This Fool" is an American comedy television series created by Chris Estrada, Pat Bishop, Matt Ingebretson, and Jake Weisman. The show stars Estrada and Frankie Quiñones. It premiered on Hulu on August 12, 2022 and was renewed for a second season in November 2022. The series follows Julio Lopez, a 30-year-old man who still lives with his mother and grandmother in his childhood bedroom and works at a gang rehabilitation center in Los Angeles called Hugs Not Thugs. His older cousin Luis, a former gang member, is in the rehabilitation program after being released from prison. The series was created by Estrada with producers Bishop, Ingebretson, and Weisman, and Fred Armisen is an executive producer. All 10 episodes of the first season were released on Hulu on August 12, 2022.

Called an American documentary, the TV program is hosted by comedians/magicians Penn & Teller, best known for their show in Las Vegas. Not quite a program about politics and almost akin to the exploitation of paranormal events and pseudoscientific ideas, the "BS" show has captured a large audience since first airing in 2003. The application of some critical thought into various misconceptions, in other words "critical thinking" added into the concept of "BS" which is all around us constantly, attempts to clarify some of the confusion. Such subject matter as animal rights, environmentalism, gun control, organic food, and even the war on drugs are explored and debunked by (self proclaimed) experts on a wide variety of subjects in each episode. Penn & Teller: Bullshit is popular around the globe and viewed in Ireland, New Zealand, Mexico, Denmark, Iceland, Columbia, Canada, Brazil, and Australian each week. The hosts bring up subjects not merely to "expose the truth" but show some to be misleading, overemphasized, or even unnecessary interruptions in life.

"White Collar" delivers the requisite Feds and felons, but you do it a serious dis-service if you describe it as a "crime drama." No one on "White Collar" would insist "just the facts, ma'am; just the facts," because complex characters and complicated motives drive the plots and magnetize viewers. As The New York Times wisely remarks, "White Collar" complies with USA Network's higher standards for cops and robbers; it "creates a fantasy version of law enforcement in which bureaucracies don't scuttle justice, reason prevails, and brilliance ensures the best possible outcome. At one point Burke asks his office how many went to Harvard, more than half raise their hands." Matt Bomer plays Neil Caffrey, "White Collar's" resident lovable bad-guy-turned-good-guy. Caffrey, whose style and savoir faire give him legitimate claim to membership in the Rat Pack, has struck a deal with his long-time nemesis, FBI agent Peter Burke, played to perfection by Tim DeKay. Burke will release Caffrey from Federal prison long before the end of his sentence if Caffrey agrees to lend his criminal genius to the Bureau's efforts to seek-out and imprison sophisticated evil-doers. Who could resist a deal like that?

If your family drama cannot be "Modern Family" or "Brothers and Sisters," then what can it be? It almost inevitably will be NBC's "Parenthood," a mid-season, post-Olympic experiment boldly launched in February, 2010. The "Parenthood" experiment tests the hypothesis that good writers and actors can find the middle ground between "Modern Family's" understated but outrageous satire and "Brothers and Sisters'" intensity. Producers Ron Howard and Brian Grazer are re-working the basic premise of Parenthood, the 1989 movie starring Steve Martin as a frazzled father trying with all his might to do the right thing for everyone he loves. The New York Times accurately observes, "'Parenthood,' with its polished scripts and beautifully shot exteriors, seems like a last gasp of television past," big-big production values and a cast of small-screen all-stars including Craig T. Nelson, Bonnie Bedelia, and Lauren Graham. "Parenthood's" plots and dialogue exploit the irony in everyday family life, winning empathetic laughs and wry smiles where other teams might push too hard for punchlines. Some of the dialogue has the same brilliant serrated edge that distinguished "Gilmore Girls," but, as Lauren Graham points out, "I do not have to talk so fast." Like all good comedy, the teasing and quirkiness are fundamentally good-natured, and every episode features at least one weep-worthy segment. Because "Parenthood" is not "Modern Family" or "Brothers and Sisters," it has become the rarest of rare productions at NBC"”a hit.

Georgia Chamberlain knows she can act. In fact she is the most confident person around and considered to be one of those "larger than life" kinda people. Georgia Chamberlain is ably played by Raven-Symone (That's so Raven, Sunny With a Chance) who was actually born in Georgia. She has moved to New York to pursue her dreams which include becoming an actress. Her best friend Jo Pye is played by Majandra Delfino (Men of a Certain Age, Life As We Know It), who is more the science "geek" type. The two women are trying to make it in the "big city" and we've seen that story idea before but this time around the women seem tougher and even more determined to make it! Georgia's Aunt Honey (Loretta Devine from Grey's Anatomy, For Colored Girls) is somewhat of a nymphomaniac and loves to brag about her exploits to the young women and also doles out advice while listening to their problems. This is actually light hearted fun television in a family format.

As he championed "the new journalism" in the late sixties, Tom Wolfe suggested no one ever would write anything truly compelling"”fact or fiction"”about the suburbs; he asserted, "There is no life there." During the New Depression, however, the suburbs have gone ghetto, suddenly teeming with life and depravity; and television writers are producing all kinds of compelling stuff about what they have discovered beyond the white picket fences. Witness Showtime's smash-hit "Weeds," the life and times of a "proper" suburban widow keeping-up appearances while she deals more dope than a six-pack of Mexican cartels. As in "The Office," the basic premise for "Weeds" is an import from Great Britain, adapted from the British film Saving Grace which showed a widow and her gardener conspiring to maintain the widow's lifestyle by supplying the locals with their favorite herbal refreshment. Critics frequently compare "Weeds" with American Beauty for its exploitation of the idea "Normal is the face we wear to cover how f***ed-up we are." By contrast with "Desperate Housewives," Nancy Botwin, our entrepreneurial heroine, has far more good reason for desperation than her difficulty achieving orgasm; she has a house, a mortgage, two sons, and a reputation. Since Bonfire of the Vanities tanked and "Weeds" flourished, Tom Wolfe may have to consider the distinct possibility that there is no life in Manhattan.