Oh John Carroll

Category: television (page 1 of 5)

David Carr didn’t believe that John Oliver’s HBO show would succeed. He wrote today about how he got that wrong.

This is a good article about a great show.

These “For Your Consideration” ads for Mad Men are perfect. Just perfect.

Anne T. Donahue at deathandtaxes writes about the importance of Mad Men‘s depiction of alcoholism:

After unscripted pitching, a complete disregard for the people around him, collapsing at home, and then a confession about his past in the midst of a Hershey’s pitch, he was asked to leave SC&P until he sorted things out. Now, we see the aftermath: his denial about his reality, his difficulty committing to sobriety, and exactly how much he’ll have to do to make up for years of power abuse and alcoholic-fueled decision making. All of which is important is important to see.

Comedy Central has made the first season of Andy Daly’s show Review available for free on their YouTube channel. This is a very funny show — the premise alone is great1, but it really soars with some great narratives told across the show’s eight episodes.


  1. Daly plays a critic who reviews and rates life experiences suggested by his fans.

Tim McCloskey lays into Jimmy Fallon for Philadelphia:

He’s not funny. He’s not a good actor. He’s not a good interviewer. And so far, he has yet to have an original idea.

Fallon is the kind of guy that pulls out an acoustic guitar at a party and does a Neil Young impersonation or takes someone’s sunglasses and pretends to be Stevie Wonder.

Or worse, he puts on Tom Jones and does the Carlton Dance. He’s that guy.

Lane Brown conducted a great interview with SNL’s Lorne Michaels for New York.

Can’t remember the last time I watched a music video and instantly had to replay it once it was over. You’ve probably seen this by now, but if you haven’t, correct that immediately!

The New Yorker‘s Emily Nussbaum wrote a great piece about the underrated It’s Always Sunny In Philadelphia:

“Always Sunny” isn’t always so self-referential: while it cannibalizes genres, it doesn’t have the abstraction of, say, NBC’s “Community.” But there was something cathartic about seeing the show address, with pride and self-loathing, its own unwillingness to be easily loved. It’s not as if dark shows can’t be popular: “Seinfeld” was a hit, after all. Yet, as impressive as “Seinfeld” was, it had no muck in it. It was icy and calculated, with its anger banked. In part, this was because of who the members of the “Seinfeld” gang were: educated Manhattanites with safety nets. In contrast, the “Always Sunny” characters are gutter punks—mostly Irish-Catholic drunks, although the twins grew up rich, with a Nazi grandfather—with no skills, intractable addictions, terrible families, and little capacity to get anywhere except the Jersey Shore, where they end up fighting over a “rum ham.” They’re not fun drunks: they’re scary, sad ones.

Film Crit Hulk at Badass Digest explains why.

Anna Gunn wrote an op-ed for The New York Times about reactions to her Skyler character on AMC’s Breaking Bad:

I enjoy taking on complex, difficult characters and have always striven to capture the truth of those people, whether or not it’s popular. Vince Gilligan, the creator of “Breaking Bad,” wanted Skyler to be a woman with a backbone of steel who would stand up to whatever came her way, who wouldn’t just collapse in the corner or wring her hands in despair. He and the show’s writers made Skyler multilayered and, in her own way, morally compromised. But at the end of the day, she hasn’t been judged by the same set of standards as Walter.

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