"Whose Line Is It Anyway?" is an American improvisational comedy show that first aired in 1998. The show is based on a British version that aired in the late 1980s and early 1990s. The American version features a group of four comedians who perform comedic skits and games based on audience suggestions.

Stars Hank Azaria, Kathryn Hahn, Natasha Leggero, and Al Madrigal apparently are having fun with the US version of a British hit titled Free Agents. The PR firm of CMA is the scene for much of the frivolity and even though the employees are there to assist their clientele it seems as if they can barely handle their own personal interests let alone be of assistance to any customers. Sitcoms that deal with workplace romance and banter have been popular for a long time (The Mary Tyler Moore Show, News Radio, Scrubs, Mad Men, The Office). There may be little in the way of plot line but plenty of humor, particularly of the dark and borderline mean variety. But the cast handles it all and even succeed in making the audience like them, well most of them. Sleazy and kinky yet charismatic boss Stephen (Anthony Head of Merlin and Buffy The Vampire Slayer) makes each day difficult for his staff. In the first episode we find two of the workers have committed the "cardinal" sin of employees sleeping together. Alex, played by Hank Azaria (does several voices on The Simpsons) and Helen (Kathryn Hahn of Crossing Jordan) get wasted and spend time in bed together, waking the next morning with more than just a hangover. At work other employees drill them for details and Alex nearly becomes a stalker trying to convince Helen to let him move in.

"Arthur's Law" is a German dark comedy TV series about a man named Arthur Ahnepol who is unhappy with his life and wants to start over. He decides to rob a bank, but things go wrong, and he ends up in jail. While in jail, he meets a man who tells him about "Arthur's Law," which states that if something can go wrong, it will go wrong. Arthur begins to believe in this theory, and when he is released from jail, he puts it to the test.

"Not Dead Yet" is a British comedy television series that was created by Ben Elton and aired on ITV in 2017. The show follows the life of Richard Wilson, a retired actor who is trying to stay relevant in the entertainment industry. Richard is determined to prove that he is still capable of performing despite his advancing age and declining health.

Previewing "Breaking In" for the press, star Brett Harrison suggested, "If you like "The A-Team", you'll like "Breaking In". If you like "The Office",'you'll like "Breaking In". And if you like breaking-in, you will like "Breaking In!". Harrison's observation proved strangely prophetic in at least two ways: First, the new Fox comedy does combine comic elements from "The Office" with "The A-Team's" dark, sarcastic point of view. Office humor"”there's just no such thing as too much. Second, the weak attempt at humor in Harrison's last line is sadly characteristic of the writing for "Breaking-In." Apparently, the B&E crowd lobbied for its own version of appointment viewing. Who knew? Although it's becoming this season's standard"”bad guys gone good, the premise nevertheless has promise. Five exceptionally skilled and highly specialized burglars team-up to operate Contra Security, a consulting firm that tests companies' security systems by breaking into them. Borrowing liberally from "Leverage" and "Breakout Kings," this wickedly bland team includes a hacker, a bad girl who can pick any lock, a semi-skilled con man, and a mysterious boss. First episode ratings may prophecy the sitcom's fate. Scheduled right after a big-big episode of "American Idol", "Breaking In" carried approximately 19 million viewers into its time-slot; by the end of its half-hour, 12 million of them had tuned-in elsewhere.

Starring Edie Falco, Showtime's "Nurse Jackie" stands out as arguably the best medical drama on television, because the premium cable network allows writers and producers plenty of latitude for developing all of Jackie's passions"”the quality of her patients' care, the unbearable arrogance of vaguely sociopathic physicians, and the delicious relief of good orgasms and Oxycontin. "Nurse Jackie," both the character and the show, have some issues: The character suffers excruciating pain from a bad back and therefore has developed an addiction to painkillers. Yes, you have seen this dangerous dilemma recently on both "House" and "Southland," where the admirable characters continue doing their wonderworks despite their addictions. "Nurse Jackie," the show, suffers a subtle but unmistakable identity crisis, suggesting opportunities for some of the most brilliant black humor known to American medical drama; but, like a pensive and pretentious nineteen-year-old, it insists on taking itself much too seriously. One critic aptly observes, "'Nurse Jackie' doesn't look like the average network medical drama, but it does follow the formula of many premium cable shows, taking a knowing and at times dark, sardonic look at the classic themes of love, life and work." The critic, however, forgets to mention that nowhere does "sardonic" appear as a synonym for either "funny" or "engaging."