On paper, “Bluff City Law” has all the components of a good courtroom drama. It’s got snappy dialogue, a fresh case every week, some moral introspection about good and evil in the American justice system. But in practice, the show falls flat.


All things being said, the unfortunate part of the show is that it’s just not particularly funny.


To the show’s credit, its premise is established swiftly and effectively.


The ending of “LOST” looks great in comparison to the ending of “Game of Thrones,” and the ending of “Game of Thrones” could look great compared to the ending of whatever the next big thing is.

Billy Porter in "POSE"

The Daily TV beat gives a rundown of all the winners (and the robbed) at this year's Emmy’s.


Perhaps the most important question is: Where the hell have I been?

"A Little Late"

It’ll be interesting to see how much Singh can improve from here on out, and especially interesting to see her fresh perspective given the current political and social climate.

'American Horror Story: 1984'

What begins as an almost-threesome ends quickly in a cabin full of dead children, each missing an ear. This is the gory commencement of “American Horror Story: 1984,” the ninth installment in the long-running horror anthology series.


Although the entire viewing audience deserves an apology (and maybe compensation) for bearing witness to the ungodly pressure of Spicer’s slacks on his crotch, who truly deserves an apology is the Latinx population of America who had to watch a man partially responsible for their ongoing disenfranchisement essentially take a steaming dump on their culture.

Julia Louis-Dreyfus in 'Veep'

As a summer birthday baby, I’ve always felt spiritually connected to the Emmys — the forgotten birthday, if you will, of awards season. Sure, your friends tell you they’ll remember it when everyone is back at school, but you know the truth.