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Eric Deggans

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This is the network TV definition of too little, too late.

On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama Hawaii Five-0. To no one's surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.

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MAISIE WILLIAMS: (As Arya Stark) When people ask you what happened here, tell them winter came for House Frey.

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It's July, but if you're an HBO subscriber and a fan of intense explicit television, winter is here.

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It's a depressing question to ask on a Father's Day weekend: What does it mean that a superstar comic and philanthropist once "America's Dad" just saw his prosecution on sexual assault charges end in a mistrial?

The trial against Bill Cosby ended Saturday, when a deadlocked jury was unable to reach a verdict on three counts of aggravated indecent assault after several days of deliberations. Until and unless the jurors speak, we won't know if just one or two of them declined to convict or if there was more widespread disagreement.

It sounds like the title to an awful, self-confessional memoir: Everything I learned about fatherhood, I learned from TV. But, as Father's Day approaches, this TV nerd finds himself reflecting on exactly that, the surprising lessons about fatherhood and parenting that came to me from iconic figures on the small screen.

If it seems like there's an explosion of TV coming at you this summer, that's because there is. And it's a trend that's been building for quite a while.

Back in the day — say five or 10 years ago — summer was a time of experimentation and slowing down. Network TV aired shows that would keep the lights on while reserving its best stuff for the fall, and cable TV took advantage by debuting more new shows as an alternative.

Anyone hoping to get a sense of how former Fox News star Megyn Kelly might reinvent herself for her new role as NBC News' big hire didn't get a lot of clues from the rather conventional debut episode of Sunday Night with Megyn Kelly.

It was a program which came with some fanfare, particularly if you were watching NBC News platforms in the days leading up to Sunday's debut. MSNBC, Today and NBC Nightly News all broadcast previews of Sunday Night's big get, Kelly's sit-down last week with Russian President Vladimir Putin.

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As a TV critic who keeps an eye on social issues, I've long been critical of ABC's The Bachelor and The Bachelorette franchises. They urge viewers to believe completely contrived events are somehow spontaneous. They also support an unhealthy princess fantasy in which romance is conflated with an upper-middle class wonderland filled with reality TV fame and luxury resort getaways.

[It should be obvious, but there are loads of spoilers below from the first four episodes of Twin Peaks: The Return.]

In a year that has brought us some pretty trippy TV so far, Showtime's Twin Peaks revival has managed to uncork the weirdest, wildest, most unfathomable four hours of television I have seen this year on a major media outlet.

And for David Lynch fans, that's probably going to sound like heaven.

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Twenty-five years ago, television audiences watching the final episodes of "Twin Peaks" heard this.

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UNIDENTIFIED ACTRESS: (As Laura Palmer, unintelligible).

It's a question the broadcast TV industry asks itself around this time every year: How long can we keep this going?

The occasion is TV's upfront season, when all the big programmers announce their plans for the next season in glitzy presentations for big advertisers in New York, selling commercial space in the new schedules early.

These days, the moneymaking heart of the TV business — broadcast television — is fighting harder than ever to stay competitive with the innovation at streaming services like Netflix, Hulu and Amazon.

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It seems like it was only yesterday that my friends here on the show said goodbye to "American Idol."

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ARI SHAPIRO, BYLINE: Fifteen years of bad tryouts.

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Don't be distracted by the title of Netflix's latest, button-pushing TV series, Dear White People.

Because, one look at this insightful, irreverent examination of race and society at an Ivy League college reveals it really doesn't focus much on white folks at all.

Indeed, the title Dear White People is a bit of a head fake. This slyly assembled series is really about how a wide range of black and brown students at the fictional, predominantly white Winchester University deal with race, sexual orientation and other identity stuff in the modern age.

Be warned: This story talks about characters who are forced into sexual slavery.

Hulu's excellent adaptation of Margaret Atwood's dystopian novel, The Handmaid's Tale, is a horror show unveiled in slow motion.

As the first episode begins, Mad Men alumna Elisabeth Moss is running, fleeing security forces with her daughter, minutes before they are both captured.

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The third season of the hit TV drama "Fargo" begins tonight. And with it comes a challenge - maintaining high quality with new stories and new characters. Based on the first two episodes, NPR TV critic Eric Deggans says "Fargo" delivers.

Warning: Spoilers ahead.

HBO's Girls ended as it began — as a fitful, contradictory, occasionally irritating, often brilliant little story about a stupendously self-involved Millennial girl who just might be on her way to figuring out what it means to be a woman.

YouTube is launching a streaming TV service Wednesday. It's one of many — Sling, PlayStation Vue and local cable companies among them. But Google-owned YouTube TV offers several features the others don't.

They include a cloud-based DVR with no storage limits, allowing users to record as many shows as they want for later playback. Membership also gives access to original series and movies featured on its other subscription streaming service, YouTube Red. And customers can create up to six accounts on one membership, with up to three streams running at once.

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I'll be honest; at first, I feared the whole series was a bit of a dodge.

Watching the first episode of Shots Fired — Fox's highly anticipated limited series about a federal investigation into a police shooting in a small North Carolina town — one thing became clear rather quickly.

The shooting, which draws two hotshot investigators from the Department of Justice, involves the town's only black police officer, who kills an unarmed, white 19-year-old.

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When a TV show really connects with viewers, it's often a lightning-in-a-bottle experience; a collision of talent, material and public mood that is difficult to define. But that hasn't stopped people from asking Dan Fogelman, the creator of NBC's supersuccessful family drama This Is Us, this question: How did you pull this off?

Fogelman's answer: tone, timing and cast.

When Ryan Murphy explains what he does as a TV showrunner, he admits it can sound kind of lofty. "The greatest thing that you have when you're a showrunner is this opportunity to create worlds," he says, laughing a bit. "And it always sounds so insane when somebody says, 'Well, what do you do?' And you say, 'I create worlds.'"

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The last time I was talking with our TV critic Eric Deggans about late night television and the trouble with satirizing Donald Trump, he said it was a struggle.

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