This might be the end for low rated courtroom reality show You the Jury.

FOX has quietly canceled and pulled the show after two abysmally low rated episodes. It has averaged a 0.34 A18-49 demo over the course of its run. All the remaining episodes that were set to air have since been deleted and slashed from The Futon Critic. The episodes will now be replaced by repeats of Lethal Weapon. It is unclear when FOX will air the now unaired episodes.

This is a correct prediction for the TV Ratings Guide.

What do you think of the news? Let us know in the comments below!
Sunday night was almost completely filled with originals, with only Family Guy off for the night. The night wasn't too kind to CBS, but ABC had a mostly strong night. America's Funniest Home Videos was up three tenths after a week off, and Once Upon a Time and Match Game were both up a tenth. American Crime was down, however, so ABC's night wasn't all good. Each CBS show dipped a tenth, with NCIS: Los Angeles as the strongest show of the CBS bunch. NBC's Little Big Shots returned after taking Easter off, and it was down a tenth. The stronger lead-in allowed for Chicago Justice to return to its typical 1.0 delivery. Fox had a mixed mag of a night, with a special 8 PM Bob's Burger up two tenths from the 7:30 airing, but the Last Man on Earth ticked down to a new low. Right behind Bob's, Making History was steady at a 0.6.
18-49 Rating/Share
Viewers (mil)
7 PMAmerica's Funniest Home Videos1.0/54.83ABC

60 Minutes0.8/39.59NBC

Little Big Shots (R)0.5/23.90NBC

The Simpsons (R)0.5/31.32Fox
7:30 PMBob's Burgers0.7/31.57Fox
8 PMLittle Big Shots1.2/58.24NBC

NCIS: Los Angeles1.0/49.40CBS

Bob's Burgers0.9/31.84Fox

Once Upon a Time0.8/32.67ABC
8:30 PMMaking History0.6/31.32Fox
9 PMChicago Justice1.0/45.58NBC

Madam Secretary0.7/37.74CBS

Family Guy (R)0.8/31.72Fox

Match Game0.7/33.15ABC
9:30 PMThe Last Man on Earth0.7/31.71Fox
10 PMShades of Blue0.7/34.08NBC


American Crime0.3/11.84ABC
Well, friends. This is the end. Tonight's episode was the finale of Feud: Bette and Joan, something that upsets me greatly as this truly has been a lovely ride. I have a lot of thoughts on the episode and the season in general, so instead of my usual recap with some commentary, I'm just going to touch on some major portions of the episode, and provide my analysis of it.

Wow, that was brilliant. I didn't think any episode could top the Oscars episode, which was my favorite, but this one did. It was beautifully crafted and acted. It was touching. It was sad. I can't think of anything bad to say about it. It was just perfect from start to finish. The final scene, showing Bette and Joan on the first day on the set of Baby Jane, was the perfect way to bring the show full circle. If only they could have been friends...

For all of the horrible things Bette and Joan have done throughout the series, you couldn't help but feel bad for them, especially Joan. This episode did a wonderful job of depicting the final years of Joan's life, showing her work in Trog (which looks like a real masterpiece). Lange does a terrific job showing Crawford's struggles with her health near the end, and I truly think this is some of her finest work in the series to date. That's not to say that Sarandon wasn't fantastic as always, because she was. Near the end of the episode, when Bette and Olivia and other Joan are all at the Oscars, there was something that really got me. And that was the In Memoriam section, where Joan received just a few seconds devoted to her. Bette's line here was perfect. It showed that she really did care about Joan, and that, unlike her earlier line of "Joan Crawford's dead. Good" would indicate, she wasn't happy she was dead (or at least this version of Bette wasn't).

Thank God we got Judy Davis to make one last appearance as Hedda Hopper, a role for which she truly deserves an Emmy (Please Academy, give this woman the Emmy!). Hedda Hopper was incredibly dead in the late 1970s, but that doesn't stop her from making an appearance to Joan, along with Stanley Tucci's Jack Warner and Sarandon's Bette. This might have been my favorite scene of the finale, because for just one last time, everything got to be perfect again. Hedda was alive, Bette and Joan got along, and they were all having a fun time. It was truly spectacular. It broke my heart when Joan called Mamacita in, and she revealed to Joan that Hedda, Jack, and Bette were never there.   I wish they were though. I wish Joan would have been able to have a happy ending, because her true fate was really upsetting.

The secret MVP of this whole season has been Jackie Hoffman as Mamacita, a character that is so easy to fall in love with. Even though Joan frequently treats her like crap, Mamacita is still there for her in her final moments, a time in which, as Mamacita said, nobody else was there for her. Everyone in Hollywood may have showed up for her funeral, but nobody was really there for her. They didn't really care. But Mamacita did, and that's amazing.

While I had high expectations for Feud, I never expected it to be this great. It was truly a masterpiece from start to finish. While I adore previous Murphy series like The People v. OJ, the first season of Scream Queens, and the majority of American Horror Story, Feud is truly my favorite work of his. The incredible cast and the wonderful writing made this a true gem, my favorite show of the entire 2016-17 season. The fact that my least favorite episode is still a solid "A" just shows how much I loved this show. In fact, I'd even say that this show is one of my favorites ever, at least in its first season. I truly hope that the cast of this season will return, since it was filled with fantastic actors who truly did spectacular jobs of portraying these characters. At the very least, I'm hoping Lange, Sarandon, Davis, and Hoffman can all return in some capacity, since they all impressed me so much with their performances this season. Farewell Bette and Joan, I'm going to miss the hell out of you.
Episode Score: 11/10
Episode Grade: A+
***Spoilers Ahead***

Name 20 Picnics...Now

Fox Broadcasting Co. 

The relationship between Tandy and Todd has always been fragile, it's inevitable that they'll soon butt heads with each other at some point. Maybe it's because they're the only two men left on earth (aside from maybe Pat) or maybe it's because they would never end up liking each other in a pre-virus world. Still, their on-and-off bromance is easily one of the best things that Last Man has going for it. Tonight's LMOE has the last men on earth butt heads yet again, and it definitely works to the show's advantage. But, before we can get to that, there's the elephant in the room in the form of Jasper. The introduction of a child into a show like this still doesn't sit well with me, let alone one that won't talk, but at least tonight's episode shows that it may work out well. 

The main focus of tonight's installment is Todd/Melissa vs Tandy/Jasper. Todd continues to try to help out Melissa's situation as Tandy tries to help out Jasper. Both cases are ultimately futile for the time being, but it still doesn't stop the two from getting on each other's nerves. The big payoff comes at the end of the episode where tensions between the duo are high enough that a "fight" takes place. While it was played for laughs and was indeed very amusing, Todd's mention of not being accepted into any clubs acts as a faint mention to his pre-virus life of being picked on and treated poorly. It's honestly pretty sad to think that Todd had a pretty rough life, from what we've heard of, and how the post-virus world might even act as an improvement of his pre-virus situation. Meanwhile, the fight itself is just as good as it gets. Forte and Rodriguez play off each other so well and they're even funnier when there's beef between them. What makes it better is the fact that the episode ends with their problems resolved, as much fun as it is seeing Todd and Tandy pitted against each other, I still like their bro dynamic. Also, the big breakthrough of Jasper and Melissa bonding was exactly the type of progress that both characters need, I'm happy that both might be coming out of their shells.

In comparison, the B-plot is a lot less interesting. The good news, Erica has a baby bump, which means that the writers did not forget about the pregnancies and that time just moves really slowly on this show. The bad news, Carol is jealous. While Schaal is a great comedian, this plot doesn't do her justice as it's essentially a retread of what we've seen before and Gail's reaction to Carol pretty much sums up my thoughts on it. At least Schaal gets some down time from her mediocre story when she takes part in the celebrations. The party itself is a visual masterpiece, kudos to the art department for making everything look so good. And, there are some great tidbits to this B-plot, for one, Gail destroying the doors of the store with her car was just a great moment on so many levels.

There's a lot of fun to be had in "Name 20 Picnics...Now", much more in the main plot than the side one, but nevertheless, this one was a big step-up from the previous one as the series decided to amp up the comedy and tone down on the drama. It's a nice change of pace that gets the show back on track.

Stray Thoughts

  • Those final moments were jaw-dropping. I still don't understand where that satellite (or whatever it was) landed. 
  • Todd's moves are truly epic, especially when he's dancing to Panda. 
  • This episode's cold opening has got to be one of the show's best. 
  • Still no Pamela. I hope she appears at some point. 
  • Carol made an Al Capone reference just an hour after Making History's Capone episode. 
  • I've always wanted to put spoons in a blender.

Grade: A-

Thanks for reading my review of The Last Man on Earth. Leave your thoughts on the episode in the comment section below. Catch an all-new episode next Sunday, 9:30/8:30c, on FOX. 

***Spoilers Ahead***

The Godfriender 

Fox Broadcasting Co.

After a 500-year break, Making History returns exactly where the previous episode left off, 1919 Chicago. The previous two episodes managed to break free of sitcom cliches and turn to actual time-travel stuff, and this episode continues the hot streak.

First off, Tim Robinson's Al Capone continues to excel. There's just something hilarious about a murder-crazy lunatic. The first act of the episode features Dan & Deb trying to humanize the famous mobster. It's familiar sitcom territory, but Making History gives it a time-travel twist. In other sitcoms, this trope would be used in a more trivial manner, but in this show, it's a matter of life and death. This is one of the greatest assets of high-concept, serialized comedies, even if they don't use original concepts all the time, they can still make them fresh. Overall, the front half doesn't accomplish much, but there were some strong comedic moments between Dan & Al Capone as they began to bond. On the other hand, it was a little annoying seeing Capone's wife being treated the way she was, I know it was played for laughs, but it came off as uncomfortable. But, I did like seeing Capone try to redeem himself by not killing people and treating his wife well, who knows if it will end up having an effect on the events of history.

The real action occurs in the back-half of the episode when Capone tells Dan that he has to kill Chris in order to gain his respect. Just when the episode seemed to be neglecting Chris to a pretty uninteresting (but amusing) B-plot, it pulls a switch and makes him the center of the episode. The whole final act with the gang in the house fighting the Capones was perfection. It's the first truly madcap scene that the series has pulled off and it works perfectly well with the setting and tone of the episode. One interesting moment is when Chris rushes to the future and then back to the past to fight Al Capone. It's more of the type of thing you'd want from a time travel show and I like seeing them stretch their premise as far as they can.

The episode ends similar to the second episode, "The Shot Heard Round the World" as the gang returns to the future and accomplish their goal. It's interesting that Making History has had two "mini-arcs" in the span of 6 episodes and I like how fast-paced this show is and how willing the writers are to explore different eras in such a short time. With the clock reset, everything is good, for now, and we're left to see where this show will go next. Note to Fox: This probably would have been a better episode to end on before a break.

"The Godfriender" is an episode of Making History that is just plain fun. There's a lot of great humor and slapstick elegantly crammed into 22 minutes, maybe it's not as great as the past two episodes, but it's still a hell of a ride.

Grade: A-

Thanks for reading my review of Making History. Leave your thoughts in the comments below. Catch an all-new episode next Sunday, 8:30/7:30c, on FOX.


The Wrap

18-49 Rating
Total Viewers              (In Millions)
NHL Hockey (NBC)

NCIS: Los Angeles (R) (CBS)

The Toy Box (R) (ABC)

MasterChef Junior (R) (FOX)

Training Day (CBS)

The Toy Box (R) (ABC)

Showtime at the Apollo (R) (FOX)

48 Hours (CBS)

20/20 (R) (ABC)
(R) = repeat

With Ransom out of the picture, CBS's Training Day (0.4) actually rose a tenth. It got a bit more help than last week from a repeat of NCIS: Los Angeles (0.4), which improved a tenth from last week's Ransom. The up momentum carried on to 48 Hours (0.6) which ticked up week-to-week.

NBC continued to sit out its repeat line-up in favor of NHL Hockey (0.7), while down from last week, it still managed to be the top program of the night.

ABC had repeats of The Toy Box (0.3/0.4) which was significantly behind last week's presentation of The Ten Commandments. 

FOX had repeats of MasterChef Junior (0.3) and Showtime at the Apollo (0.3), the latter was recently ordered to series. 
Written with Grit by Bridger Cunningham

34 somewhat restrained sitcoms aired on primary networks this season with inevitable 18-49 Nielsen demographic declines.  Rather than allow sitcoms to wither on the vine, writers and producers are taking a gritty, realistic approach to delivering us entertainment.  Girlboss fits this trend and is a noticable "Crass-Com", or crass situational comedy.  It appears to share likeness to 2 Broke Girls, minus the forced toilet humor.  Marquee tour-de-force actress Charlize Theron attaches her name as executive producer along with Kay Cannon to tell the loosely based autobiography of Nasty Gal vintage clothing/ebay entrepreneur Sophia Amoruso's rise to financial success.  Every episode opens with the stylish disclosure: "what follows is a loose retelling of true events.... really loose."  Girlboss' protagonist is the vile, caustic Sophia Marlowe, brought to vulnerable life by Britt Robertson.  The primary ensemble is standard.  Ellie Reed plays edgy yet stable best friend Annie, Johnny Simmons plays grounded love interest Shane, and Alphonso McAuley plays bartender/Annie's love interest Dax.  

Sans Ellie Reed and Britt Robertson, it takes investment and time to invest in Simmons and McAuley, as there are too many peripheral characters straddled over fewer episodes who engrave their characters in viewers' interests.  As a viewer, it became evident Jim Rash's comic foil as shop owner Mobias, Cole Escola's devoted energy as gay pal Nathan, RuPaul Charles' antagonistically refreshing gay neighbor Lionel and Melanie Lyndskey's Puritanic yet neutral colored business rival Gail had more investment potential than Shane and Dax, who were noticeably absent from several episodes.  Memorable characters and settings are needed for viewers to return, and the pilot presented enough of that.  Perhaps Shane and Dax are needed to anchor the outlandish and colorful cast, making this show's electric ensemble a hit.  New York Times also cited the same concerns echoed in this article, yet also foreshadowed a future.  (Source: https://www.nytimes.com/2017/04/20/arts/television/review-girlboss-netflix-sophia-amoruso.html?_r=0

The setting is energetic and fast-paced San Francisco, beginning our tale in the not-so-long-ago 2006.  Fictitious Sophia Marlowe is an early 20's trainwreck, scraping by to make her unhappy life work.  She never fills her gas tank, back talks her boss as she cruises the net and dumpster dives for her next meal.  After a series of downbeat setbacks in the pilot episode which send a shiver up anyone's spines who endured financial and personal ruin, the last moments beam a light of promise.  They take a bold stroke and leave that reward for the last two minutes, yet leave an eclectic mix of music and backdrops to keep us from not tuning out.  Further innovations include stylish graphics to display texts, creative and budget-wise simulations of chats/forums and engaging monologues to aid the dragging of reading Sophia's computer screens.  These wise production nuances appear to offset the high-budget realistic outdoor scenery of San Francisco.  

Viewers also need memorable scenes and moments to return.  Sophia's upward climb and dancing down the street into her U-Haul full of loot presented one of the few G-rated moments to enjoy in this Crass-Com.  This dramedy drew with the title graphic mounted on this article, much like The Goldbergs' title card photo and the colorful portrait 2 Broke Girls displayed in their dreadful mustard yellow uniforms.  This viewer is drawn to color, and these stills managed to perk outlandish interests.  So much so that when 2 Broke Girls aired a Girlboss commercial, I rewound my DVR twice to watch.  The catchy promotions managed to hook myself into binge watching the 13-episode freshman dramedy inside one day.  Netflix picked the right show to promote Girlboss, as 2 Broke Girls shares several likenesses.

Girlboss features a young and emotionally prickly young woman struggling to be seen and heard in the big city.  She discovers her talent to do so inside the pilot episode, leading to triumphs and pitfalls along the way.  Outlandish characters traipse in an out of situations, and the lead is blunt, crass and rude.  Girlboss gradually layers Sophia's backstory throughout vs. 2BG's Max and Caroline being fleshed out inside three episodes.  Like 2BG, arcs are present in the way of a mild health issue, insurance, employment and holiday blues.  One criticism of Girlboss is Sophia's lack of chemistry with most of the characters she interacts with.  2BG thrived on the chemistry of Kat Dennings and Beth Behrs, and Britt Robertson still leaves much to be desired.  Her standalone performance as Sophia is entertaining and engaging, yet she fails to weave in her appeal with the surrounding cast.  Robertson has room to expand, which is a great problem to have.  A second season appears promising as Girlboss offers enough flaws for us to investigate as a whole character.

Crass-Coms are a welcome relief in 2017, as several viewers experienced setbacks, heartache and strife over the last 10 years.  Crass-Coms tackle poverty and straight-shooting thoughts in shameless fashion, as Girlboss does.In a sitcom world featuring the upscale ensemble of Friends, The Big Bang Theory and Modern Family, viewers need something different.  When the characters on Friends were bored, they simply went out on a date or tried out a new restaurant.  How does a person plagued with economic misfortunes as many of us have dodge boredom when we cannot afford a new restaurant, or to even go out.  Girlboss gets that, demonstrating simple pleasures such as the Starbucks factor.  They depicted the obstacles/burdens of gainful income and health insurance as many of us had to work through.  Crass-Coms are the next trend in sitcoms, and Girlboss will enrich that wave if it puts a little elbow grease into fixing its few flaws.

Viewer Score: 8 out of 10.

Welcome to the latest installment of the CW Renew/Cancel Watch. I'm Jessica, and here are your latest predictions!

Renewal Chance
No Tomorrow
The Originals
The 100
Crazy Ex-Girlfriend
DC’s Legends of Tomorrow
Jane the Virgin
Final Season
The Vampire Diaries
Final Season

Not much is to be said for The Originals. Currently at a 55% chance of renewal, it's in the Leans Renewal category. I need to point something out that there are rumors of stars getting casted in pilots. But they are in second position. Ratings are not too terrible for a Friday show, and normally, a 0.3 is in cancelation territory. However, the CW is in really bad shape this season. Riverdale and The 100 were already renewed despite hitting a few 0.3s. iZombie is in season 3 and has hit a 0.3 already after episode 2.

It seems that the expectations for both shows have flipped. The Originals is stronger than iZombie, despite being a Friday show. This is because iZombie's first few episodes were aired without The Flash.

Speaking of iZombie, why is it still likely to be renewed? Despite the fact that ratings are too low for a weekday, I think that it will be back. The CW has never canceled a show in its third season in recent history. I hope this doesn't turn out to be another Veronica Mars situation as far as pilots are concerned.

Let me know what you think in the comments below.