When I saw the lineup of new Fall TV shows, I thought it looked like the worst selection in recent memory: Lots of unnecessary remakes along with tired new shows that didn’t have hooks. I owe the Fall TV season an apology, because it has turned out to be the best in the past 10 years. Here’s a look at six standout freshman shows, in alphabetical order:
“ATLANTA” (FX)
What I thought it would be: An “important” show about inner-city police violence – a mix of homework and a slap across the face. Something I “should” watch, but which I wouldn’t actually enjoy.
What it is: While the now-completed first season featured three particularly unfunny violent scenes, “Atlanta” ultimately has the same appeal as “Curb Your Enthusiasm,” but in a different world. Earn (Donald Glover, the show’s creator) is the Larry David character, hovering somewhere between unamused and bemused by reality, while Paper Boi is the Richard Lewis character, reacting with exasperation and tragically failing to get people to like him. Yet “Atlanta” also has an element that goes beyond minutiae comedy and into social commentary, such as the season’s final scene where we learn Earn lives in a storage garage. It’s something we knew in the back of our minds – he had previously said he’s “basically homeless” – but that image forced us to dwell on his daily life.
Percentage better than I thought it would be: 200 percent.
“DESIGNATED SURVIVOR” (ABC)
What I thought it would be: “24,” but with Jack Bauer as the president.
What it is: “24,” but with Jack Bauer as the president. It’s just that it harkens to the strong early seasons of “24,” and I didn’t realize I was ready for more tense and just-short-of-ridiculous storytelling like that. And I appreciate that it’s giving us a portrayal of what a principled person in the Oval Office would look like; frankly, we could use a President Kirkman right now. Bonus points for inventing a politician named Kimble Hookstraten.
Percentage better than I thought it would be: 10 percent.
“THE EXORCIST” (Fox)
What I thought it would be: An unnecessary retelling of the movie’s plot, albeit with a suitably creepy vibe.
What it is: A show with engrossing mood and pacing, but also a worthy continuation from the film saga. But it’s not a remake like “Bates Motel” and “Hannibal”; it’s a sequel. A couple weeks ago — in a twist that has gotten surprisingly little buzz in a season of twists – we learned that Angela (Geena Davis), the mother of the possessed girl, is actually Regan MacNeil, the 1970s victim from the movie saga. This has allowed us to further explore the strained relationship between Regan and her mom, Chris, as well as the idea that the demon is out for revenge on the family.
Percentage better than I thought it would be: 50 percent.
“FREQUENCY” (CW)
What I thought it would be: A standard cop show, except that the crimes are solved across time.
What it is: Plot-wise, it is what I expected, but I didn’t anticipate that Riley Smith would be so good as Frank Sullivan. A gruff but good cop in the vein of Holder from “The Killing,” he beautifully captures the pain of not spending enough time with his daughter in 1996 and the bittersweet joy of reconnecting with her via ham radio chats across time.
Percentage better than I thought it would be: 10 percent.
“NO TOMORROW” (CW)
What I thought it would be: A whimsy-fest about a new couple crossing whimsical things off their whimsical bucket list.
What it is: New couple Xavier and Evie do indeed cross things off their “apocalyst,” and while some of them are whimsical made-for-promos like cake fights and cliff-jumping, a lot of the items have substance. Most of all, though, I love the side stories, particularly the bizarre Hank-and-Deirdre romance, which is built on her sexy ear-whispering. “No Tomorrow” doesn’t have the buzz of high-concept rival “The Good Place,” but it’s funnier and easier to like.
Percentage better than I thought it would be: 20 percent.
“THIS IS US” (NBC)
What I thought it would be: A respectable fill-in for the void left by “Parenthood,” albeit more pretentious, with message stories about the obesity problem and race relations.
What it is: Not just a great entry in the “people living their lives” genre, but one with extra depth thanks to the multiple-eras concept introduced in the now-famous pilot episode twist. We follow the 36-year-old kids in present day – yes, with message stories, but through the lens of genuine, likable people like Kate and Randall — and it’s interspersed with plotlines from their childhood in the 1980s. Every episode has made me get teared up at least once, and sometimes it’s merely a pep talk from Jack (Milo Ventimiglia) to one of his kids that does it. Sometimes the period accuracy of the late ’70s and ’80s, when we visit Jack and Rebecca’s younger days, is enough to have me reaching for the Kleenex.
Percentage better than I thought it would be: 100 percent.