By Lorraine Ali
Los Angeles Times
WWR Article Summary (tl;dr) When it comes to the year in entertainment, Columnist Lorraine Ali puts it best, “Scripted programming with strong, smart and poignant female narratives arrived like a swaggering, pissed off Jessica Jones, obliterating notions that nasty women were gone with Hillary Clinton’s candidacy.”
Los Angeles Times
Television asked a lot of us in 2017.
Keep up with nearly 500 scripted shows across multiple platforms, binge watch must-see series or risk spoilers, and consume enough news and late-night political satire to stay informed but not enough to lose it entirely and seek solace in “Murder, She Wrote” reruns.
In January alone that meant watching late night during the week, “Saturday Night Live” on the weekend, streaming “One Day at a Time” at work and filtering manic coverage of a brand new presidency.
American women staged nationwide protests and the new White House press secretary insisted that Donald Trump’s inauguration, not the Women’s March, drew the biggest crowd. “Period!”
The death of Mary Tyler Moore was nearly lost amid all the noise of men asserting their dominance over whomever they were trying to best, be it on Capitol Hill, “Real Time With Bill Maher” or “The O’Reilly Factor.”
Moore’s legacy being reduced to a footnote was a sad sign of the times. Her defining role as a beloved young professional who embodied the nation’s growing respect for smart, independent women was eclipsed by the same old “mine’s bigger” bluster.
It was clearly going to be a long year.
But something funny happened on that regressive trip back to the 1950s or whenever it was that America was greater than it is now. Scripted programming with strong, smart and poignant female narratives arrived like a swaggering, pissed off Jessica Jones, obliterating notions that nasty women were gone with Hillary Clinton’s candidacy.