Guide To Great Shows On Network TV

Summary

Pop Culture Happy Hour: Guide To Great Shows On Network TV

Episode Release Date: February 11, 2025

NPR's Pop Culture Happy Hour delves into the vibrant landscape of network television, highlighting a selection of new series that breathe fresh life into familiar genres. Hosts Linda Holmes and Glenn Weldon engage in insightful discussions about each show’s unique appeal, casting choices, and narrative structures. This comprehensive summary captures the essence of their conversation, providing an in-depth look at the recommended network TV offerings.

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1. High Potential (ABC and Hulu)

Overview: High Potential stars Caitlin Olsen, renowned for her roles in Hacks and It's Always Sunny in Philadelphia. She portrays a single mother who, while cleaning a police station, utilizes her exceptional observational and deductive skills to assist law enforcement as a crime-solving consultant.

Key Discussion Points:

• Origin and Creative Team: Linda Holmes introduces High Potential as an adaptation of a French series, helmed by showrunner Drew Goddard. Drew's impressive portfolio includes Buffy the Vampire Slayer, Angel, Alias, and Lost. His involvement brings a seasoned, pop-culture-friendly pedigree to the series.

  "The showrunner is Drew Goddard, who's got, I think it's safe to say, a very pop culture happy hour friendly pedigree."
  (00:43)

• Character Dynamics and Genre Appeal: Holmes describes the genre as "gifted eccentric procedurals" (GEPs), a nod to classics like Sherlock Holmes. Caitlin Olsen's character is portrayed as both brilliant and overly critical, providing a fresh take on the traditional consulting detective trope.

  "These procedurals often depend on the appeal of the non-eccentric handler... I appreciate that."
  (04:30)

• Performance and Relatability: Olsen's portrayal balances her character's sharpness with moments of relatability, such as her interactions with her embarrassed child. Holmes appreciates the nuanced depiction, making the character both formidable and endearing.

  "I enjoy her enough that the fun of it is appealing to me."
  (05:35)

Conclusion: High Potential stands out by merging classic procedural elements with contemporary storytelling, anchored by Caitlin Olsen's compelling performance and Drew Goddard's experienced direction.

---

2. Matlock (CBS and Paramount+)

Overview: Kathy Bates headlines Matlock, portraying Madeline Matlock, a septuagenarian lawyer who infiltrates a high-powered law firm. Underestimated and overlooked, she leverages her unique approach to consistently win cases.

Key Discussion Points:

• Creative Influence: The series is created by Jenny Snyder Ehrman, known for her work on Jane the Virgin. Ehrman's ability to blend genre conventions with meta-commentary infuses Matlock with a smart, layered narrative structure.

  "I think it's quite clever to suggest that a 70-something woman attorney would not be somebody who necessarily would be instantly feared by a conventional legal establishment."
  (05:54)

• Performance and Character Development: Kathy Bates delivers a standout performance, bringing depth and charisma to Madeline Matlock. The character’s ability to navigate and manipulate the biases of her peers adds a compelling dynamic to the show.

  "This is your basic network TV gifted eccentric procedural... I think you should not expect to be stunned by it."
  (03:11)

• Pilot Excellence: Glenn Weldon praises the pilot for its tight storytelling and character setup, highlighting the chemistry between Bates and Beau Bridges. The pilot’s ability to establish relationships and deliver a gripping narrative sets a high standard.

  "This pilot sets up the characters, it sets up their dynamics. It tells a really tight little story."
  (07:32)

Conclusion: Matlock reinvents the procedural genre with its seasoned lead and intelligent writing, offering both episodic cases and serialized character arcs that enhance viewer engagement.

---

3. Dr. Odyssey (ABC and Hulu)

Overview: Dr. Odyssey features Joshua Jackson as Max, a newly arrived doctor aboard the cruise ship Odyssey, captained by Don Johnson's character, Captain Massey. Co-created by Ryan Murphy, Joe Bacon, and John Robert Bates, the show blends drama with a touch of absurdity.

Key Discussion Points:

• Genre and Tone: Holmes likens Dr. Odyssey to a mix of The Love Boat, House, and Dynasty, infused with intentional silliness. The show’s episodic cruises (e.g., wellness week, singles week) provide a framework for standalone stories interwoven with ongoing crew dynamics.

  "This show feels so claustrophobic to me... Everything about that show just feels cramped in."
  (13:39)

• Character Interactions and Storytelling: The series allows character relationships to develop within the confined environment of a cruise ship, leading to heightened interactions and dramatic tensions. Holmes notes the absence of conventional organizational structures, like HR, adding to the chaotic atmosphere.

  "There's gotta be a rule there. Right."
  (14:06)

• Performance and Reception: While supporting performances like Don Johnson and Joshua Jackson are highlighted, Holmes expresses mixed feelings about Jackson's portrayal, finding it less favorable compared to his past roles.

  "This is not my favorite iteration of him, honestly, because he's too confident."
  (15:39)

Conclusion: Dr. Odyssey offers a unique take on the medical drama by situating it on a cruise ship, blending procedural elements with character-driven narratives, although its tone may not appeal to all viewers.

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4. Doc (Fox and Hulu)

Overview: Doc stars Molly Parker as Dr. Amy Larson, a brilliant but arrogant physician who suffers a brain injury erasing eight years of her life. The series explores her journey to reclaim her career and personal relationships amidst the challenges of her memory loss.

Key Discussion Points:

• Premise and Themes: The show presents a high-concept premise, focusing on Amy's struggle to rebuild her life and professional standing after her injury. The narrative delves into themes of identity, resilience, and the impact of memory on personal and professional relationships.

  "What I like about this is that they do a reasonably good job."
  (19:29)

• Character Complexity: Molly Parker's portrayal of Dr. Larson is praised for balancing vulnerability with intellectual prowess. The introduction of Scott Wolfe as a morally ambiguous character adds depth and tension to the storyline.

  "She's very, very brilliant in figuring out medical mysteries."
  (17:46)

• Tone and Execution: While the pilot sets a somber tone, the show's premise allows for the exploration of dramatic and innovative storytelling. Weldon notes the potential for melodramatic elements, questioning whether the show maintains balance or veers into telenovela territory.

  "There are some big tears. You're also setting up Scott Wolfe as a kind of mustache, twirly, venal, grasping villain character."
  (18:50)

Conclusion: Doc distinguishes itself with its intricate character study and medical mystery elements, offering a compelling narrative that balances personal drama with professional challenges.

---

5. St. Denis Medical (NBC and Peacock)

Overview: St. Denis Medical is a mockumentary-style comedy that follows Alison Tolman’s character, Alex, a dedicated nurse in an underfunded Oregon hospital. The series also stars Wendy McClendon Covey as Joyce, a doctor turned executive director striving to improve the hospital's reputation.

Key Discussion Points:

• Style and Humor: Emulating the mockumentary format of The Office, the show employs humor derived from the everyday challenges and interpersonal dynamics within a struggling hospital environment.

  "It's a mockumentary style comedy in which Alison Tolman plays a nurse named Alex."
  (20:13)

• Casting and Performances: The series boasts a stellar cast, including David Alan Grier, whose performances add depth and comedic flair without sacrificing character authenticity. The chemistry among the ensemble cast contributes to the show's relatable and engaging atmosphere.

  "It's... People are really good at doing what they're being asked to do, which is complicated because... they don't become not people."
  (21:11)

• Thematic Resonance: St. Denis Medical touches on real-world issues such as healthcare management, resource limitations, and workplace dynamics, all while maintaining a lighthearted and humorous tone. Holmes connects the show’s creative DNA to series like Superstore, highlighting its compassionate yet comedic approach to workplace storytelling.

  "The hospital administrator is constantly trying to figure out how to differentiate herself and differentiate the hospital because they're always, they feel in competition."
  (22:22)

Conclusion: St. Denis Medical successfully blends workplace comedy with heartfelt narratives, offering a humorous yet poignant look at life in an underfunded hospital, enriched by strong performances and relatable scenarios.

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Final Thoughts

Linda Holmes and Glenn Weldon conclude their episode by emphasizing the diversity and distinctiveness of network TV shows. They highlight how each series offers unique forms of entertainment without overwhelming the viewer, making network television a viable and enjoyable alternative to the streaming giants.

"They're all really different, but I think they're all worth checking out. If you're kind of looking for a show that's not going to break you with how depressing it is, and I'm grateful for that."
(23:12)

Supporting Network TV: The hosts advocate for the enduring quality and innovative offerings of network television, suggesting that these shows provide a balanced mix of episodic and serialized storytelling across various genres.

---

Pop Culture Happy Hour continues to serve as a valuable guide for viewers navigating the expansive world of network television, offering thoughtful recommendations and insightful commentary on the latest shows shaping the pop culture landscape.

Transcript

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[Glenn Weldon]

In the age of streaming content and prestige TV, it's easy to forget that old school TV networks are still out here pumping out television shows.

[Linda Holmes]

I've caught up with a bunch of this season's offerings. The networks have launched new series that adopt familiar formats, cop shows, lawyer shows, doctor shows. But each has something particular to recommend it. I'm Linda Holmes.

[Glenn Weldon]

And I'm Glenn Weldon. It's just the two of us today on NPR's Pop Culture Happy Hour. So let's get right to it. Linda Holmes, you came to me with a passel of network TV recommendations, but all of them are also made available on streaming platforms. So they're network TV technically. We will walk you through all of that. Your first pick is High Potential on ABC and also on Hulu. Caitlin Olsen of Hacks and Always Sunny plays a single mom who works cleaning a police station. But her sharp powers of observation and deduction ultimately lead the cops to hire her as a crime solving consultant on which television shows are based. It's based on a French series and the showrunner is Drew Goddard, who's got, I think it's safe to say, a very pop culture happy hour friendly pedigree. Yes, he wrote for Buffy and Angel and Alias and Lost. He has screenwriting credits for the Martian and Cloverf. And he directed and co wrote one of my favorite movies, the Cabin in the Woods. Is that why you picked this show? Why'd you pick this show?

[Linda Holmes]

Well, I originally started watching this show because of Caitlin Olsen. I'm not necessarily big it's always Sunny person, but I loved her on Hacks and I've seen her in some other things and I think she's really wonderful and funny. I'm also always interested in shows where they're taking a concept that has already been done, as in this case, as you mentioned, a French show. And you know, it's interesting cause the pilot for this, he was very close to the pilot for the film French show, which by the way, you can also dig up on Hulu. You know, I was talking recently about this genre that I have been referring to as gifted eccentric procedurals, the GEPs. They are not new. They go back at least as far as Sherlock Holmes. But it can be those kind of familiar genres that hit the spot in some cases. I think she's really funny and sometimes you'll see her character kind of take a relative, like it's a detail. It's cool that she noticed, but she will really go. She will really go nuts drawing conclusions about it. This house is immaculate. The owner is a tidiness freak. Except all of these curtains are fastened with a tie back, except for one, for some reason. That's odd, isn't it? You're telling me this woman who meticulously arranges her couch pillows doesn't care about her curtains? I also am not really sure whether there's such a thing as a consultant who does exactly the same work as police officers, but is not a police officer.

[Glenn Weldon]

Well, you know, I mean, this. You called it, what, a gifted eccentric procedural. Is that what you call it?

[Linda Holmes]

Yes.

[Glenn Weldon]

Okay. Baked into that, and there's, you know, been many, many of them over the years, as you mentioned, is this notion that the cops are incompetent or the cops need help or the cops, you know. And that also goes back to Conan Doyle's Sherlock Holmes.

[Linda Holmes]

Right. These procedurals often depend on the appeal of the non. Eccentric handler, you could call them, who here is the Daniel Sundiata character. And I think their relationship is appealing. I do not know for sure whether they plan to romanticize that relationship or leave them as friends. They have solid chemistry. I like him. I like the fact that they kind of make each other. I don't know, they enjoy each other's company, I think I would say, without it getting too lethal weapon. This is the crazy one and this is the. They both get to be right sometimes. And I. And I appreciate that. Anyway, I think a lot of this comes down to the appeal of the people. This is your basic network TV gifted eccentric procedural. I don't think you should expect to be stunned by it. And I thoroughly believe that everyone should be highly skeptical of propaganda about IQ and how important IQ is. You know, given all those things, it is true that they just make her kind of a gifted noticer of details mostly. And, you know, I appreciate that.

[Glenn Weldon]

But she's also kind of obnoxious because she's cast as someone who is so observant of every little detail that she's impatient with the world. She does not suffer fools. But if you're gonna have that as a main character, you need somebody like Caitlin Olsen to kind of soften it, to kind of at least make her palatable.

[Linda Holmes]

I think that's right, because her kid in an early scene is very embarrassed by her. Cause she knows. She goes to the store and she goes. Does all her shopping and she knows exactly what the total should be and when. It's not that she challenges the cashier until she figures out that the kid sneaked something into the cart and that's why the total is off. But obviously it becomes a big standoff with the cashier because she's so certain that she knows how much the total should be. And the kid is obviously embarrassed and frustrated by that. And there is a kind of a running story that eventually comes out about a missing person in her life that she wants to kind of locate. And that's why she's willing to work with the police, is that in return she wants them to help her find this person. It is what it is. But I enjoy her enough that the fun of it is appealing to me. So yeah, absolutely.

[Glenn Weldon]

Okay, so that is high potential on ABC and also on Hulu. Next up is Matlock on CBS and also paramount. Plus, Kathy Bates plays Madeline Matlock, a 70something woman who charms her way into working at a high powered law firm and quickly starts winning cases by virtue of the fact that she is widely underestimated and even ignored.

[Linda Holmes]

You can call me Maddie. First day on the job, Cyril, to be part of the team. Oh no, this is going to be a nightmare.

[Unknown]

Be nice.

[Linda Holmes]

Nice? Don't tell me to be nice. I need to be trained by senior partners, not senior citizens.

[Glenn Weldon]

No offense, but there's something else going on with her. Now. This isn't a sequel to the old Andy Griffith procedural. Mattie references that old show as a joke. Talk to me about Matlock.

[Linda Holmes]

Yeah, the appeal of Matlock to me one is that it comes from Jenny Snyder Ehrman on the creative side who also did Jane the Virgin. So that is somebody who knows how to kind of play with genre and with things that have a little bit of a meta appeal to them. And as you mentioned, this definitely has that. In terms of its references to the original Matlock show from the 80s and 90s, I do think it's quite clever to suggest that a 70 something woman attorney would not be somebody who necessarily would be instantly feared by a conventional legal establishment. And that's not because they'd be right. It's just because I think it acknowledges the discrimination that somebody in her situation would probably encounter. And her, you know, as you mentioned, she kind of learns to use that to her advantage because they don't see her coming and that kind of thing. The appeal of this is all in this really lovely Kathy Bates performance, which I think is. So it's really well regulated, it's really well Kind of modeled and well formed to what they're trying to do here. And I appreciated it very much on that basis.

[Glenn Weldon]

Okay, I've only seen the pilot, but man, this is a great pilot. This should be taught in schools, this pilot. It sets up the characters, it sets up their dynamics. It tells a really tight little story and then has a last act rug pull that really keeps you watching.

[Linda Holmes]

Sure does.

[Glenn Weldon]

And you know, also the people behind the scenes are doing good work. The casting directors. I like seeing veteran character actor Sam Anderson on my screen playing somebody we can't talk about. But I also like the duo of the first year associates. She works with Billy and Sarah, who are played by David Del Rio and Leah Lewis. Those two could just be the Greek chorus, kind of like being in the background. But they actually get enough time and screen time even in the pilot to kind of delineate themselves. And, you know, you also have Beau Bridges as the head of. And just to have a scene where Beau Bridges and Kathy Bates are on your television screen, I mean, you're like, these are two Hollywood actors. But you also get a sense maybe that they're looking at each other like, did you think we'd end up here? But like, they're getting that check, they're getting that paper.

[Linda Holmes]

Yeah. And this is a show where one of the things I like about it is that not just in the pilot, but as you go through the series, they enjoy kind of showing you something and then later showing it to you again in a way that recontextualizes it. And you start to see what this very, very intelligent woman was doing that maybe at the time you didn't realize she was doing. Because they can kind of go back and give you more detail. And then when you go back and watch it, you say, oh, now I get what she was doing. Oh, now I get why she did it that way. I enjoy that. So I like that little touch too. But I agree with you. I think that the cast, top to bottom, is really solid here, led by this really extraordinarily wonderful Kathy Bates work, I think.

[Glenn Weldon]

All right, so that is Matlock on CBS and Paramount. Plus, we're going to take a break. After the break, we got a bunch of doctor shows.

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[Glenn Weldon]

Next up is Boy, we gotta talk about this one. Linda this is Dr. Odyssey on ABC and also Hulu. Joshua Jackson plays Max, a newly arrived doctor on the cruise ship the Odyssey, which is captained by Don Johnson's Captain Massey. This is a Ryan Murphy joint he co created with Joe Bacon and John Robert Bates. They all work together on grotesquery. John Robin Bates is also the guy behind shows like Brothers and Sisters and the Slap. We all remember the Slap. This is a deeply queer brain trust, the three of them right there. So talk to me about this show.

[Linda Holmes]

Linda so Dr. Odyssey is, I would say, a little bit Love Boat, a little bit House, a little bit Dynasty. And then it's just got this kind of slick of trash. Like it has this really, to me pleasurable gleam of just being super, super silly because Max comes in and he is he's sort of the hot new doctor. And everybody looks at him like, oh, look, it's a hot new doctor. And rather than doing what you might expect, which is that he's sort of distant in some way, he just immediately start having an affair with somebody. And he immediately starts, like, messing around with people. He's completely accessible to everyone, even though he is also someone who is carrying around, of course, sadness, because that's how it must be. The funny thing about this show is that every single week, every episode is a different cruise that they go on. And it's like one is wellness week. There's singles week and plastic surgery week. And so they will then jump off to create a couple of little stories that come from the guests. But then these serialized, you know, stories among the crew. It is very goofy and I think intentionally so.

[Glenn Weldon]

Sure.

[Linda Holmes]

You know, they treat a fractured penis in the first episode. And I think you don't do that unless you are getting out there and saying, you know, the thing you're wondering whether this is, it's that. And I sort of appreciated it on that basis. Although this is a watch it and fold the laundry show for me.

[Glenn Weldon]

Boy, I thought I wasn't a cruise person. I'm definitely not a cruise person. This show feels so claustrophobic to me. If I went on a cruise and the pool was that small, that little postage. Now I get it. It's a set. It's not an actual cruise ship. But everything about that show just feels cramped in. I also didn't understand the rules of this show. So in the pilot, Don Johnson gets this monologue where he's telling Joshua Jackson what life is like on this cruise. Sh.

[Linda Holmes]

You cannot judge our passengers. We're tending to their dreams. We have folks on here who have saved for years, sometimes our whole lives, just to pay for this experience of sea.

[Glenn Weldon]

Now, what he doesn't say in that speech that he really should have is, by the way, there is no HR department of any kind on the high seas. So just go nuts.

[Linda Holmes]

Yes. Everybody goes nuts with each other and with the guests. Yes.

[Glenn Weldon]

There's gotta be a rule there. Right.

[Linda Holmes]

The other thing to mention is that the entire idea of being a ship's doctor is presented on this show in a very strange way. I do kind of like some of the restrictions that it puts on them. Like, they don't have all the equipment they'd have in a hospital. And sometimes having doctors work around those kinds of limitations, that can be fun. However, there are also times when, like, there is a moment in this show when someone dies, it becomes clear on this show, nobody really has anything, has any idea what to do when someone dies. And it's like, no, man, there's way too many people on this ship. And you're out on this ship all the time. People die. People die. Sometimes that's absolutely going to be. And so there's this moment where they're trying to get rid of a body and they wind up putting it on a, like a linen cart and wheeling it, like, past the swimming pool and just hoping that nobody notices that they're wheeling a body around. It's like, no, that's not. That's not. They got a procedure. I guarantee you there's a whole section of the manual for dying on the cruise ship. You know, the same thing happens with, like, somebody going overboard. They act like it's an. Absolutely. Like this can happen. Right?

[Glenn Weldon]

Yep.

[Linda Holmes]

Listen, Joshua Jackson, I loved him in the Mighty Ducks when he was little. Then I loved him when he was on Dawson's Creek. This is not my favorite iteration of him, honestly, because he's too confident and that's not my favorite version of him. Listen, if we're gonna have, like, sexy salt and pepper hair, you know, silver fox Pacey, that's fine. I like it. I'm here for it. I will put it on in the background and fold the laundry.

[Glenn Weldon]

Go nuts and do that. That is Dr. Odyssey on ABC and also on Hulu. Next up is the similarly named but very different in tone Doc, a medical drama on Fox that also streams on Hulu. Molly Parker plays the brilliant but arrogant Dr. Amy Larson, who suffers a brain injury that erases eight years of her life, including patients and loved ones. And technique, one would imagine this show follows her as she attempts to get on with her life. What is it about this show that sets it apart? Well, just pick this one.

[Linda Holmes]

So high concept premise, like, very, very strange premise. Eight years of your life lost very neatly. Right. And of course, you come to learn that she has blocked out a period of time during which she had a family tragedy and she got divorced and a bunch of other bad things happened. She wakes up thinking her life is one way and actually it's another way because she has forgotten eight years of it. I do think that's kind of intriguing. I like this lead performance. I like the fact that they brought in Scott Wolfe, who you may know from Party of Five and other similar things, who is playing a much more morally gray, to say the least, kind of dude. And I think that's an interesting choice for him. I think What I like about this is that they do a reasonably good job. She's also got a bit of the gifted eccentric. Right. She's somebody who. It's clear that particularly in the last eight years, she became a very harsh person and she didn't make herself a lot of friends. And of course, she wakes up and she doesn't really remember all that stuff, but she's difficult and she's stubborn. But she's also very, very brilliant in figuring out medical mysteries. So here you're back to some House kind of vibes.

[Glenn Weldon]

Sure.

[Linda Holmes]

And I love a medical mystery. I love it when they figure out, oh, it's not lupus after all. It's something else that's a great part of a medical show for me. One thing that can happen is that because the premise is so out there, it's like it gives them options to explore things that I haven't exactly seen before. Because who would think of this? Like, what happens if you wake up and you were mean to your husband and so you're not together anymore, but now you're awake and you're a nice person again? Like, what happens then? And what happens to your colleagues who you were mean to, but you woke up and you don't remember it?

[Glenn Weldon]

Sure.

[Linda Holmes]

I do think in a way, the fact that it's such a goofy idea is something that leaves open some dramatic possibilities. And then you get the patients and she solves medical mysteries. I like that. This does it for me.

[Glenn Weldon]

Right? Well, I only saw the pilot, but. Goofy premise, but the tone of the pilot at least. I mean, the pilot's kind of a major bummer, as you'd expect. She's confronted with this new reality. There's a lot of tears. I really like Molly Parker, though, as this. She's not Carrie Coon. Get that out of your head. She's not Carrie Coon.

[Linda Holmes]

But, oh, my gosh, she reminds me so much of Carrie Coon, though.

[Glenn Weldon]

But she's great, and she's asked to do a lot here. I also really like the actor John Ecker, who plays her kind of secret hookup before the accident, before the injury. I like that guy's bone structure. I like that guy's facial symmetry. My question is about tone, Linda, because in that pilot, you've got these big tears. You're also setting up Scott Wolfe, as you mentioned, as this kind of mustache, twirly, venal, grasping villain character. Those two things together suggest to me that we're gonna steer into some kind of melodramatic telenovela vibes. Y. I Also wonder, does the show try to keep it more grounded than that? Where does the show fall?

[Linda Holmes]

Yeah, they do. I mean, I think ultimately they want this show to be about her effort to kind of find a balance where she's finding herself again. Cause obviously there are all these open questions about can she be a doctor again and what would that require? Because you lost eight years of experience and training and, you know, so there's some of that. So she wants to get back to being a doctor. She's trying to reestablish her relationships with both family and colleagues, people like that. But it does have a. It has a heaviness to it that you don't find on something like Dr. Odyssey at all. Ten of these episodes were available to critics, and I watched all 10 in one day.

[Glenn Weldon]

Okay.

[Linda Holmes]

So that's always a mark of something. It's like you can't argue with the fact that you kept hitting the button, you know?

[Glenn Weldon]

Yep, that's true. Okay, so that is Doc on Fox. It's streaming on Hulu. Finally, we've got St. Denis Medical, which you'd be forgiven for thinking of as the Office in a Hospital. It's a mockumentary style comedy in which Alison Tolman plays a nurse named Alex who works very hard in an underfunded Oregon hospital. The great Wendy McClendon Covey plays Joyce, a doctor turned executive director desperate to shake things up and improve the hospital's reputation. What is it that I always say?

[Unknown]

What's the most infectious thing in a hospital? C. Diff?

[Linda Holmes]

No.

[NPR Sponsor]

Antibiotic resistant staff?

[Unknown]

No.

[Linda Holmes]

I think it's pneumatic.

[Unknown]

No, you guys, the most infectious thing in a hospital is a smile.

[Glenn Weldon]

Now, I had already checked this out even before we were going to do this show, just on the basis of it's got so many actors I love. There's Tullman, there's McClendon Covey. David Alan Grier is also in this. It airs on NBC and streams on Peacock. Linda, why'd you recommend this one?

[Linda Holmes]

I think it's exactly what you said. It's cast and it's just top to bottom. It's. People, I think are really good at doing what they're being asked to do, which is complicated because I. Alison Tolman doesn't necessarily have this problem because her character is a bit more of a grounded person. But both the hospital administrator, played by Wendy McLendon Covey, and the doctor, played by David Alan Grier, they could easily veer off into cartoonishness. They're still very, very funny, but they don't become not people. Right. And I think the fact that there is shared creative DNA between this show and Superstore makes a lot of sense to me. I think Superstore had a kind of a similar compassionate workplace kind of feel to it. And a little bit like the pit on Max, which is pure drama and not networks. That's not what we're talking about today. But the Pit is a medical show that feels a little bit like it's trying to be about the way medical care is, like healthcare is currently. And I think that from a comedy perspective, St. Denis Medical is trying to do some of those same things. You know, the hospital administrator is constantly trying to figure out how to differentiate herself and differentiate the hospital because they're always, they feel in competition. So she's trying to deal with very limited resources. And there's a great line in the pilot where Alison Tolman's character says, you know, I got this promotion where I'm a supervising nurse, and it came with a small pay bump and a large responsibility bump. And that's just a really, I think, relatable thing in many workplaces, including, and maybe especially nursing. Do you like this show?

[Glenn Weldon]

I do, I do. I mean, I. As I say, I downed several episodes at once. Didn't feel bad about it afterwards. Didn't get that Dr. Odyssey hangover where you glance at your phone and you're like, ooh, 45 minutes gone.

[Linda Holmes]

Yeah, listen, these are all the same, and yet they're all very different, right? They're all network kind of traditional setting, cop, lawyer, doctor kind of settings. But they're all really different. And I. They're not all of the same quality. They're not all of the same thoughtfulness. But I think that one of the things about network TV is, you know, it can bring you different types of satisfaction and different types of entertainment. And, you know, I think Matlock has a real. If you're one of those people who was happy to see suits go around again because it, like, had cases of the week, but also kind of serialized stories about the attorneys, it's a little bit suitsy. It hits that spot for me a bit. They're all really different, but I think they're all worth checking out. If you're kind of looking for a show that's not going to break you with how depressing it is, and I'm grateful for that. Even though, you know, all of these fit into fairly familiar slots.

[Glenn Weldon]

Okay, that's great. Okay, so that's St. Denis Medical on NBC, also streaming on Peacock. Well, we want to know what you're watching and enjoying right now. Find [e-mail] PCHH that brings us to the end of our show. Linda Holmes, thank you so much for being here.

[Linda Holmes]

Thank you for watching all these shows, buddy.

[Glenn Weldon]

Of course. And just a reminder that signing up for Pop Culture Happy Hour plus is a great way to support our show on public radio. And you get to listen to all of our episodes sponsor free. So please go find out more at plus.NPR.org happyar or visit the link in our show notes. This episode was produced by Hafsa Fatima and edited by Mike Katsev. Our supervising producer is Jessica Reedy. And hello, Come in provides our theme music. Thanks for listening to Pop Culture Happy Hour from npr. I'm Glenn Weldon, and we'll see you all tomorrow.

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