I remember country music most vividly as the twangy acoustic stream trickling from the speakers of my Papaw’s truck. A good ol’ boy from Jellico, Tennessee, Papaw let the warmth of fiddles and guitars ramble quietly in the truck cab.
From the time it premiered 20 years ago on NBC, certain people have always wanted to believe Washington operated like “The West Wing.” They wanted to imagine slick, educated, smooth-talking technocrats briskly walking through corridors and “reaching across the aisle” to solve the problems the peo
Sitcoms are as American as television can get: They display our signature appreciation for tight-knit circles and the eerie feeling that although time is pushing onwards, you keep reaching the same equilibrium. In their take on “time,” Daily Arts Writers, Maxwell Schwarz and Sophia Yoon tackle recent changes to the sitcom form over time, particularly the recent popularization of single-camera comedies.
Television that aspires to the long, cinematic and amorphous is now considered nothing less than a hallmark of genius. And freed from the traditional mindset of the medium, with the gates of cinema in sight, what’s to stop episodes of television from creeping slowly past the hour mark and toward 90-minute territory?
As hit shows like “Broad City,” “Jane the Virgin, “Veep” and “Game of Thrones” end this year, what is lining up to take their place? Society has been through enough, another repeat of “Friends” just won’t cut it anymore.
Hader and Alec Berg (“Silicon Valley”) created “Barry” as a dark comedy about a Midwestern hitman who travels to Los Angeles, where he finds himself joining an acting class and beginning to question the nature of his profession.