy as the FX drama? Given that all 13 episodes will be simultaneously released in March, we don't have to wait long to find out. This project is a collaboration between Netflix and Sony Entertainment, the first of its kind between a major movie studio and a streaming service, making it interesting on a production level as well as a narrative one.\u003c/p>\n\u003cp>\u003cem>Premiere date: March 2015 on Netflix\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Shannara\u003c/strong>\u003c/p>\n\u003cp>MTV is throwing its hat in the high fantasy drama ring with an adaptation of Terry Brooks' classic series \u003cem>Shannara, \u003c/em>a swashbuckling epic set several millennia in our future after a global apocalypse has simultaneously wiped out life as we know it and brought back magic. The 10 episode order will draw material from the second book in the series, \u003cem>The Elfstones of Shannara\u003c/em>, and has \u003cem>Arrow\u003c/em>'s Manu Bennett and \u003cem>The Carrie Diaries' \u003c/em>Austin Butler signed on to star. This is an exciting and surprising move for MTV, another bold step away from its reality past to a schedule featuring more original drama content.\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on MTV\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Westworld\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZrBCb0Wstn4\u003c/p>\n\u003cp>Who isn't looking forward to \u003cem>Westworld\u003c/em>? Husband-and-wife team Jonathan Nolan (co-screenwriter for \u003cem>The Dark Knight\u003c/em>, \u003cem>Interstellar\u003c/em>, etc.) and Lisa Joy (writer for \u003ci>Burn Notice\u003c/i>, \u003cem>Pushing Daisies\u003c/em>) are spearheading the HBO re-imagining of the 1973 Yul Brynner cult hit, bringing some thematically diverse backgrounds to what is already an awesome concept. The \u003cem>Westworld\u003c/em> film, written and directed by Michael Crichton,\u003cem> \u003c/em>tells the story of two tourists at an adult-themed amusement park of the future who are hunted by a Western gunslinger robot. Presumably, the television series will follow a similar narrative. With an all-star cast for the pilot, including Anthony Hopkins, Evan Rachel Wood, James Marsden, Thandie Newton, Jeffrey Wright, Miranda Otto, and Ed Harris, this TV show has a lot of promise.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Fortitude\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JqpH9NmmQPE\u003c/p>\n\u003cp>Described by \u003cem>The Guardian \u003c/em>as \u003ca href=\"http://www.theguardian.com/tv-and-radio/tvandradioblog/2014/dec/09/fortitude-review-sophie-grabol-christopher-eccleston-twin-peaks\">\"\u003cem>Twin Peaks \u003c/em>in the arctic,\"\u003c/a> this British drama series is not the most watchable on this list, but that isn't a critique. \u003cem>Fortitude \u003c/em>tells the story of a murder in a small Scandinavian town and, from the looks of the trailer, it will be just as brutal and dark as you'd imagine life in the Arctic to be. The series has brought on some amazing talent, such as Michael Gambon, Stanley Tucci, Sofie Gråbøl, and Christopher Ecclestone. Add a unique setting and an expansive budget to this great cast, and there's no good reason to not make room for \u003cem>Fortitude\u003c/em> on your TV schedule.\u003c/p>\n\u003cp>\u003cem>Premiere date: Thursday January 29th at 10 p.m. on Pivot\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>iZombie\u003c/strong>\u003c/p>\n\u003cp>The CW has been on fire this season with its new shows, and we're hoping the network will continue its streak of excellence with its midseason premieres, especially comic adaptation \u003cem>iZombie\u003c/em>. A series about a zombie morgue assistant who eats murder victims' brains and uses the memories she absorbs to solve their murders is a little high-concept, but the show is helmed by \u003cem>Veronica Mars \u003c/em>creator Rob Thomas. We'd watch \u003cem>iZombie \u003c/em>based on that fact alone, but we have to admit its odd premise and comic book origins have us seriously intrigued.\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on The CW\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jonathan Strange & Mr. Norrell\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5UijYwmlCJQ\u003c/p>\n\u003cp>Adapted from the bestselling tome of the same name, \u003cem>Jonathan Strange & Mr. Norrell \u003c/em>is a seven-part British fantasy series set in an alternate version of early 19th century England, where magic is possible, but no longer practiced. The source material is nothing short of magical (forgive me), and the adaptation has secured screenwriter Peter Harness (\u003cem>Doctor Who\u003c/em>'s \"Kill the Moon\") and director Toby Haynes (\u003cem>Sherlock\u003c/em>'s \"The Reichenbach Fall,\" one of the best episodes of television in the last few years) to bring it to the screen.\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on BBC America\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Cucumber/Banana/Tofu\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyJ0hc7ifTo\u003c/p>\n\u003cp>If the title confuses you, it's because it actually refers to three separate shows being broadcast across three different British channels. The shows share the same subject matter, queer life, and exist in the same narrative universe, interweaving across station and series borders. Here's hoping there's as much storytelling as shock factor. With TV veteran Russell T. Davies at the helm and \u003cem>In the Flesh\u003c/em>'s Luke Newberry as one part of a great ensemble cast, we have high hopes for the emotional resonance of this quirky drama.\u003c/p>\n\u003cp>\u003cem>Premiere date: Cucumber and Banana will air on Logo TV in early 2015, but -- so far -- there are no plans to broadcast Tofu in Ameri\u003c/em>ca.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Killjoys\u003c/strong>\u003c/p>\n\u003cp>Bounty hunters. \u003cem>I\u003c/em>\u003cem>n space.\u003c/em> Are you convinced yet? That is the premise for SyFy's upcoming \u003cem>Killjoys\u003c/em>, a drama from Michelle Lovretta (creator of the excellent \u003cem>Lost Girl\u003c/em>) and the studio that brings us \u003cem>Orphan Black.\u003c/em> We're hoping this show has the same fast-paced storytelling and female-centric narrative that have made both \u003cem>Lost Girl \u003c/em>and \u003cem>Orphan Black \u003c/em>so refreshing and watchable. Hannah John-Kamen, Aaron Ashmore, and Luke MacFarlane play three interplanetary bounty hunters chasing targets through a planetary system on the brink of class war. There aren't enough space dramas on TV. Could \u003cem>Killjoys \u003c/em>be the drama that fills the \u003cem>Firefly\u003c/em>-shaped hole still in many of our television-loving hearts?\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on Syfy\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>What TV shows are you most looking forward to in 2015? Sound off in the comments below.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Bounty hunters in space. A zombie mortician/detective. \"Twin Peaks in the arctic.\" 2015 TV is looking pretty good to us. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We just finished an incredible year of television drama, and 2015 promises to be just as good. New projects from beloved creators, risky genre mashups, and further expansion in what constitutes television promise to make this year another groundbreaker. Here are 11 exciting television projects to look forward to.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Galavant\u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hPNVhGbw_Sg'\n title='//www.youtube.com/embed/hPNVhGbw_Sg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Galavant \u003c/i>isn’t breaking the TV mold so much as betting on the fact that audiences are missing the more family-friendly fare that once had a regular place on network TV (something \u003ci>Jane the Virgin \u003c/i>and \u003ci>Flash \u003c/i>have recently proven). A musical fairy tale comedy about a down-on-his-luck knight, I'm getting some serious \u003cem>Spamalot \u003c/em>vibes from the promo. If it's half as good as the Monty Python musical and manages to sustain creative momentum in both storytelling and soundtrack, \u003cem>Galavant \u003c/em>could be something special. Of course, it could just as easily be a spectacular failure, but we applaud its kooky ambition and its diverse cast, and the immense fun they \u003ca href=\"http://www.rottentomatoes.com/tv/galavant/news/1932435/watch_galavant_sneak_peek/\">seem to be having.\u003c/a> Early guest stars include John Stamos, Weird Al, and Ricky Gervais.\u003c/p>\n\u003cp>\u003cem>Premiere date: Sunday, January 4th at 8pm on ABC.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Agent Carter\u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FmwDSolYG1Q'\n title='//www.youtube.com/embed/FmwDSolYG1Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another network mid-season filler, \u003cem>Agent Carter \u003c/em>is the newest addition to the Marvel Cinematic Universe—and the first MCU property to be led by women both in front of and\u003cem> \u003c/em>behind the camera (Tara Butters and Michelle Fazekas will serve as showrunners). The eight-part miniseries will pick up shortly after the events of \u003ci>Captain America: The First Avenger \u003c/i>in 1946 as Peggy Carter deals with a post-war America. Working for the Strategic Scientific Reserve by day and going on missions with S.H.I.E.L.D. founder (and Iron Man's dad) Howard Stark at night, \u003cem>Agent Carter \u003c/em>seems like the perfect mix of \u003cem>Alias' \u003c/em>spy drama and \u003cem>The Hour\u003c/em>'s mid-century office period piece.\u003c/p>\n\u003cp>This promising set-up is bolstered by an excellent returning cast from the \u003cem>Captain America \u003c/em>films (namely, the talented and charismatic Hayley Atwell in the lead role, but also notably Dominic Cooper as Howard Stark). The first installment was penned by Christopher Markus and Stephen McFeely, \u003cem> \u003c/em>writers of both \u003cem>Captain America \u003c/em>films, with the second written by Eric Pearson, who was responsible for writing the superb \u003ca href=\"http://www.dailymotion.com/video/x1b8lwz_%E0%B8%8B-%E0%B8%9A%E0%B9%84%E0%B8%97%E0%B8%A2-marvel-one-shot-agent-carter_shortfilms\">\u003cem>Agent Carter \u003c/em>short film \u003c/a>that inspired the television series.\u003c/p>\n\u003cp>\u003cem>Premiere date: Tuesday, January 6th at 9pm on ABC.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Sense8\u003c/b>\u003c/p>\n\u003cp>We’re not sold on the name of the upcoming Netflix drama, \u003cem>Sense8\u003c/em>, but that may be the only reservation we have for the newest project coming from the Wachowski siblings (a.k.a. the directors of \u003cem>The Matrix\u003c/em>, \u003cem>Cloud Atlas\u003c/em>, and the upcoming \u003cem>Jupiter Ascending\u003c/em>), created in collaboration with J. Michael Straczynski (creator of \u003cem>Babylon 5\u003c/em>). Given that the Wachowskis are known for their visual flair and philosophical storytelling, while Straczynski is considered one of the first TV creators to bring long-form serialized storytelling to television, it’s hard not to get excited about this project based on its creators’ pedigrees alone, but the show is also incredibly ambitious in its scope and refreshing in its casting.\u003c/p>\n\u003cp>Set and filmed in locations around the world -- including Nairobi, Reykjavik, Chicago, London, Mexico City, and Mumbai -- \u003cem>Sense8\u003c/em> tells the story of eight strangers who become emotionally and mentally linked following a tragic death. Familiar faces include Naveen Andrews (\u003ci>Lost\u003c/i>’s Sayid), Freema Agyeman (\u003ci>Doctor Who\u003c/i>’s Martha), Bae Doona (\u003ci>Cloud Atlas\u003c/i>, \u003ci>The Host\u003c/i>), and Daryl Hannah, along with a diverse cast of actors from Spain, India, and Germany, as well as a transgender actress.\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on Netflix\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Bloodline\u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/de50trNEvf8'\n title='//www.youtube.com/embed/de50trNEvf8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So far, Netflix has kept many of the details concerning its new drama \u003cem>Bloodline \u003c/em>shrouded in secrecy, but I'm putting anything starring Kyle Chandler on my must-see list based on \u003cem>Friday Night Lights \u003c/em>withdrawal symptoms alone. This drama about four adult siblings whose dark pasts are brought to the surface upon the return of their black sheep brother to the Florida Keys is brought to you by the men behind \u003cem>Damages\u003c/em>, which probably means edge-of-your-seat storytelling.\u003c/p>\n\u003cp>The moody teaser trailer has a similarly dark and mysterious aura about it, but will it capture the same narrative energy as the FX drama? Given that all 13 episodes will be simultaneously released in March, we don't have to wait long to find out. This project is a collaboration between Netflix and Sony Entertainment, the first of its kind between a major movie studio and a streaming service, making it interesting on a production level as well as a narrative one.\u003c/p>\n\u003cp>\u003cem>Premiere date: March 2015 on Netflix\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Shannara\u003c/strong>\u003c/p>\n\u003cp>MTV is throwing its hat in the high fantasy drama ring with an adaptation of Terry Brooks' classic series \u003cem>Shannara, \u003c/em>a swashbuckling epic set several millennia in our future after a global apocalypse has simultaneously wiped out life as we know it and brought back magic. The 10 episode order will draw material from the second book in the series, \u003cem>The Elfstones of Shannara\u003c/em>, and has \u003cem>Arrow\u003c/em>'s Manu Bennett and \u003cem>The Carrie Diaries' \u003c/em>Austin Butler signed on to star. This is an exciting and surprising move for MTV, another bold step away from its reality past to a schedule featuring more original drama content.\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on MTV\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Westworld\u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZrBCb0Wstn4'\n title='//www.youtube.com/embed/ZrBCb0Wstn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Who isn't looking forward to \u003cem>Westworld\u003c/em>? Husband-and-wife team Jonathan Nolan (co-screenwriter for \u003cem>The Dark Knight\u003c/em>, \u003cem>Interstellar\u003c/em>, etc.) and Lisa Joy (writer for \u003ci>Burn Notice\u003c/i>, \u003cem>Pushing Daisies\u003c/em>) are spearheading the HBO re-imagining of the 1973 Yul Brynner cult hit, bringing some thematically diverse backgrounds to what is already an awesome concept. The \u003cem>Westworld\u003c/em> film, written and directed by Michael Crichton,\u003cem> \u003c/em>tells the story of two tourists at an adult-themed amusement park of the future who are hunted by a Western gunslinger robot. Presumably, the television series will follow a similar narrative. With an all-star cast for the pilot, including Anthony Hopkins, Evan Rachel Wood, James Marsden, Thandie Newton, Jeffrey Wright, Miranda Otto, and Ed Harris, this TV show has a lot of promise.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Fortitude\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JqpH9NmmQPE'\n title='//www.youtube.com/embed/JqpH9NmmQPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Described by \u003cem>The Guardian \u003c/em>as \u003ca href=\"http://www.theguardian.com/tv-and-radio/tvandradioblog/2014/dec/09/fortitude-review-sophie-grabol-christopher-eccleston-twin-peaks\">\"\u003cem>Twin Peaks \u003c/em>in the arctic,\"\u003c/a> this British drama series is not the most watchable on this list, but that isn't a critique. \u003cem>Fortitude \u003c/em>tells the story of a murder in a small Scandinavian town and, from the looks of the trailer, it will be just as brutal and dark as you'd imagine life in the Arctic to be. The series has brought on some amazing talent, such as Michael Gambon, Stanley Tucci, Sofie Gråbøl, and Christopher Ecclestone. Add a unique setting and an expansive budget to this great cast, and there's no good reason to not make room for \u003cem>Fortitude\u003c/em> on your TV schedule.\u003c/p>\n\u003cp>\u003cem>Premiere date: Thursday January 29th at 10 p.m. on Pivot\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>iZombie\u003c/strong>\u003c/p>\n\u003cp>The CW has been on fire this season with its new shows, and we're hoping the network will continue its streak of excellence with its midseason premieres, especially comic adaptation \u003cem>iZombie\u003c/em>. A series about a zombie morgue assistant who eats murder victims' brains and uses the memories she absorbs to solve their murders is a little high-concept, but the show is helmed by \u003cem>Veronica Mars \u003c/em>creator Rob Thomas. We'd watch \u003cem>iZombie \u003c/em>based on that fact alone, but we have to admit its odd premise and comic book origins have us seriously intrigued.\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on The CW\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jonathan Strange & Mr. Norrell\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5UijYwmlCJQ'\n title='//www.youtube.com/embed/5UijYwmlCJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Adapted from the bestselling tome of the same name, \u003cem>Jonathan Strange & Mr. Norrell \u003c/em>is a seven-part British fantasy series set in an alternate version of early 19th century England, where magic is possible, but no longer practiced. The source material is nothing short of magical (forgive me), and the adaptation has secured screenwriter Peter Harness (\u003cem>Doctor Who\u003c/em>'s \"Kill the Moon\") and director Toby Haynes (\u003cem>Sherlock\u003c/em>'s \"The Reichenbach Fall,\" one of the best episodes of television in the last few years) to bring it to the screen.\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on BBC America\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Cucumber/Banana/Tofu\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lyJ0hc7ifTo'\n title='//www.youtube.com/embed/lyJ0hc7ifTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If the title confuses you, it's because it actually refers to three separate shows being broadcast across three different British channels. The shows share the same subject matter, queer life, and exist in the same narrative universe, interweaving across station and series borders. Here's hoping there's as much storytelling as shock factor. With TV veteran Russell T. Davies at the helm and \u003cem>In the Flesh\u003c/em>'s Luke Newberry as one part of a great ensemble cast, we have high hopes for the emotional resonance of this quirky drama.\u003c/p>\n\u003cp>\u003cem>Premiere date: Cucumber and Banana will air on Logo TV in early 2015, but -- so far -- there are no plans to broadcast Tofu in Ameri\u003c/em>ca.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Killjoys\u003c/strong>\u003c/p>\n\u003cp>Bounty hunters. \u003cem>I\u003c/em>\u003cem>n space.\u003c/em> Are you convinced yet? That is the premise for SyFy's upcoming \u003cem>Killjoys\u003c/em>, a drama from Michelle Lovretta (creator of the excellent \u003cem>Lost Girl\u003c/em>) and the studio that brings us \u003cem>Orphan Black.\u003c/em> We're hoping this show has the same fast-paced storytelling and female-centric narrative that have made both \u003cem>Lost Girl \u003c/em>and \u003cem>Orphan Black \u003c/em>so refreshing and watchable. Hannah John-Kamen, Aaron Ashmore, and Luke MacFarlane play three interplanetary bounty hunters chasing targets through a planetary system on the brink of class war. There aren't enough space dramas on TV. Could \u003cem>Killjoys \u003c/em>be the drama that fills the \u003cem>Firefly\u003c/em>-shaped hole still in many of our television-loving hearts?\u003c/p>\n\u003cp>\u003cem>Premiere date: T.B.D. on Syfy\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>What TV shows are you most looking forward to in 2015? Sound off in the comments below.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>American television is rife with British characters, so much so that it’s reasonable to assume that at least one of your favorite shows includes a main character with a funny accent (probably of the posh English variety). But is the reverse true? Do the British have an equal representation of American characters on their telly? Not even close.\u003c/p>\n\u003cp>Our culture's Anglophilia may tip the scales, but that doesn’t mean the occasional Yank doesn’t pop up on British television. How do we Americans fare in our representation? It varies, of course, but -- as is often the case with many British characters on American TV -- American characters on British TV come with their fair share of stereotyping. Looking past the monolithic trope that is The American Idiot, here are the five kinds of Americans portrayed on British television.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>The Valley Girl\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JDeKUJjZado\u003c/p>\n\u003cp>Ask a real-life British person to do an American accent and they will frequently attempt a Valley Girl. Heavy on the \"like\"s and \"OMG\"s and often unfortunately light on the substance, The Valley Girl trope pops up in both British and American pop culture. One of our favorite examples comes from \u003cem>The Catherine Tate Show \u003c/em>(the comedian is also known as \u003ci>Doctor Who\u003c/i>’s Donna Noble). Tate may be conflating an entire diverse demographic into one identity, but she manages to do it with some serious charm. Perhaps it's my status as an American who has been known to drop a \"like\" or \"OMG\" into a conversation, but I would be friends with The Valley Girl from this sketch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HN3yizkdMKw\u003c/p>\n\u003cp>Less likable yet much more extensively featured than Catherine Tate's Valley Girl, Classic \u003ci>Doctor Who \u003c/i>companion Peri also falls into The Valley Girl category. Originally from California, her character often falls into the ditzy behavior and emphasis on appearance associated with this trope. Nicola Bryant, the actress behind the role, was actually British and infamous for her terrible American accent made more noticeable than the British slang used in the script.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>The Cowboy\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKCw9UKj5QM#t=23m20s\u003c/p>\n\u003cp>I rarely see cowboys in real life, but they show up all the time as Americans on British television, especially several decades ago. In a 1978 episode of Britain’s long-running comedy \u003ci>Are You Being Served?\u003c/i>, Mrs Slocombe’s American uncle from New York comes to her wedding wearing an actual Stetson and reinforces the idiot American stereotype like it's going out of style.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=323uSPPJ0MI#t=16s\u003c/p>\n\u003cp>Other times, The Cowboy trope is less in the aesthetics and more in the attitude. The Classic \u003ci>Who \u003c/i>episode “The Tomb of the Cybermen” (1967) features a gaggle of American soldiers, including Captain Hopper, an uncharacteristically competent representation of a Yank. The manly Captain Hopper spends much of the episode off-screen fixing his ship, but still manages to find some time for heroic feats.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qsHcxUuft4E\u003c/p>\n\u003cp>This wasn't the first time cowboys made an appearance on \u003cem>Doctor Who\u003c/em>. The first U.S.-set episode -- \"The Gunfighters\" (1966) -- saw The First Doctor hanging with Wyatt Earp and Johnny Ringo. Cowboys were big in early \u003cem>Who\u003c/em>, and a go-to representation of an American in British television of yesteryear.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Money\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VuGyMU_vIZw\u003c/p>\n\u003cp>The British are known for their period dramas, and none has been more popular in recent years (both domestically and internationally) than \u003cem>Downton Abbey\u003c/em>. Unlike many British shows, \u003cem>Downton Abbey \u003c/em>has a main character who is American: Cora Crawley (played by American Elizabeth McGovern). Though Lady Cora's Americanness is often counted as a black mark on her character in English society, her family's money allows for her foreign birthplace to be overlooked. This is a common trope when it comes to Americans popping up in British drama: The New Money.\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: left\">\"\u003ci>Don't worry about me, I'm an American. Have gun, will travel!\u003c/i>\" -- Cora\u003c/p>\n\u003c/blockquote>\n\u003cp>In British drama, The New Money American is a symbol of change in a dying imperial world. They are usually seen as less culturally refined than their Old Money counterparts, but the manner in which they are treated as characters varies greatly. For Cora, though she is often teased for her more outgoing, casual (read: American) way, she is a resilient, well-developed character who is more than just her Americanness.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Playboy/Playgirl\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fYSij6houls\u003c/p>\n\u003cp>Americans on British television tend to be much more promiscuous than the British characters who surround them. Sometimes, it's played as a character flaw, as is the case with Cora's playboy brother Harold (played by American Paul Giamatti) in recent episodes of \u003cem>Downton Abbey. \u003c/em>Other times, it's played as part of an American's charm, as is the case with \u003cem>Doctor Who/Torchwood\u003c/em>'s enigmatic Captain Jack Harkness (played by American/Brit John Barrowman).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3mr6f29baBI\u003c/p>\n\u003cp>Other examples include \u003ci>Peep Show\u003c/i>’s Nancy (played by Canadian Rachel Blanchard), who manages to shoehorn the American stereotypes of being uber religious and a New Age hippie with her identity as a sexually adventurous lady.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>The Operative\u003c/b>\u003c/p>\n\u003cp>Often American characters appear on British television as operatives. They may not be the main villain, but they are players in the game, if not as members of the actual C.I.A., then as covert corporate players. The American Operative is often threatening, but not always frightening -- more of a nuisance than anything. They are hardly ever the brains behind the operation, but that doesn’t stop them from shows of snarky confidence.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a7R2NhgEeg0#t=3m19s\u003c/p>\n\u003cp>\u003ci>Jekyll’\u003c/i>s Benjamin (Brit Paterson Joseph), a psychopathic employee of Klein & Utterson hired to control Tom (a.k.a. Jekyll) and Hyde, is a particularly effective variety of The American Goon, while the C.I.A. agents in \u003ci>Sherlock\u003c/i>’s “A Scandal in Belgravia” prove worse at their jobs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N8_YQ7_Jo8k\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you have any more examples of American characters/stereotypes on British television? Share them in the comments below!\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American television is rife with British characters, so much so that it’s reasonable to assume that at least one of your favorite shows includes a main character with a funny accent (probably of the posh English variety). But is the reverse true? Do the British have an equal representation of American characters on their telly? Not even close.\u003c/p>\n\u003cp>Our culture's Anglophilia may tip the scales, but that doesn’t mean the occasional Yank doesn’t pop up on British television. How do we Americans fare in our representation? It varies, of course, but -- as is often the case with many British characters on American TV -- American characters on British TV come with their fair share of stereotyping. Looking past the monolithic trope that is The American Idiot, here are the five kinds of Americans portrayed on British television.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>The Valley Girl\u003c/b>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JDeKUJjZado'\n title='//www.youtube.com/embed/JDeKUJjZado'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ask a real-life British person to do an American accent and they will frequently attempt a Valley Girl. Heavy on the \"like\"s and \"OMG\"s and often unfortunately light on the substance, The Valley Girl trope pops up in both British and American pop culture. One of our favorite examples comes from \u003cem>The Catherine Tate Show \u003c/em>(the comedian is also known as \u003ci>Doctor Who\u003c/i>’s Donna Noble). Tate may be conflating an entire diverse demographic into one identity, but she manages to do it with some serious charm. Perhaps it's my status as an American who has been known to drop a \"like\" or \"OMG\" into a conversation, but I would be friends with The Valley Girl from this sketch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HN3yizkdMKw'\n title='//www.youtube.com/embed/HN3yizkdMKw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Less likable yet much more extensively featured than Catherine Tate's Valley Girl, Classic \u003ci>Doctor Who \u003c/i>companion Peri also falls into The Valley Girl category. Originally from California, her character often falls into the ditzy behavior and emphasis on appearance associated with this trope. Nicola Bryant, the actress behind the role, was actually British and infamous for her terrible American accent made more noticeable than the British slang used in the script.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>The Cowboy\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKCw9UKj5QM#t=23m20s\u003c/p>\n\u003cp>I rarely see cowboys in real life, but they show up all the time as Americans on British television, especially several decades ago. In a 1978 episode of Britain’s long-running comedy \u003ci>Are You Being Served?\u003c/i>, Mrs Slocombe’s American uncle from New York comes to her wedding wearing an actual Stetson and reinforces the idiot American stereotype like it's going out of style.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=323uSPPJ0MI#t=16s\u003c/p>\n\u003cp>Other times, The Cowboy trope is less in the aesthetics and more in the attitude. The Classic \u003ci>Who \u003c/i>episode “The Tomb of the Cybermen” (1967) features a gaggle of American soldiers, including Captain Hopper, an uncharacteristically competent representation of a Yank. The manly Captain Hopper spends much of the episode off-screen fixing his ship, but still manages to find some time for heroic feats.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qsHcxUuft4E'\n title='//www.youtube.com/embed/qsHcxUuft4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This wasn't the first time cowboys made an appearance on \u003cem>Doctor Who\u003c/em>. The first U.S.-set episode -- \"The Gunfighters\" (1966) -- saw The First Doctor hanging with Wyatt Earp and Johnny Ringo. Cowboys were big in early \u003cem>Who\u003c/em>, and a go-to representation of an American in British television of yesteryear.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Money\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VuGyMU_vIZw'\n title='//www.youtube.com/embed/VuGyMU_vIZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The British are known for their period dramas, and none has been more popular in recent years (both domestically and internationally) than \u003cem>Downton Abbey\u003c/em>. Unlike many British shows, \u003cem>Downton Abbey \u003c/em>has a main character who is American: Cora Crawley (played by American Elizabeth McGovern). Though Lady Cora's Americanness is often counted as a black mark on her character in English society, her family's money allows for her foreign birthplace to be overlooked. This is a common trope when it comes to Americans popping up in British drama: The New Money.\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: left\">\"\u003ci>Don't worry about me, I'm an American. Have gun, will travel!\u003c/i>\" -- Cora\u003c/p>\n\u003c/blockquote>\n\u003cp>In British drama, The New Money American is a symbol of change in a dying imperial world. They are usually seen as less culturally refined than their Old Money counterparts, but the manner in which they are treated as characters varies greatly. For Cora, though she is often teased for her more outgoing, casual (read: American) way, she is a resilient, well-developed character who is more than just her Americanness.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Playboy/Playgirl\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fYSij6houls'\n title='//www.youtube.com/embed/fYSij6houls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Americans on British television tend to be much more promiscuous than the British characters who surround them. Sometimes, it's played as a character flaw, as is the case with Cora's playboy brother Harold (played by American Paul Giamatti) in recent episodes of \u003cem>Downton Abbey. \u003c/em>Other times, it's played as part of an American's charm, as is the case with \u003cem>Doctor Who/Torchwood\u003c/em>'s enigmatic Captain Jack Harkness (played by American/Brit John Barrowman).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3mr6f29baBI'\n title='//www.youtube.com/embed/3mr6f29baBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other examples include \u003ci>Peep Show\u003c/i>’s Nancy (played by Canadian Rachel Blanchard), who manages to shoehorn the American stereotypes of being uber religious and a New Age hippie with her identity as a sexually adventurous lady.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>The Operative\u003c/b>\u003c/p>\n\u003cp>Often American characters appear on British television as operatives. They may not be the main villain, but they are players in the game, if not as members of the actual C.I.A., then as covert corporate players. The American Operative is often threatening, but not always frightening -- more of a nuisance than anything. They are hardly ever the brains behind the operation, but that doesn’t stop them from shows of snarky confidence.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a7R2NhgEeg0#t=3m19s\u003c/p>\n\u003cp>\u003ci>Jekyll’\u003c/i>s Benjamin (Brit Paterson Joseph), a psychopathic employee of Klein & Utterson hired to control Tom (a.k.a. Jekyll) and Hyde, is a particularly effective variety of The American Goon, while the C.I.A. agents in \u003ci>Sherlock\u003c/i>’s “A Scandal in Belgravia” prove worse at their jobs.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/N8_YQ7_Jo8k'\n title='//www.youtube.com/embed/N8_YQ7_Jo8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you have any more examples of American characters/stereotypes on British television? Share them in the comments below!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "If You Loved 'The Hunger Games: Mockingjay', Try This TV Series From the Same Director",
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"content": "\u003cp>Even if you’re not a fan of \u003ci>The Hunger Games\u003c/i>, you can probably list several items off of star Jennifer Lawrence’s filmography. But what about the franchise’s \u003ci>other \u003c/i>Lawrence? We’re referring to director \u003ca href=\"http://en.wikipedia.org/wiki/Francis_Lawrence\">Francis Lawrence\u003c/a>, who took over direction of \u003ci>The Hunger Games \u003c/i>film franchise from Gary Ross following the first installment\u003ci>. \u003c/i>Lawrence’s visual flair and talent for building cinematic worlds similar to our own made him an ideal choice for the job. Though Lawrence demonstrated these skills in \u003ci>I Am Legend \u003c/i>and \u003ci>Constantine\u003c/i>, it was his dual role as director and producer for the TV series \u003ca href=\"http://en.wikipedia.org/wiki/Kings_%28U.S._TV_series%29\">\u003ci>Kings\u003c/i>\u003c/a> that really showed his potential to take on the final three \u003ci>The Hunger Games \u003c/i>films.\u003c/p>\n\u003cp>Haven’t heard of \u003ci>Kings\u003c/i>? You’re not alone. The television drama was a mid-season premiere for NBC back in 2009, and it didn’t last long, despite its compelling plot, stunning visuals, and solid ensemble cast. Loosely based on the story of King David from the Bible, \u003ci>Kings \u003c/i>is set in an alternate modern day world in the kingdom of Gilboa (New York City stands in for the capital city Shiloh). The story begins when our young protagonist, David (Christopher Egan), a Gilboan soldier serving in the war against the Republic of Gath, takes out a Goliath-class tank to save some of his fellow soldiers -- one of whom happens to be the son of King Silas (Ian McShane). David is whisked off to the capital for a celebration in his honor and is able to witness first-hand the machinations of the monarchy, a system into which he is reluctantly pulled.\u003c/p>\n\u003cp>http://youtu.be/u5c1Vr1fcZI\u003c/p>\n\u003cp>\u003ci>Kings \u003c/i>is the perfect companion to \u003ci>The Hunger Games \u003c/i>franchise. It’s \u003ci>The Hunger Games \u003c/i>if it took place almost entirely in the Capitol with President Snow as one of many main characters. In addition to sharing a director -- Lawrence directed three episodes of the show’s 13-episode -- \u003ci>Kings \u003c/i>shares a number of defining aspects with the YA franchise...\u003c/p>\n\u003cp>\u003cb>The reluctant hero trope: \u003c/b>Katniss and David are very similar heroes. Both hail from humble backgrounds and are thrust into the spotlight via reluctant acts of heroism. Unlike many in their respective worlds, they don’t vie for celebrity or power; these things are unwanted side effects of their desire to protect the people they love. Both have lost their fathers to the demands of the nation -- Katniss’ father died in a mining accident, David’s father in the Unification War -- and both are torn between the simpler lives they left behind and the demands of the cause that has ensnared and changed them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Worlds similar to our own: \u003c/b>Both \u003ci>Kings \u003c/i>and \u003ci>The Hunger Games \u003c/i>franchise do a wonderful job of building an alternate reality that somehow manages to feel both eerily similar to our own and distinctly different, allowing the storytellers to make unique comments on our own contemporary reality. In \u003ca href=\"https://www.youtube.com/watch?v=9ebB1U8IlTw\">a video interview\u003c/a> Lawrence did with TVWeb at the 2009 San Diego Comic-Con, he described the power of this alternate reality effect in \u003ci>Kings\u003c/i>:\u003c/p>\n\u003cp>“Whenever you have a story, whatever it is, you always want it to be somewhat relatable to today and, the great thing is [the King David story] almost just transplanted over, and so it fit everything that’s sort of going on in the world right now. And then, when we were building our version of the monarchy, and sort of getting rid of the real royalty of it -- the sashes and the medals and the pomp and circumstance and all that -- and you start to make it feel a little corporate and presidential, it starts to sort of line up to the way things are working right now in America, which is pretty interesting. It’s working out to be kind of a nice allegory.”\u003c/p>\n\u003cp>The same could be said of Panem, a vision of a dystopian future that has more in common with our current reality than many viewers would like to admit.\u003c/p>\n\u003cp>\u003cb>Strong ensemble casts: \u003c/b>I don’t need to tell you about the acting heavyweights represented in \u003ci>The Hunger Games \u003c/i>series, but \u003ci>Kings \u003c/i>boasts a similarly impressive cast. Led by the inimitable Ian McShane in a role fresh off of his turn in \u003ci>Deadwood\u003c/i>, other familiar faces include, \u003ci>Arrow\u003c/i>’s Susanna Thomas, \u003ci>The Winter Soldier\u003c/i>’s Sebastian Stan, and \u003ci>Terra Nova\u003c/i>’s Allison Miller -- and that’s just the royal family. Macaulay Culkin, Leslie Bibb, Dylan Baker, and Wes Studi all fill either regular or recurring roles in the series.\u003c/p>\n\u003cp>\u003cb>Effective visual propaganda: \u003c/b>One of the most striking visual parallels -- besides Lawrence’s talent in blending the gritty with the beautiful -- is the iconic visual language of the stories’ respective political movements. In \u003ci>Kings\u003c/i>, the butterfly is a ubiquitous motif, a tool Silas uses to represent the narrative of his rise to power. In \u003ci>The Hunger Games\u003c/i>, its equivalent is the mockingjay, for which the third and fourth film installments are named. Though this similarity may seem minor, Lawrence imbues both examples of visual propaganda with a weight lesser directors often fail to achieve. The butterfly and the mockingjay aren’t just symbols for the characters; they are an ever-shifting measure for the audience on who is winning, who is losing, and who doesn’t even bother to play the game.\u003c/p>\n\u003cp>\u003ci>Kings \u003c/i>is available to watch in its entirety on \u003ca href=\"http://www.hulu.com/kings\">Hulu\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong> \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Are there other on-screen stories that remind you of \u003c/i>The Hunger Games\u003ci>? Sound off in the comments below.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you’re not a fan of \u003ci>The Hunger Games\u003c/i>, you can probably list several items off of star Jennifer Lawrence’s filmography. But what about the franchise’s \u003ci>other \u003c/i>Lawrence? We’re referring to director \u003ca href=\"http://en.wikipedia.org/wiki/Francis_Lawrence\">Francis Lawrence\u003c/a>, who took over direction of \u003ci>The Hunger Games \u003c/i>film franchise from Gary Ross following the first installment\u003ci>. \u003c/i>Lawrence’s visual flair and talent for building cinematic worlds similar to our own made him an ideal choice for the job. Though Lawrence demonstrated these skills in \u003ci>I Am Legend \u003c/i>and \u003ci>Constantine\u003c/i>, it was his dual role as director and producer for the TV series \u003ca href=\"http://en.wikipedia.org/wiki/Kings_%28U.S._TV_series%29\">\u003ci>Kings\u003c/i>\u003c/a> that really showed his potential to take on the final three \u003ci>The Hunger Games \u003c/i>films.\u003c/p>\n\u003cp>Haven’t heard of \u003ci>Kings\u003c/i>? You’re not alone. The television drama was a mid-season premiere for NBC back in 2009, and it didn’t last long, despite its compelling plot, stunning visuals, and solid ensemble cast. Loosely based on the story of King David from the Bible, \u003ci>Kings \u003c/i>is set in an alternate modern day world in the kingdom of Gilboa (New York City stands in for the capital city Shiloh). The story begins when our young protagonist, David (Christopher Egan), a Gilboan soldier serving in the war against the Republic of Gath, takes out a Goliath-class tank to save some of his fellow soldiers -- one of whom happens to be the son of King Silas (Ian McShane). David is whisked off to the capital for a celebration in his honor and is able to witness first-hand the machinations of the monarchy, a system into which he is reluctantly pulled.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u5c1Vr1fcZI'\n title='//www.youtube.com/embed/u5c1Vr1fcZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Kings \u003c/i>is the perfect companion to \u003ci>The Hunger Games \u003c/i>franchise. It’s \u003ci>The Hunger Games \u003c/i>if it took place almost entirely in the Capitol with President Snow as one of many main characters. In addition to sharing a director -- Lawrence directed three episodes of the show’s 13-episode -- \u003ci>Kings \u003c/i>shares a number of defining aspects with the YA franchise...\u003c/p>\n\u003cp>\u003cb>The reluctant hero trope: \u003c/b>Katniss and David are very similar heroes. Both hail from humble backgrounds and are thrust into the spotlight via reluctant acts of heroism. Unlike many in their respective worlds, they don’t vie for celebrity or power; these things are unwanted side effects of their desire to protect the people they love. Both have lost their fathers to the demands of the nation -- Katniss’ father died in a mining accident, David’s father in the Unification War -- and both are torn between the simpler lives they left behind and the demands of the cause that has ensnared and changed them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Worlds similar to our own: \u003c/b>Both \u003ci>Kings \u003c/i>and \u003ci>The Hunger Games \u003c/i>franchise do a wonderful job of building an alternate reality that somehow manages to feel both eerily similar to our own and distinctly different, allowing the storytellers to make unique comments on our own contemporary reality. In \u003ca href=\"https://www.youtube.com/watch?v=9ebB1U8IlTw\">a video interview\u003c/a> Lawrence did with TVWeb at the 2009 San Diego Comic-Con, he described the power of this alternate reality effect in \u003ci>Kings\u003c/i>:\u003c/p>\n\u003cp>“Whenever you have a story, whatever it is, you always want it to be somewhat relatable to today and, the great thing is [the King David story] almost just transplanted over, and so it fit everything that’s sort of going on in the world right now. And then, when we were building our version of the monarchy, and sort of getting rid of the real royalty of it -- the sashes and the medals and the pomp and circumstance and all that -- and you start to make it feel a little corporate and presidential, it starts to sort of line up to the way things are working right now in America, which is pretty interesting. It’s working out to be kind of a nice allegory.”\u003c/p>\n\u003cp>The same could be said of Panem, a vision of a dystopian future that has more in common with our current reality than many viewers would like to admit.\u003c/p>\n\u003cp>\u003cb>Strong ensemble casts: \u003c/b>I don’t need to tell you about the acting heavyweights represented in \u003ci>The Hunger Games \u003c/i>series, but \u003ci>Kings \u003c/i>boasts a similarly impressive cast. Led by the inimitable Ian McShane in a role fresh off of his turn in \u003ci>Deadwood\u003c/i>, other familiar faces include, \u003ci>Arrow\u003c/i>’s Susanna Thomas, \u003ci>The Winter Soldier\u003c/i>’s Sebastian Stan, and \u003ci>Terra Nova\u003c/i>’s Allison Miller -- and that’s just the royal family. Macaulay Culkin, Leslie Bibb, Dylan Baker, and Wes Studi all fill either regular or recurring roles in the series.\u003c/p>\n\u003cp>\u003cb>Effective visual propaganda: \u003c/b>One of the most striking visual parallels -- besides Lawrence’s talent in blending the gritty with the beautiful -- is the iconic visual language of the stories’ respective political movements. In \u003ci>Kings\u003c/i>, the butterfly is a ubiquitous motif, a tool Silas uses to represent the narrative of his rise to power. In \u003ci>The Hunger Games\u003c/i>, its equivalent is the mockingjay, for which the third and fourth film installments are named. Though this similarity may seem minor, Lawrence imbues both examples of visual propaganda with a weight lesser directors often fail to achieve. The butterfly and the mockingjay aren’t just symbols for the characters; they are an ever-shifting measure for the audience on who is winning, who is losing, and who doesn’t even bother to play the game.\u003c/p>\n\u003cp>\u003ci>Kings \u003c/i>is available to watch in its entirety on \u003ca href=\"http://www.hulu.com/kings\">Hulu\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong> \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Are there other on-screen stories that remind you of \u003c/i>The Hunger Games\u003ci>? Sound off in the comments below.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We live in a golden age of television, and it’s not just happening in America. Thanks to the availability of international TV the Internet and an expansive list of speciality channels has made available, you don’t have to travel to Scandinavia to watch the much-talked-about Danish series \u003cem>The Killing\u003c/em> or \u003cem>The Bridge\u003c/em>, on which the American adaptations were based. You can watch them from the comfort of your own home.\u003c/p>\n\u003cp>Here are five European television dramas that are on par with the best of what American television has to offer.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Real Humans\u003c/em> (Sweden)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VKOZoAdhHso\u003c/p>\n\u003cp>I love character-based science fiction, and the genre has enjoyed a renaissance on American television in recent years. But my favorite sci-fi series may be a Swedish one. Äkta människor, translated to Real Humans for English-speaking viewers, is the story of a near-future in which androids (called hubots) have been integrated into most peoples’ everyday lives, often in the most intimate of ways. That isn’t just a subtle reference to sex-bots, which do exist in this world, but to the way in which humans have become attached to the artificially-intelligent beings living in their homes and, in many cases, as parts of their families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its two seasons (20 episodes), \u003cem>Real Humans\u003c/em> follows two families and their respective members’ relationships to the hubots in their lives, as well as a ragtag band of liberated hubots, who have gained free will and have managed temporary escape from their lives of service. They work to gain their freedom, but are opposed by an ever-growing anti-hubot movement that calls itself “Real Humans.” Like the best science fiction, \u003cem>Real Humans\u003c/em> is nuanced, thought-provoking, and poses prescient questions about the consequences humanity risks when allowing technology to serve so many functions in our lives.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>The Returned\u003c/em> (France)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5bv_5IBPVuo\u003c/p>\n\u003cp>In a mountain town in rural France, five dead members of the community come back to life in \u003cem>The Returned\u003c/em>, a French drama with one eight-episode season under its belt and another in production. \u003cem>The Returned\u003c/em> isn’t a tale of brain-dead zombies feasting on the living. These returned people don’t remember having died. They are not out to wreak havoc or eat brains. Their motivations are as myriad as their living counterparts, which is to say governed by a desire to be loved and accepted by the people they love and accept.\u003c/p>\n\u003cp>If this story sounds familiar, it’s because it has been told in many incarnations in the last decade -- including ABC’s \u003cem>Resurrection\u003c/em> and a forthcoming \u003cem>The Returned\u003c/em> adaptation from A&E -- but it is hard to imagine anything topping this atmospheric slow burn of a series. \u003cem>The Returned\u003c/em> is beautifully directed with stunning visuals of the French countryside. It yields powerful performances from its ensemble cast, and is thematically underscored by a haunting soundtrack from Scottish post-rock band Mogwai.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Borgen\u003c/em> (Denmark)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bz_SyOXB1kM\u003c/p>\n\u003cp>If you miss \u003cem>The West Wing\u003c/em> or are still lamenting the cancellation of short-lived British drama \u003cem>Party Animals\u003c/em>, then \u003cem>Borgen\u003c/em> is the show for you. Focused on the unexpected rise of the first (fictional) female prime minister of Denmark, this political drama masterfully straddles the line between realistic and idealistic, while also exploring the sometimes impossible balance between professional and private spheres.\u003c/p>\n\u003cp>Though \u003cem>Borgen\u003c/em>’s story is led by Prime Minister Birgitte Nyborg, it is a true ensemble show. Its cast of well-drawn characters expands the world of political machinations to its many corrupt and complicated parts, from the various Danish political parties to the TV newsroom. With three seasons (30 episodes) already produced, the world of \u003cem>Borgen\u003c/em> has so much to offer and will have you caring about Danish politics more than you ever thought possible.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem> Black Mirror\u003c/em> (U.K.)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0TmXRrDpP8\u003c/p>\n\u003cp>Garnering comparisons to classic TV anthology series \u003cem>The Twilight Zone\u003c/em>, Britain’s \u003cem>Black Mirror\u003c/em> has already made serious waves in the U.S. Its episodes explore the dark potentialities of our technology culture, a.k.a. the “black mirror” of our many screens. Each installment features an entirely different setting, premise, and cast. This non-traditional format may stretch the definition of what it means to be a TV series, but it’s too good not to include on this list.\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em> is at its best when it examines large questions through an intimate lens, such as in “Fifteen Million Merits,” one of the series' best episodes, which tackles the topic of entertainment shows like \u003cem>American Idol\u003c/em> and the culture of distraction of which they are a part. “Bing” Madsen is our gateway character for the episode, a 20-something bored by his everyday existence: generating power by cycling on an exercise bike for hours on end, perpetually bombarded by distraction in the form of ubiquitous screens. When he meets Abi, a beautiful girl he hears singing in the bathroom, Bing uses most of his merits to give her a chance to audition for TV talent show Hot Shots. What happens next is a comment on the dangers of accepting distraction without question, and the range of choices we are given and make in a world where even anger can be commoditized.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem> In the Flesh\u003c/em> (U.K.)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3uAJklDka_U\u003c/p>\n\u003cp>Many contemporary TV shows and movies use apocalypse as a theme, but British drama \u003cem>In the Flesh\u003c/em> is concerned with what happens after the zombie apocalypse, expertly applying a supernatural filter to the real life horrors of social intolerance and discrimination. The show is set in post-zombie Britain, where scientists have found a way to “cure” the undead with medication. In the pilot, protagonist Kieren Walker, a partially-deceased syndrome (PDS) sufferer, returns to his family and rural community for the first time following his death and “rising.” The show follows Kieren’s struggle with his own guilt over the people he ate in his “untreated” state, as well as his efforts to reacclimate both to a family still dealing with his death and a town stuck in survival mode.\u003c/p>\n\u003cp>\u003cem>In the Flesh\u003c/em> has run for two seasons, with the fate of its third yet to be announced by Britain’s BBC Three. It would be a shame to lose a TV series about the complexities of how we deal with trauma at the individual and societal level. But, even if it isn't renewed, \u003cem>In the Flesh\u003c/em> is still well worth a watch.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you watch any foreign TV shows? What European shows would you suggest to others looking to expand their media horizons? Sound off in the comments below.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in a golden age of television, and it’s not just happening in America. Thanks to the availability of international TV the Internet and an expansive list of speciality channels has made available, you don’t have to travel to Scandinavia to watch the much-talked-about Danish series \u003cem>The Killing\u003c/em> or \u003cem>The Bridge\u003c/em>, on which the American adaptations were based. You can watch them from the comfort of your own home.\u003c/p>\n\u003cp>Here are five European television dramas that are on par with the best of what American television has to offer.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Real Humans\u003c/em> (Sweden)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VKOZoAdhHso'\n title='//www.youtube.com/embed/VKOZoAdhHso'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I love character-based science fiction, and the genre has enjoyed a renaissance on American television in recent years. But my favorite sci-fi series may be a Swedish one. Äkta människor, translated to Real Humans for English-speaking viewers, is the story of a near-future in which androids (called hubots) have been integrated into most peoples’ everyday lives, often in the most intimate of ways. That isn’t just a subtle reference to sex-bots, which do exist in this world, but to the way in which humans have become attached to the artificially-intelligent beings living in their homes and, in many cases, as parts of their families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its two seasons (20 episodes), \u003cem>Real Humans\u003c/em> follows two families and their respective members’ relationships to the hubots in their lives, as well as a ragtag band of liberated hubots, who have gained free will and have managed temporary escape from their lives of service. They work to gain their freedom, but are opposed by an ever-growing anti-hubot movement that calls itself “Real Humans.” Like the best science fiction, \u003cem>Real Humans\u003c/em> is nuanced, thought-provoking, and poses prescient questions about the consequences humanity risks when allowing technology to serve so many functions in our lives.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>The Returned\u003c/em> (France)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5bv_5IBPVuo'\n title='//www.youtube.com/embed/5bv_5IBPVuo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a mountain town in rural France, five dead members of the community come back to life in \u003cem>The Returned\u003c/em>, a French drama with one eight-episode season under its belt and another in production. \u003cem>The Returned\u003c/em> isn’t a tale of brain-dead zombies feasting on the living. These returned people don’t remember having died. They are not out to wreak havoc or eat brains. Their motivations are as myriad as their living counterparts, which is to say governed by a desire to be loved and accepted by the people they love and accept.\u003c/p>\n\u003cp>If this story sounds familiar, it’s because it has been told in many incarnations in the last decade -- including ABC’s \u003cem>Resurrection\u003c/em> and a forthcoming \u003cem>The Returned\u003c/em> adaptation from A&E -- but it is hard to imagine anything topping this atmospheric slow burn of a series. \u003cem>The Returned\u003c/em> is beautifully directed with stunning visuals of the French countryside. It yields powerful performances from its ensemble cast, and is thematically underscored by a haunting soundtrack from Scottish post-rock band Mogwai.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Borgen\u003c/em> (Denmark)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bz_SyOXB1kM'\n title='//www.youtube.com/embed/bz_SyOXB1kM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you miss \u003cem>The West Wing\u003c/em> or are still lamenting the cancellation of short-lived British drama \u003cem>Party Animals\u003c/em>, then \u003cem>Borgen\u003c/em> is the show for you. Focused on the unexpected rise of the first (fictional) female prime minister of Denmark, this political drama masterfully straddles the line between realistic and idealistic, while also exploring the sometimes impossible balance between professional and private spheres.\u003c/p>\n\u003cp>Though \u003cem>Borgen\u003c/em>’s story is led by Prime Minister Birgitte Nyborg, it is a true ensemble show. Its cast of well-drawn characters expands the world of political machinations to its many corrupt and complicated parts, from the various Danish political parties to the TV newsroom. With three seasons (30 episodes) already produced, the world of \u003cem>Borgen\u003c/em> has so much to offer and will have you caring about Danish politics more than you ever thought possible.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem> Black Mirror\u003c/em> (U.K.)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d0TmXRrDpP8'\n title='//www.youtube.com/embed/d0TmXRrDpP8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Garnering comparisons to classic TV anthology series \u003cem>The Twilight Zone\u003c/em>, Britain’s \u003cem>Black Mirror\u003c/em> has already made serious waves in the U.S. Its episodes explore the dark potentialities of our technology culture, a.k.a. the “black mirror” of our many screens. Each installment features an entirely different setting, premise, and cast. This non-traditional format may stretch the definition of what it means to be a TV series, but it’s too good not to include on this list.\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em> is at its best when it examines large questions through an intimate lens, such as in “Fifteen Million Merits,” one of the series' best episodes, which tackles the topic of entertainment shows like \u003cem>American Idol\u003c/em> and the culture of distraction of which they are a part. “Bing” Madsen is our gateway character for the episode, a 20-something bored by his everyday existence: generating power by cycling on an exercise bike for hours on end, perpetually bombarded by distraction in the form of ubiquitous screens. When he meets Abi, a beautiful girl he hears singing in the bathroom, Bing uses most of his merits to give her a chance to audition for TV talent show Hot Shots. What happens next is a comment on the dangers of accepting distraction without question, and the range of choices we are given and make in a world where even anger can be commoditized.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem> In the Flesh\u003c/em> (U.K.)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3uAJklDka_U'\n title='//www.youtube.com/embed/3uAJklDka_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many contemporary TV shows and movies use apocalypse as a theme, but British drama \u003cem>In the Flesh\u003c/em> is concerned with what happens after the zombie apocalypse, expertly applying a supernatural filter to the real life horrors of social intolerance and discrimination. The show is set in post-zombie Britain, where scientists have found a way to “cure” the undead with medication. In the pilot, protagonist Kieren Walker, a partially-deceased syndrome (PDS) sufferer, returns to his family and rural community for the first time following his death and “rising.” The show follows Kieren’s struggle with his own guilt over the people he ate in his “untreated” state, as well as his efforts to reacclimate both to a family still dealing with his death and a town stuck in survival mode.\u003c/p>\n\u003cp>\u003cem>In the Flesh\u003c/em> has run for two seasons, with the fate of its third yet to be announced by Britain’s BBC Three. It would be a shame to lose a TV series about the complexities of how we deal with trauma at the individual and societal level. But, even if it isn't renewed, \u003cem>In the Flesh\u003c/em> is still well worth a watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "3 TV Shows That Helped Me Understand and Cope with Depression",
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"content": "\u003cp>Society likes to \u003ca href=\"http://www.elementsbehavioralhealth.com/featured/is-watching-too-much-tv-making-you-depressed/\">causally link\u003c/a> television and depression, but that hasn’t always been my experience. Yes, when used as a way to neglect relationships and responsibilities, TV \u003ci>can\u003c/i> be a correlative anchor for depression, but it doesn’t have to be -- or, at least, that’s not \u003ci>all \u003c/i>it might be.\u003c/p>\n\u003cp>In addition to acting as a lifeline for the depressed, TV has the power to change the way we think about mental illness -- both in ourselves and in others. In many ways, it is the most intimate of mediums, coming into our homes week after week and becoming part of the sustained cultural conversation we have with our friends and family.\u003c/p>\n\u003cp>Serialized television in particular allows for a more complex, nuanced exploration of character and theme. When that narrative magnifying glass is turned toward stigmatized subjects like mental illness, minds are opened and altered. Here are three shows that have helped me to better understand mental illness -- and that have been a narrative lifeline when I was depressed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>In the Flesh\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>If you’re looking for a genre show about depression...\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fUb_KelEnRA\u003c/p>\n\u003cp>British import \u003ci>In the Flesh \u003c/i>is one part domestic drama, one part zombie dystopia. It follows Kieren Walker, a teenaged zombie who is now medicated and therefore deemed ready to return to his hometown in rural England. Unfortunately, the fictional village of Roarton is not ready for him. The Human Volunteer Force still patrols the woods for zombies, shooting first and asking questions later. This town wears its prejudice against Partial Death Syndrome (PDS) sufferers as a badge of honor.\u003c/p>\n\u003cp>\u003ci>In the Flesh \u003c/i>is interesting because it explores mental illness not only through the eyes of a main character who is depressed, but uses zombie-ism as a metaphor to explore the stigma against mental illness (amongst other prejudices). Kieren’s zombie-ism is part of his identity, but so is his depression. He may have risen from the dead, but the first season is about learning to \u003ci>choose\u003c/i> the life he once purposefully ended. It’s about learning to live again, despite everything that's been lost.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Slings and Arrows\u003c/b>\u003c/p>\n\u003cp>\u003ci>If you like your TV heavy on the Shakespearean themes...\u003c/i>\u003c/p>\n\u003cp>http://youtu.be/I0uVGCYRP4I\u003c/p>\n\u003cp>\u003ci>Slings and Arrows \u003c/i>proves that you don’t have to be a serious drama to explore mental illness well. This wacky, wonderful Canadian show about a struggling theater festival in fictional New Burbage follows the production of a different Shakespearean tragedy every season, using the play’s themes to shape the show’s behind-the-scenes action.\u003c/p>\n\u003cp>The first season uses \u003ci>Hamlet \u003c/i>for inspiration, exploring its central theme of madness through the emotional journey of protagonist Geoffrey Tennant. Seven years after suffering a nervous breakdown on stage while playing Hamlet, Geoffrey is back at the New Burbage Festival as creative director. With the help of his estranged mentor (who happens to be a ghost) and ex-fiance, Geoffrey attempts to get the festival back on track, without losing the semblance of sanity he’s managed to reclaim over the years.\u003c/p>\n\u003cp>In \u003ci>Slings and Arrows\u003c/i>, Geoffrey’s mental illness isn’t treated as unusual or as something he should be ashamed of. That’s not to say that other characters don’t try to shame him or that it is never an obstacle to his relationships and work, but Geoffrey is a compelling, competent, and caring character \u003ci>in addition\u003c/i> to his mental illness -- not \u003ci>in spite\u003c/i> of it.\u003c/p>\n\u003cp>Like \u003ci>In the Flesh\u003c/i>, \u003ci>Slings and Arrows \u003c/i>has at its heart this question of whether existence itself is worth it when life is filled with sadness and pain. Unlike the former, it never seems to stray too far from the answer that life is wonderful, confusing madness, and it is worth every performance we make.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Friday Night Lights\u003c/b>\u003c/p>\n\u003cp>\u003ci>If you’re looking for cathartic comfort...\u003c/i>\u003c/p>\n\u003cp>http://youtu.be/AG37AylK1_s\u003c/p>\n\u003cp>If you are one of the people who has dismissed \u003ci>Friday Night Lights \u003c/i>as a viable viewing option because it’s “just a show about high school football,” think again. This community-based drama is a critical, yet optimistic look at what it is to live in contemporary small town America and is akin in quality to the best “prestige” dramas of the last decade.\u003c/p>\n\u003cp>Set in the fictional Dillon, Texas, it uses the family of Coach Eric Taylor as its focal point, but it is an ensemble drama involving a diverse cast of characters. Though mental health is not a major theme in the series, watching this show is truly a cathartic experience. If you’re in the mood to cry -- happy tears and sad, and about something other than your life -- then this is the show for you. In the process, you will be taken through nuanced, intimate, and compelling explorations of complex topics like classism, racism, sexism, and ableism that rarely feel heavy-handed.\u003c/p>\n\u003cp>\u003ci>Friday Night Lights \u003c/i>does make a notable exploration of mental illness in Season 1 with the character of Waverly Grady. The clever, independent, and opinionated daughter of a local reverend, Waverly is a love interest for one of the central characters and also happens to be bipolar. Though Waverly was only a minor character and sadly didn’t return in the second season, the show won a \u003ca href=\"http://www.prismawards.com/about/history-and-purpose/\">Prism Award\u003c/a> -- given out for “the accurate depiction of substance abuse and mental illness” -- for her storyline. Waverly was never a caricature or defined by her condition, and is one of many memorably complex characters on the \u003ci>Friday Night Lights \u003c/i>journey.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Has TV ever altered your views on mental illness, or even helped you get through mental health struggles of your own? Share your thoughts and stories in the comments below.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Society likes to \u003ca href=\"http://www.elementsbehavioralhealth.com/featured/is-watching-too-much-tv-making-you-depressed/\">causally link\u003c/a> television and depression, but that hasn’t always been my experience. Yes, when used as a way to neglect relationships and responsibilities, TV \u003ci>can\u003c/i> be a correlative anchor for depression, but it doesn’t have to be -- or, at least, that’s not \u003ci>all \u003c/i>it might be.\u003c/p>\n\u003cp>In addition to acting as a lifeline for the depressed, TV has the power to change the way we think about mental illness -- both in ourselves and in others. In many ways, it is the most intimate of mediums, coming into our homes week after week and becoming part of the sustained cultural conversation we have with our friends and family.\u003c/p>\n\u003cp>Serialized television in particular allows for a more complex, nuanced exploration of character and theme. When that narrative magnifying glass is turned toward stigmatized subjects like mental illness, minds are opened and altered. Here are three shows that have helped me to better understand mental illness -- and that have been a narrative lifeline when I was depressed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>In the Flesh\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>If you’re looking for a genre show about depression...\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fUb_KelEnRA'\n title='//www.youtube.com/embed/fUb_KelEnRA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>British import \u003ci>In the Flesh \u003c/i>is one part domestic drama, one part zombie dystopia. It follows Kieren Walker, a teenaged zombie who is now medicated and therefore deemed ready to return to his hometown in rural England. Unfortunately, the fictional village of Roarton is not ready for him. The Human Volunteer Force still patrols the woods for zombies, shooting first and asking questions later. This town wears its prejudice against Partial Death Syndrome (PDS) sufferers as a badge of honor.\u003c/p>\n\u003cp>\u003ci>In the Flesh \u003c/i>is interesting because it explores mental illness not only through the eyes of a main character who is depressed, but uses zombie-ism as a metaphor to explore the stigma against mental illness (amongst other prejudices). Kieren’s zombie-ism is part of his identity, but so is his depression. He may have risen from the dead, but the first season is about learning to \u003ci>choose\u003c/i> the life he once purposefully ended. It’s about learning to live again, despite everything that's been lost.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Slings and Arrows\u003c/b>\u003c/p>\n\u003cp>\u003ci>If you like your TV heavy on the Shakespearean themes...\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I0uVGCYRP4I'\n title='//www.youtube.com/embed/I0uVGCYRP4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Slings and Arrows \u003c/i>proves that you don’t have to be a serious drama to explore mental illness well. This wacky, wonderful Canadian show about a struggling theater festival in fictional New Burbage follows the production of a different Shakespearean tragedy every season, using the play’s themes to shape the show’s behind-the-scenes action.\u003c/p>\n\u003cp>The first season uses \u003ci>Hamlet \u003c/i>for inspiration, exploring its central theme of madness through the emotional journey of protagonist Geoffrey Tennant. Seven years after suffering a nervous breakdown on stage while playing Hamlet, Geoffrey is back at the New Burbage Festival as creative director. With the help of his estranged mentor (who happens to be a ghost) and ex-fiance, Geoffrey attempts to get the festival back on track, without losing the semblance of sanity he’s managed to reclaim over the years.\u003c/p>\n\u003cp>In \u003ci>Slings and Arrows\u003c/i>, Geoffrey’s mental illness isn’t treated as unusual or as something he should be ashamed of. That’s not to say that other characters don’t try to shame him or that it is never an obstacle to his relationships and work, but Geoffrey is a compelling, competent, and caring character \u003ci>in addition\u003c/i> to his mental illness -- not \u003ci>in spite\u003c/i> of it.\u003c/p>\n\u003cp>Like \u003ci>In the Flesh\u003c/i>, \u003ci>Slings and Arrows \u003c/i>has at its heart this question of whether existence itself is worth it when life is filled with sadness and pain. Unlike the former, it never seems to stray too far from the answer that life is wonderful, confusing madness, and it is worth every performance we make.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Friday Night Lights\u003c/b>\u003c/p>\n\u003cp>\u003ci>If you’re looking for cathartic comfort...\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AG37AylK1_s'\n title='//www.youtube.com/embed/AG37AylK1_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you are one of the people who has dismissed \u003ci>Friday Night Lights \u003c/i>as a viable viewing option because it’s “just a show about high school football,” think again. This community-based drama is a critical, yet optimistic look at what it is to live in contemporary small town America and is akin in quality to the best “prestige” dramas of the last decade.\u003c/p>\n\u003cp>Set in the fictional Dillon, Texas, it uses the family of Coach Eric Taylor as its focal point, but it is an ensemble drama involving a diverse cast of characters. Though mental health is not a major theme in the series, watching this show is truly a cathartic experience. If you’re in the mood to cry -- happy tears and sad, and about something other than your life -- then this is the show for you. In the process, you will be taken through nuanced, intimate, and compelling explorations of complex topics like classism, racism, sexism, and ableism that rarely feel heavy-handed.\u003c/p>\n\u003cp>\u003ci>Friday Night Lights \u003c/i>does make a notable exploration of mental illness in Season 1 with the character of Waverly Grady. The clever, independent, and opinionated daughter of a local reverend, Waverly is a love interest for one of the central characters and also happens to be bipolar. Though Waverly was only a minor character and sadly didn’t return in the second season, the show won a \u003ca href=\"http://www.prismawards.com/about/history-and-purpose/\">Prism Award\u003c/a> -- given out for “the accurate depiction of substance abuse and mental illness” -- for her storyline. Waverly was never a caricature or defined by her condition, and is one of many memorably complex characters on the \u003ci>Friday Night Lights \u003c/i>journey.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Has TV ever altered your views on mental illness, or even helped you get through mental health struggles of your own? Share your thoughts and stories in the comments below.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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