Last week ABC announced that it had picked up a particularly depressing new comedy pilot: “Selfie,” a series inspired by My Fair Lady that, according to ABC, “tells the story of a self-obsessed 20-something woman who is more concerned with ‘likes’ than being liked.” “Selfie”’s tragic heroine endures an embarrassing public breakup that makes her the subject of a viral video, leaving her with “more social media ‘followers’ than she ever imagined—but for all the wrong reasons.” It
Is there a more perversely inappropriate fate for a satirist than posthumous sanctification? Herbert Block, the editorial cartoonist who drew under the name Herblock, spent his long life practicing the vicious art of visual mockery, exaggerating the physiognomic peculiarity of politicians in order to call attention to their moral defects.
'True Detective' could be the next 'Breaking Bad'
Is This the Next 'Breaking Bad'?
Finally, a TV show that insists on making gay life mundane.
How Lena Dunham's show went from a coming-of-age story to a comedy of manners
This season of "Girls" can feel less Lena Dunham than Larry David.
How the worst job in Washington became television's favorite role
If Joe Biden really wants to get the most out of his time as vice president, he should sign a development deal instead of forming an exploratory committee. On television, the Naval Observatory is the hottest real estate since Melrose Place—far more popular, even, than that mansion over on Pennsylvania Avenue.
Larry David might look like a new agey Moses in his HBO movie Clear History, which premiered Saturday night, but somehow the wild facial hair and flowing pants only serve to make him seem more like Larry David. He doesn’t play a role so much as demonstrate the stubborn transcendence of his persona: Even disguised in the shell of a new character, he sets about delivering nitpicky rants and torpedoing casual social interactions with his neuroticism.
A defense of Aaron Sorkin's 'The Newsroom'
In defense of 'The Newsroom.'
The actor hoped to direct and star in an adaption of my book
James Gandolfini acted in and considered many roles in his distinguished career, but there was one man who fascinated him, whom he never got to play: New York’s powerful master builder, Robert Moses.
What makes his films so good is what hurts 'Family Tree'
Christopher Guest’s mockumentaries are small, perceptive oddities, so unblinkingly committed to the worlds they investigate that the comedy can seem almost accidental. This is Spinal Tap (1984) spoofs the pretensions and ambitions of aging rockers with mortal seriousness. Waiting for Guffman (1996) does the same for a community theater ensemble in small-town Missouri. Best in Show (2000) makes tightly-wound dog owners into fully likeable monsters.