A daughter's idyllic life is turned upside-down by immense tragedy. As she grows older, her cynicism and apathy towards her new reality is challenged by a reminder from the past that sets her on a pilgrimage that will define her.
In a San Francisco hospital two doctors, Rae Brennan and Matt Slingerland, try to break away from paperwork combined with impersonal care. With other colleagues they try to give their patients their full attention.
Kevin Hill was a swinging bachelor and top notch lawyer, but after his cousin died he was left with his cousin's ten-month-old daughter, Sarah. Now Kevin must deal with being a new parent and a lawyer at a new smaller firm.
Captures a generational moment - young people on the cusp of truly growing up, tiring of their reflexive cynicism, each in their own ways struggling to connect and define what it means to love and be loved.
Following five couples and their friend Robert (Neil Patrick Harris), the perpetual bachelor, Company explores the true meaning of being in a relationship through a series of vignettes. ... See full summary »
Neil Patrick Harris,
Jim Gaffigan is a popular Indiana weatherman, becoming a fish out of water when he becomes a meterologist on a NYC network morning show. Producer Marsha Bickner thinks she can duplicate Jim's success but then tries to change him.
I agree 100% with Mr. Leone's compare-and-contrast review of this show and "First Monday" (2002). IANAL, but even as a layperson I can tell that FM thoroughly sacrifices legal accuracy for maudlin melodrama. I'm sure The Court doesn't get things precisely right law-wise either, but it seems like they're at least striving for realism, and unlike FM, they haven't pulled any stunts so far that I can point at and laugh at as being completely off-the-wall.
I too had a healthy dose of skepticism upon first viewing TC, but I've been suitably impressed so far. There have been a few hokey moments (scenes with Field's character and the weepy bleeding-heart clerk for instance) but overall, the performances and presentation have been subtle, restrained, and intelligent. My overall impression is similar to my feelings about executive producer Carol Flint's other venture, "ER" (1994): while this show isn't completely free of the contrivance and tear-jerkiness endemic to all television dramas, the overall quality is such that I'm willing to overlook a few peccadilloes.
Kudos in particular to Chris Sarandon for his work. He does a wonderful job of straightforwardly playing a character that in the wrong hands could have been reduced to sappy saccharine.
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