[Televisionary]

  Farewell, Team Braverman. It couldn't be more fitting that  Parenthood , which wrapped up its six-season run on Jan. 29, ended with a baseball game. The pilot episode of the Jason Katims-created show ( very  loosely based on the 1989 feature film) ended in the same fashion: After a negative experience, Max Braverman (Max Burkholder) doesn't initially want to play in his baseball game, but when he changes his mind, the entire Braverman clan races to get him there in time.  There's a beautiful sense of symmetry, therefore, to how  Parenthood 's final episode ended, with the Bravermans uniting to celebrate one of their own, Zeek (Craig T. Nelson), on the baseball diamond, fulfilling his wishes and bringing each other closer together in the process. With the series bookended both by the most American of sports — Crosby (Dax Shepard) once refers to baseball as the Bravermans' "religion" — and by Sarah (Lauren Graham) finding her true place (moving in with her

Adult Swim’s surreal satire of sitcoms subverts our expectations of nostalgia. You might be able to go home, but it will never be the same. "Too Many Cooks" began as an Adult Swim parody that aired on Cartoon Network's late-night block for a week or so at the end of October, but since then, the surreal and twisted 11-minute video has gone viral in a way that even its creators,  Chris "Casper" Kelly ( Squidbillies ) and Paul Painter, have been gobsmacked by . What is it about this short that has exerted such a magnetic pull on so many? "Too Many Cooks" is, on the surface, initially a parody of 1970s and 1980s sitcoms that once populated the television landscape. These are the types of shows you might recall watching from the couch of your grandparents' house, shows like  The Brady Bunch ,  Three's Company ,  Family Matters , and  Perfect Strangers  with their familiar theme songs and title sequences, once hallmarks of the sitcom form. They'r

The CBS legal drama, now in its sixth season, continually shakes up its narrative foundations and proves itself fearless in the process. Spoilers ahead, if you’re not up to date on the show. At BuzzFeed, you can read my latest feature, " The Good Wife Is The Best Show On Television Right Now," in which I praise CBS' The Good Wife and, well, hail it as the best show currently on television. (Yes, you read that right.) There is no need to be delicate here: If you’re not watching The Good Wife, you are missing out on the best show on television. I won’t qualify that statement in the least — I’m not talking about the best show currently airing on broadcast television or outside of cable or on premium or however you want to sandbox this remarkable show. No, the legal drama is the best thing currently airing on any channel on television. That The Good Wife is this perfect in its sixth season is reason to truly celebrate. Few shows embrace complexity and risk-taking in t

The new Showtime drama joins movies Gone Girl and The Disappearance of Eleanor Rigby in its exploration of gender wars, a topic that’s currently heating up the pop culture landscape. Warning: Minor spoilers for both films and the series ahead. At BuzzFeed, you can read my latest feature, " The Affair Advances Hollywood’s Heated War-Between-The-Sexes Conversation," in which I review Showtime's The Affair and examine it in the context of the similarly themed battle-of-the-sexes dramas Gone Girl and The Disappearance of Eleanor Rigby . While we can attempt to empathize, it’s impossible to truly ever know every crevice of someone’s psyche, whether it’s the stranger you pass in the street or your own spouse. Other people are innately unknowable. Gone Girl, whose gender politics have been hotly debated, takes this notion to an operatic and hyper-intense place as the audience is forced to contend with the unreliability of two narrators — Nick Dunne (Ben Affleck), the

Damn fine news: After 25 years, Twin Peaks is headed to Showtime with a nine-episode limited series. BuzzFeed News spoke to Frost about the revival and what fans can expect. At BuzzFeed, you can read my latest feature, " Twin Peaks Co-Creator Mark Frost On The Series’ Return To Television," in which I talk to Twin Peaks co-creator Mark Frost about the series' resurrection as a limited series on Showtime in 2016. Earlier this summer, deleted and extended scenes from the Twin Peaks follow-up film Fire Walk With Me were unearthed for the series’ complete Blu-ray release. But that was nothing compared to what happened on Oct. 6, as the impossible suddenly became a reality: Co-creators David Lynch and Mark Frost announced that Twin Peaks would be returning to television 25 years after it went off the air, its resolution as hazy and unclear as a fever dream. Nine episodes of a Twin Peaks revival series will air on Showtime in 2016 as a limited series, one that promise

The Shonda Rhimes-executive produced legal thriller might be pushing some boundaries, but its over-reliance on a wonky narrative device is leaving something to be desired. Warning: Contains spoilers if you are not up to date on the show. At BuzzFeed, you can read my latest feature, " How To Get Away With Murder Doesn’t Quite Get Away With Its Framing Device," in which I examine the Shonda Rhimes-executive produced thriller and look at the way in which the show constructs its framing device... and falls short as a result. There are many things for which How to Get Away With Murder — from creator Peter Nowalk and executive producer Shonda Rhimes — ought to be celebrated. ABC’s new legal thriller, which has aired two episodes to date, follows the Rhimes-ian ideals of its forebears, resulting in a show that is thoroughly modern and diverse, brimming with complicated characters who are inherently flawed and yet innately watchable. Likewise, the show has already challenged

“Guys, where are we?” At BuzzFeed, you can read my latest feature, " Lost Changed My Life In More Ways Than I Can Count," in which I revisit the 10th anniversary of Lost 's premiere and look at how my life has changed in the time since the show first began. I saw the pilot episode of Lost a few months before it premiered on ABC exactly 10 years ago today — on Sept. 22, 2004. I was working in television development at the time, and a box of pilots — they may have even been on VHS tapes — had just arrived from a talent agency. My co-workers and I gathered in a tiny, cramped office to sort through the 30–40 screeners, most with titles and premises now forgotten, to find our copy of Lost. Damon Lindelof was an unknown name to us then, but we were addicted to Alias, the trippy espionage drama from Lost co-creator J.J. Abrams, who had also won our hearts with the wistful Felicity. Twitter and social media as we now know them did not yet exist and, while we had followe