Shows that went on way too long
"Californication" (seven seasons)
America’s reliance on its “black hope” has been building since the late 1970s, argues Times columnist Eduardo Porter, and wind turbines and solar panels won’t be enough to convince us to leave the rest of our coal in the ground. Even though we know that fossil fuels are destroying the environment, there’s no ready alternative to fuel the sort of paradigm shift needed to curb carbon emissions.
“The arithmetic is merciless,” according to Porter’s economic analysis:
The United States Energy Information Administration forecasts that global energy consumption will grow 56 percent between now and 2040. Almost 80 percent of that energy demand will be satisfied by fossil fuels. Under this assumption, carbon emissions would rise to 45 billion tons a year in 2040, from 32 billion in 2011, and the world would blow past its carbon ceiling in fewer than 25 years.
“We have trillions of tons of coal resources in the world,” Vic Svec, spokesman for Peabody Energy, told me. “You can expect the world to use them all.”
The only way around this is to put something in coal’s place, at a reasonably competitive price. Neither the warm glow of the sun nor the restless power of the wind is going to do the trick, at least not soon enough to make a difference in the battle to prevent climate change.
There’s only one such something, according to Porter, that really makes sense: nuclear power. It would be cheaper than coal, he cites a study as finding, and more capable of scaling up wind or solar power. He mostly brushes off natural gas, which is neither clean nor renewable, as a long-term solution.
Porter cites the 2011 disaster at Fukushima as good reason for global opinion to have turned against nuclear power of late, although he fails to mention that two years later, the situation remains a crisis. Still, he finds reason to believe that the tide of public opinion may be turning: “Younger environmentalists don’t associate nuclear power with Chernobyl and the cold war,” he writes. “Studies have revealed it to be safer than other fuels.” He concludes:
Still, the hurdles are substantial. There are fewer nuclear generators in the United States than in 1987. Just maintaining nuclear energy’s share of 19 percent of the nation’s electricity generation will require adding several dozen new ones. Each will take some 10 years and $5 billion to construct. If nuclear power is to play a leading role combating climate change, it should start now.
What Porter is ultimately asking for is a mitigation of our expectations for a greener future. It’s time, he’s saying, that we give up the dream of wind and solar power for a more realistic — if less ideal — alternative.
Lindsay Abrams is an assistant editor at Salon, focusing on all things sustainable. Follow her on Twitter @readingirl, email email@example.com. More Lindsay Abrams.
"Californication" (seven seasons)
"Entourage" (eight seasons)
Much like “Californication,” this man-centric show started strong and buzzy -- a perpetual nominee at the Golden Globes and Emmys, and a perceived gender-swapped “Sex and the City.” Then it ground on and on, and what might once have been read as a sophisticated satire of Hollywood materialism became a grinding conveyor belt of self-congratulatory guest-star appearances.
"Will & Grace" (eight seasons)
Hey, did someone say “self-congratulatory guest-star appearances?” Look -- it’s Jennifer Lopez, and Cher, and Janet Jackson, and Madonna! The latter seasons of “Will & Grace” effectively ruined the fun of watching the show in syndication now -- will it be a fun and jaunty early episode, or a later episode in which title characters enact an Ibsen play about having a baby together (really) while Jack and Karen meet one pop star or another? The fact that the show hastened a widespread acceptance of gay people that, then, made the show something of a throwback by the time it ended is one thing; the fact that the show itself seemed uninterested in relying on its actors’ sharp comic timing is quite another.
"The King of Queens" (nine seasons)
This CBS stalwart just kind of kept going, exactly as long as was needed to launch Kevin James’ film career. In the show’s final minutes, a formulaic sitcom became a mile-a-minute soap, with the central characters considering divorce and then having two children.
"Frasier" (11 seasons)
Though it ended strong, "Frasier" had something of the opposite problem as “The King of Queens”: While the CBS comedy chucked a whole bunch of plot at viewers toward the end, NBC’s Emmy magnet stayed stuck in familiar ruts, with Frasier questing endlessly for love and Daphne and Niles in fairly unthrilling domestic bliss. The jokes stayed good, but this maybe could have gone one or two years shorter.
"Weeds" (eight seasons)
As “Homeland” viewers may be learning, Showtime isn’t particularly good at keeping its shows coherent over time. (Maybe this is “Californication”’s issue -- we wouldn’t know!) This show changed settings and, effectively, organizing conceits so many times that by the end, it had few earnest defenders.
"Nip/Tuck" (six seasons)
This FX series, too, changed settings midway through, moving from Miami to Los Angeles four seasons in for no compelling reason. The show’s most gripping subplots had a way of petering out (remember the anticlimactic solution to the mystery of the Carver?), and its bizarre tendencies overtook any sense of fun.
"Glee" (five seasons and counting)
The series has, like its sibling show “Nip/Tuck” (Ryan Murphy created them both), switched locations, moving in large part to New York once its core cast graduated high school. But what’s the point of a high school series when the stars graduate? Despite some lovely moments, the show’s heat seems gone, and attempts to get back into the conversation (the school shooting episode, for instance) have been more desperate and tone-deaf than effective.
"Grey's Anatomy" (10 seasons and counting)
Here’s the thing: By all accounts, “Grey’s Anatomy” is not a creative failure. And it’s still widely watched. But when you begin your life as a world-beating hit, anything else seems somewhat marginal. “Grey’s Anatomy” has shed more regular viewers than many shows will ever hope to get in the first place (same’s true of “Survivor” and latter-day “ER,” to name just a few). Those who stopped watching once the Golden Globe nominations petered out may wonder why the show is still on; loyal viewers know better.
"The Simpsons" (25 seasons and counting)
Like the “Grey’s” doctors, the Springfield clan and their neighbors still draw a crowd. But “The Simpsons” is so omnipresent in syndication and in pop culture that the first-run series seems besides the point (not least because, though there are good episodes here and there, the show’s best days are universally agreed to be behind it -- like way behind it, in the 1990s).
"The Office" (nine seasons)
There was a natural break for this show, where it ought to have ended -- with the departure of lead actor Steve Carell in Season 7. The latter years were a creative fugue state, and as NBC’s Thursday night lineup continued to flatline in the ratings, one-time fans could be forgiven at their surprise that the adventures of Jim and Pam kept on unfolding.
"The X-Files" (nine seasons)
Once one of the show’s leads departs and has to be replaced -- as Steve Carell did on “The Office,” or David Duchovny did here -- the show faces a reckoning; if the lead is so central to the show’s plot as to make people wonder how the show could possibly go on, maybe the show shouldn’t. And even “X-Files” superfans might have been happier with fewer seasons of drawing out the conspiracy string toward a famously unsatisfying ending.