Even if you’re not triggered by Sheridan’s blatant provocations, “The Madison” is missing a story engine. The end of the pilot offers one option, then tries it out again at the end of Episode 2, and then abandons it for the rest of the season.
“Margo’s Got Money Troubles” manages to marry its meaning and method effectively enough to make its bubbled perspective more soothing than exasperating. Once you give in, it’s quite charming.
It’s a dime-store paperback put through Hollywood’s prestige machine. Each bonkers bit is a nice reminder not to take anything too seriously. Just enjoy the weirdness. Kidman certainly is.
The first six episodes feel overstuffed (with plot, characters, and jokes), but a lot of it works. The premiere is rock solid, without a wasted word and showing a strong grip on its tone, and the cast is exceptional.
Much like M, it gets so caught up in proving its own relevancy, it overlooks the core principles of a good story. Obscurity awaits the show. Luckily, the book is still there, and infinitely better.
“DTF St. Louis” breaks down its crude acronym until it isn’t disagreeable anymore. At times, it’s downright aspirational. Perhaps best of all, it’s also very, very funny.
While it would be easy to write off “Reggie Dinkins” for trying to coast on audiences’ nostalgia for Morgan’s greatest role, it’s clearly trying to do more. The ensemble comes into its own along with the narrative, the jokes are as unexpected as they are gleeful, and even when some episodes feel out of place, there’s enough to enjoy that you’ll never regret watching.
