The CW is not a large network. Co-owned by CBS and Warner Bros., its target viewers are the teens and twentysomethings who play Minecraft, watch Netflix, work at odd hours or attend school, and so its lineup doesn't rate as highly in the 18-49 demo as the other four. That said, it has quietly become home to several interesting dramas in the last few years—fun stuff like Arrow and The Vampire Diaries that's watched by a passionate few. This year it has only two new shows, but both are interesting for what they reveal about how to program for a young demographic and how little they resemble anything else on TV. This is the last of our broadcast roundups; we did CBS, NBC, ABC and Fox earlier this week. (Next week, I'll look at some upcoming cable stuff.) As always, bear in mind that these reviews are based only on the episodes provided by the networks—and in the case of The CW, just the pilots. Shows with bad pilots can go 30 Rock and turn into mastepieces and those with brilliant first episodes can Smash and die in horrible agony. But the hit rate for new shows is so low overall that pilots are incredibly important: all too often, they're the only part of a show viewers ever sample.
Shonda Rhimes is calling out The New York Times for an article that suggested the Grey's Anatomy creator is an "angry black woman," and that she's taking advantage of the stereotype to fuel the success of her shows, including the upcoming ABC series How to Get Away With Murder. The article—which opens with the line "When Shonda Rhimes writes her autobiography, it should be called How to Get Away With Being an Angry Black Woman"—claims that her upcoming law school drama will feature a strong African-American female lead and that the showrunner has followed a similar formula on her other hit shows, including Scandal. Rhimes rightfully took issue with the Times' assertions and sounded off on Twitter. Confused why @nytimes critic doesn't know identity of CREATOR of show she's reviewing. @petenowa — shonda rhimes (@shondarhimes) September 19, 2014 Apparently we can be "angry black women" together, because I didn't know I was one either! @petenowa #LearnSomethingNewEveryday — shonda rhimes (@shondarhimes) September 19, 2014 Final thing: (then I am gonna do some yoga): how come I am not "an angry black woman" the many times Meredith (or Addison!) rants? @nytimes — shonda rhimes (@shondarhimes) September 19, 2014 Wait. I'm "angry" AND a ROMANCE WRITER?!! I'm going to need to put down the internet and go dance this one out. Because ish is getting real. — shonda rhimes (@shondarhimes) September 19, 2014 While it is true that sometimes Dr. Miranda Bailey (played by Chandra Wilson) from Grey's and Olivia Pope (Kerry Washington) on Scandal get frustrated, the same can be said about anyone on her shows—regardless of race or gender. In addition to anger, they also experience other emotions like elation, fear and, as Grey's calls it, being "dark and twisty." Grouping the characters as enraged people couldn't be further from the truth. Everyone is extremely emotionally volatile: It's what makes compelling primetime drama. That's not to mention that while Bailey is one of the featured characters on Grey's, the main character on the show is its namesake, Dr. Meredith Grey. And she's a white woman. Private Practice was about Dr. Addison Montgomery, who was also a white woman. The four main stars of her other short-lived medical drama Off the Map were Caucasian, Hispanic and African-American. To suggest she only highlights black women on her shows is simply not true. Plus, there's this glaring inaccuracy: the Times' TV critic suggested that Rhimes created How to Get Away with Murder. She didn't. Pete Norwalk came up with the show's concept, and he happens to be a white man. Rhimes is a producer on the series.
Social networking service LinkedIn is asking a judge to dismiss a lawsuit accusing the company of misappropriating users' names and images in order to grow its members. The lawsuit centers on
allegations that LinkedIn emails users' friends with invitations to join the service.
his way around Illinois for over a year in ads for the state's tourism office. But he settles down in the latest spot from JWT Chicago—thanks to the love of his life, Mary Todd. Todd was notoriously melancholy for most of her adult life. And no wonder. It turns out she worked in a bleak cubicle in a nondescript office, pecking away on a keyboard that was way too big for her. But along comes MiniAbe to whisk MiniMary offer her feet, quite literally, in this amusing spoof of the over-the-top final scene from An Officer and a Gentleman. The spot is meant to get boomers, Gen X-ers and others to "whisk someone away" this fall and enjoy romantic attractions in Illinois.