"Six Feet Under" is an American television series created by Alan Ball. It aired on HBO from 2001 to 2005 and follows the lives of the Fisher family, who run a funeral home in Los Angeles.
The show explores themes such as mortality, grief, and family dynamics. Each episode begins with the death of a person, whose body is then prepared for burial by the Fisher family. The series features a talented ensemble cast, including Peter Krause, Michael C. Hall, and Frances Conroy.
The series received critical acclaim for its unique and unconventional approach to storytelling, as well as its ability to tackle difficult and sensitive topics with empathy and humor. It has been praised for its strong writing, powerful performances, and emotional depth. "Six Feet Under" remains a beloved and influential series that continues to resonate with viewers today.
Hawaii Five-0 is an American drama series produced by CBS productions which features a law enforcement run unit headed by Detective Steve McGarrett. One of the longest running crime shows in TV history stars Richard Boone and other top stars. It was accredited with 12 Emmy nominations during its run with CBS.
Flashpoint is a Canadian TV drama series that debuted on July 11th 2008 and since then has gripped TV enthusiasts worldwide. The show created by Mark Ellis showcases an elite tactical unit called SRU (Strategic Response Unit) which are presented with tasks to resolve extreme issues that standard law enforcement officers are not capable of handling.
Blue Bloods is a drama TV series that showcases the lives of an American family. Formerly titled Reagan's Law, it is a series that is presented by CBS starring Tom Selleck and Bridget Moynahan. A primetime TV show that features a multi generation family of police enforcement officers. It is a drama series that deals with the ups and downs of preserving a family legacy.
It was good while it lasted. Launched with much fanfare and intense audience interest, "FlashForward" brilliantly recreated the mysterious, fascinating, are-they-prophetic? two minutes and seventeen seconds on October 6, 2009, when almost everyone on Earth lost consciousness of their ordinary surroundings and caught glimpses of their lives on April 29, 2010. An ambitious attempt at transposing Robert J. Sawyer's "high-concept" novel from the printed page to the small screen, "FlashForward" focused on the team of FBI investigators charged with determining what had happened. One of the FBI agents enjoyed the special privilege of seeing his team crack the case in his vision of the future; all he has to do is recreate the six months of investigative work that yield the break-through. Meanwhile, the principal characters attempt to cope with the consequences of their visions for their lives in the present, because they have seen broken marriages, lives lost, and great portrayals on their horizons. Most viewers and critics sadly agreed "FlashForward" unfortunately juxtaposed a brilliant high-tech crime drama on some pathetically ordinary people and lives.
In its first review of "Dexter TV show", the New York Times summarized, "[Dexter Morgan] kills people and cuts them up. But they deserve it. Besides, he's neat." When a serial killer leaves a trail of tidy corpses in service of justice, audiences cannot get enough; he liberates everybody's inner vigilante. Dexter, played pitch-perfect and spot-on by television veteran Michael C. Hall (late of "Six Feet Under"), is a smart and smart-mouthed, self-aware crime scene investigator who moonlights as a blood-thirsty avenger. Dexter is your average psychopath-next-door, comparable with Macbeth or Hannibal Lecter, but with charm and good jokes. As critics and viewers have stressed since the show's very first episode, Dexter kills only people who deserve to die"”depraved pedophiles, drunk drivers with neither conscience nor remorse, and other reprehensible characters who slip through the cracks in the justice system. The show's producers John Goldwyn and Sara Colleton assert, "Dexter becomes a metaphor for people closeted by their secrets." They exaggerate their character's allegorical powers"¦but only a little.
One of two intense medical dramas NBC introduced in the fall of 2009, "Mercy" had all the advantages its one-named rival "Trauma" did not. First, it had talent behind the scenes. Liz Heldens from "Friday Night Lights" created the show and led the writers, proving once again that the best way to dramatize the real world is to show it realistically"”ugliness and all. Second, it had attitude and guts to stay true to its revolutionary premise, the well-informed notion "that nurses remain [not only] more generous caregivers, but that they are more intuitively apt, smarter, more committed and as technically able as their [physician] superiors, with none of the accompanying arrogance." In a winner-take-all ER smackdown, you always would go all-in with the Mercy Hospital nurses. The main character, nurse Veronica Flanagan Callahan, has just returned from a tour in Iraq, where she clearly learned more in each day than the pompous, presumptuous doctors learned in all five years of medical school. Of course, Veronica gets neither the respect nor the reward she deserves, but "Mercy" dangles the possibility of true love as just recompense for Veronica's skill and compassion. Taylor Schilling plays Veronica with exactly the right balance of toughness and vulnerability, skillfully juxtaposing her consummate skill as a nurse with her intrepid ingenuousness in matters of the heart. If only "Mercy" had survived into a second season, all the tangled threads in the story might have come to their proper denouement. If only.
"Mad Men TV show" delivers its drama in the same slick and glossy packaging the Madison Avenue ad-men serve-up to their clients, making it just as stylized, trendy, and gotta-have-it cool as anything as a two-page spread for Chryslers and Chesterfields in the centerfold Life. Central character Don Draper, a pitch-man with a secret and sordid past, ruthlessly and relentlessly courts clients and seduces women, attempting to feed his insatiable ego. In other words, he personifies the archetype of the ad-man. Draper races full speed to stay one step ahead of changing times, cut-throat competitors, and revelation of his secrets: Born the son of a prostitute who died in childbirth, he stole a Korean war buddy's identity to put on a patina of respectability. Propriety and respectability figure prominently in the drama, which accurately represents steamy seductions and corner-office conniving hiding behind the Norman Rockwell wholesomeness of 1960s family values. Brilliantly written, beautifully photographed, and consummately well acted, "Mad Men TV show" has collected a boatload of awards, including three Golden Globes and back-to-back Emmys.
