Marc Hirsh

Marc Hirsh lives in the Boston area, where he indulges in the magic trinity of improv comedy, competitive adult four square and music journalism. He has won trophies for one of these, but refuses to say which.

He writes for the Boston Globe and has also been spotted on MSNBC and in the pages of Amplifier, the Nashville Scene, the Baltimore City Paper and Space City Rock, where he is the co-publisher and managing editor.

He once danced onstage with The Flaming Lips while dressed as a giant frog. It was very warm.

[Ahoy, there be New Girl spoilers ahead, through the most recently aired episode, "Mars Landing."]

A few weeks ago, New Girl neared the end of its third season the way it began it: by admitting that it doesn't know what it's doing.

Fox said goodbye to Raising Hope in March when it announced that the series wouldn't be renewed for a fifth season, and the rest of us get to say goodbye Friday night, when the final episode airs. But even though the gleefully goofy spiritual successor of My Name Is Earl (both were created by Greg Garcia) was technically canceled against its will, its end doesn't feel premature. Nor is it way overdue.

This is a big week for Mystery Science Theater 3000, or as big a week as can be had for a show that's been off the air since the waning days of the 20th century. The show first aired a quarter of a century ago this past Sunday, and the 25th-anniversary volume (XXVIII, if you're keeping Roman score of the ongoing DVD releases and not the anniversaries) hit shelves on Tuesday. Meanwhile, Thursday marks the return of an MST3K Thanksgiving tradition, the Turkey Day marathon.

The closer we get to the end of Breaking Bad, the less I want to read about it.

I'm not calling for a moratorium on Breaking Bad content from now until the finale (and not only because of ... you know, futility.) From now until then, I expect an avalanche of recaps, interviews, think pieces, retrospectives, speculations and so forth. That's exactly as it should be with any show coming to a close, let alone a show as great as this one.

As The Voice returns to NBC this week for its fourth season, viewers are seeing two new, if quite familiar, faces as Shakira and Usher occupy the coaches' seats vacated by Christina Aguilera and Cee Lo Green. Its talent-show rival over on Fox, The X Factor, will also see two new judges when (if? no, "when," surely) it comes back in the fall.

So why does The Voice seem so healthy and The X Factor so wobbly?

Whether this week's announcements that both ABC's Don't Trust The B- In Apt. 23 and Fox's Ben & Kate are being yanked from the schedules mark the beginning of the Great Sitcom Massacre of 2013 remains to be seen. It almost certainly means the end of two strong shows whose casts were clearly having a blast making them.

Eliza Rickman's "Pretty Little Head" is simple yet intricate, a contradiction which helps give it the feel of a nursery rhyme that's just starting to teeter off the rails. Except for the bridge, it's built entirely around two chords, a minor/relative-major pair that trade off inexorably in two-bar cycles without regard to differentiating between the verse and the chorus.

As the networks are currently rolling out their plans for the future courtesy of their upfronts, it just so happens that they're also winding down the current season of shows, the ones that they touted last year at this very time. It's a good time for television viewers to reevaluate the investments we've made in the shows we bought into at the beginning of the season.

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