You'd think if anyone could charm America into caring about the evening news, it would be Katie Couric, the Tri Delt from Virginia who became America's sweetheart on the 'Today' show. But her ratings have been dismal - she comes in last place every week.
— Rob Sheffield
'The Voice' has lots of singers who fit the 'Idol' mold of young, innocent ingenues with psycho stage moms. But it also has long-suffering adult pros, with a whiff of thirtysomething despair in their voices. That adds an edge of realness.
The 2000s were the time when bromance became a kind of love that dared to speak its name. As a high-water mark of bro culture, nothing can ever top the MTV series 'Bromance,' with Brody Jenner and his search for a new BFF.
Thanks for existing, R.E.M. It's hard to overstate how much these guys changed everything, creating an entire rock audience in their own image.
'American Horror' goes for a very specific kind of Seventies suburban downer ambience - 'Flowers in the Attic' paperbacks, Black Sabbath album covers and late-night flicks like 'Let's Scare Jessica to Death.' It even has 'Go Ask Alice'-era urban legends.
Ron Swanson is more than the MVP of the 'Parks and Recreation' squad, more than just the funniest character on TV - he's the perfect depiction of aggrieved American manhood at the twilight of the empire.
'Revenge' is a shameless soap in the style of Eighties shoulder-pad slap-offs like 'Dallas,' 'Dynasty' and 'Falcon Crest.' Yet there's no wink-wink camp.
Every American wants a clean slate, but nobody wants to lose what they've got.
Donna Summer would be remembered as a ground-breaking artist today even if she'd retired the day after she recorded 'I Feel Love' in 1977.
That's the rub about 'Community' - for all the high-concept cleverness, it really comes down to vulgar humanism, the dumbest kind of sentimental identification. We watch it because we like these people and we miss them when they don't show up. They become part of the stories we tell ourselves.
Watching the evening news in 2011 is a strange time-travel experience. 'The CBS Evening News,' 'ABC World News' and 'NBC Nightly News' haven't changed their style over the decades, still going for that old-fashioned mix of voice-of-authority pomp and feel-good fluff. The difference is that people aren't watching.
'The Queen Is Dead' is not merely the Smiths' best album, but it is one of those timeless, perfect, inexhaustible artifacts that could only have been made by a gang of sullen, sun-deprived rock & roll boys fighting off adulthood tooth and nail.
Hardly anyone liked R.E.M. who didn't like them way too much, so part of being an R.E.M. fan meant getting wildly overinvested and then feeling vaguely disappointed by whatever they did next.
'Drive,' that's the one. I love dozens of songs by R.E.M., but that's the one, even though it took me 7 or 8 years to start liking it.
It's easy to see why 'American Horror' is freaking people out. The ultraviolent hallucinations never pause long enough to make sense. In terms of coherence, it makes your average David Lynch movie look like 'Burn Notice.'
One of the billions of things I love about Beyonce: The harder she tries to come on crazy, the less crazy she sounds.
Anyone watching '30 Rock' always knew Tina Fey was playing a fictionalized version of herself, a workaholic comedy writer who also plays one on TV. She's the boss; Liz Lemon just works here.
Julia Louis-Dreyfus is just perfect in 'Veep.' She gets to show off the spiky claws beneath her patrician finesse. The obvious way to play 'Veep' would be to make Louis-Dreyfus a folksy heroine, one with more common sense or populist heart than her enemies. But she isn't one.
Lots of people like Seth MacFarlane. Many other people like watching the Oscars. But nobody likes both, not even Seth MacFarlane, who has no idea what the Oscars are.
In the old days, when a star left a still-thriving hit show, they'd celebrate by killing him or her off. But 'The Office' dispatched Michael Scott in a crueler and more final way: they made him normal. Since we're talking about Michael Scott, 'normal' might be stretching it, obviously.
That's the secret of 'True Blood' - all the creatures that roam Bon Temps become a metaphor for our insatiable lusts and inner desires. Humans craving what they can't have and those secret appetites transforming them into beasts, or even killers.
It was R.E.M. who showed other Eighties bands how to get away with ignoring the rules - they lived in some weird town nobody never heard of, they didn't play power chords, they probably couldn't even spell 'spandex.' All they had was songs.
'American Horror' is the debasement of the suburban family, the way a lonely kid would have imagined it in the Seventies.
Most of an award-show host's job is showing up and keeping a cool head and soldiering through it, whether it's the Oscars or the Hallmark Channel's 'Hero Dog Awards.'
We all get as miserable as Erika M. Andersen sometimes, but we rarely approach her musical-ideas-per-miserable-minute ratio.
Davy Jones was the grooviest of the Monkees, which makes him one of the grooviest pop stars who ever existed. He was the best dancer in the Monkees, the Cute One, the one with the coy English accent, the bowl-cut boy-child who shook those cherry-red maracas and always got the girl. He was also the guy who stole David Bowie's original name.
At an incredibly divisive point in pop history, Donna Summer managed to create an undeniable across-the-board experience of mass pleasure - after 'Bad Girls,' nobody ever tried claiming disco sucked again. It set the template for what Michael Jackson would do a few months later with 'Off The Wall.'
Seeing Taylor Swift live in 2013 is seeing a maestro at the top of her or anyone's game. No other pop auteur can touch her right now for emotional excess or musical reach - her punk is so punk, her disco is so disco. The red sequins on her guitar match the ones on her microphone, her shoes and 80 percent of the crowd.
