{"id":1025,"date":"2026-07-22T12:05:35","date_gmt":"2026-07-22T12:05:35","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1025"},"modified":"2026-07-22T12:05:35","modified_gmt":"2026-07-22T12:05:35","slug":"welcome-to-the-age-of-broke-tv","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1025","title":{"rendered":"Welcome to the Age of Broke TV"},"content":{"rendered":"
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The FX drama \u201cThe Bear,\u201d which began with the chef Carmy Berzatto\u2019s dream of transforming his late brother\u2019s sandwich shop into a fine-dining destination, has always been concerned with the precarity of the restaurant business. But in its final season, which aired last month, it dialled up the financial pressure as never before, leaving characters scrambling for solvency both in and out of the kitchen. They reduce portion sizes, retool menu items using cheaper substitutes, and commit to staying open despite a burst pipe, multiple equipment failures, and a massive storm, all on the same day. When the restaurant\u2019s patron reveals a major downturn in his investment portfolio, the frenetic urgency that\u2019s long defined the show is joined by the despondency of a sinking ship. One of the chefs overhears the sommelier begging for another job over the phone: \u201cI\u2019ll sweep up, work nights, whatever.\u201d<\/p>\n

Read more Steve Lacy\u2019s Modern Love Songs<\/a><\/p>\n

When \u201cThe Bear\u201d premi\u00e8red, in 2022, it was something of an anomaly\u2014a prestige series about the economy\u2019s striving losers rather than its sore winners. Television has historically presented affluence as the norm, but recent shows like \u201cSuccession,\u201d \u201cThe White Lotus,\u201d and any number of \u201cBig Little Lies\u201d wannabes have taken the tendency further, trading the tasteful homes of the working rich for the frigid mansions of the generationally wealthy. For years, such shows effectively channelled both the populist anger and the wealth worship of the past two decades, inviting audiences to hate the \u00e9lite while coveting their five-star amenities and their cashmere baseball caps. But jaundiced observations about the haves and the have-nots eventually reached a point of diminishing returns.<\/p>\n

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A fresh batch of shows has met the moment by focussing on the other side of the K-shaped economy: the downwardly mobile middle class. \u201cDTF St. Louis,\u201d \u201cBeef,\u201d and \u201cThe Comeback\u201d feel tailor-made for an era marred by inflation anxiety, affordability crises, and fiscal doomerism; they\u2019re also the best series of the year thus far. Where the seminal nineties sitcom \u201cRoseanne\u201d (still the gold standard for working-class stories onscreen) treated low expectations as both a way of life and a source of self-deprecating humor, these new programs capture the perspectives of those who fundamentally believe they should have more\u2014and might in fact have more, in a fairer system. Though centered on society\u2019s sinking middle, they spotlight an arguably universal experience: the emotional cost of living in a broken world.<\/p>\n

The HBO drama \u201cDTF St. Louis,\u201d about the unusually tender bond between two suburban men, is particularly attuned to the way rocky finances can warp relationships. Clark Forrest is a local weatherman who becomes absorbed in the crises engulfing his new friend Floyd Smernitch, the station\u2019s sign-language interpreter. Floyd is no longer attracted to his wife, has trouble connecting with his teen-age stepson, and owes tens of thousands in taxes\u2014a set of stressors that are ruining his health. Even still, Clark is convinced that Floyd is extraordinary, comparing him to the sun. One night, the friends strip down to their underwear, dance side by side, and compliment each other on their bodies.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Hours later, Floyd turns up dead. \u201cDTF St. Louis\u201d unfurls as a murder mystery, but it\u2019s most compelling as a portrait of a life in arrears. The Smernitches\u2019 finances are so strapped that, when Floyd purchases a seventeen-dollar board game at a hobby store, he asks to spread the cost between two cards. He and his wife, Carol, are bombarded with calls and letters from creditors that remind them daily of their inability to claw their way up to zero. The possible seizure of their house hangs over them like a sword of Damocles. Floyd confides in Clark that his debts have left him with a fluttery \u201cbird heart\u201d; he\u2019d love to have \u201ca man heart again.\u201d But with so little money to go around the amount that he owes keeps growing.<\/p>\n

Naturally, his marriage takes a hit. After Carol, an accounting clerk, takes on a second job as an umpire, they stop having sex; he can\u2019t stop picturing her in her bulky safety gear, a symbol of his inability to provide. Carol is alternately enchanted and frustrated by her husband\u2019s innocence and altruism, which led him to his not particularly remunerative career as an interpreter. As much as she adores his softness, she has to harden herself to keep their household afloat. It\u2019s no wonder that she pursues an affair with Clark, who passes himself off as a savvy entrepreneur during their initial encounter. And it doesn\u2019t help that money would<\/em> buy the Smernitches happiness, not least by getting Carol\u2019s impulse-impaired son to a school that can meet his needs.<\/p>\n

The erosion of romance by financial woes, a common plight in life, is surprisingly hard to find on TV\u2014perhaps precisely because executives are skittish about hitting viewers too close to home. A scene in which Carol refuses Floyd\u2019s gift of a pair of earrings, opting to spend the money on their bills instead, is especially brutal, and especially relatable. The show\u2019s depiction of the suburbs\u2014the stocky, beige-box houses; the stolen trysts in featureless motel rooms; the stultifying family time\u2014feels refreshingly real. It\u2019s also the diametric opposite of what many viewers seek from entertainment. Hence the popularity of a comparatively glossy series like \u201cMargo\u2019s Got Money Troubles,\u201d about a college dropout and new mother who vanquishes all her worries with one weird trick: joining OnlyFans.<\/p>\n

But \u201cDTF St. Louis\u201d proves hypnotic in its own way, as the Smernitches\u2019 money troubles seep into husband and wife\u2019s increasingly tangled relations with Clark. Carol persuades Clark to take out a life-insurance policy on her husband\u2014an unusual request outside of a film noir, though not such<\/em> a departure from the annals of heterosexuality, in which women have depended on men for security for millennia. Clark\u2019s later offer to pay for their son\u2019s private-school tuition is a more complicated largesse. Even for Floyd, who\u2019s immune to so many traditional gender norms, the gift is an emasculating reminder of all he gave up when he ceased to be the breadwinner. On \u201cDTF St. Louis,\u201d emotions grow in unpredictable directions, but love seldom beats out shame.<\/p>\n

Read more Christopher Nolan\u2019s Plot to Change the Way We Watch Movies<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The despair and helplessness are a lot less hushed on the second season of Netflix\u2019s feud-based anthology series, \u201cBeef.\u201d A country-club manager and his wife are caught at home in the midst of a vicious argument by two members of his staff, who record the screaming match on a cellphone. A tug-of-war ensues over the footage, which the drudges see as leverage to secure better-paying jobs, and which their boss, Josh, fears is gnarly enough to get him fired if released. But yelling at his wife, Lindsay, is the least of his sins: to maintain their life style, Josh has been overdrawing an account that belonged to his dead mother, and he soon resorts to embezzlement. When he reveals the plot to Lindsay, she\u2019s straightforwardly delighted. Her anger that Josh has left her too broke to even divorce him dissipates with his promise that they\u2019ll \u201cget back on track.\u201d<\/p>\n

The country club\u2014a celebrity-studded establishment in Ojai\u2014is an inspired setting for the season. It\u2019s built on an upstairs-downstairs divide, but there\u2019s no \u201cWhite Lotus\u201d-style churn of the guests; instead, the expectation of chummy vibes and the presence of regulars allow Josh and Lindsay to imagine themselves as the friends or peers of the patrons. While earlier class-conscious shows such as \u201cThe Wire\u201d and \u201cMaid\u201d painstakingly explained institutional failures, \u201cBeef\u201d\u00a0\u2019s character-driven approach illuminates a system\u2019s flaws through the pathologies it produces. Josh, a perpetual self-optimizer, is convinced that an upswing is just around the corner. But his attempts to fraternize with club members have the opposite effect, as when he loses ten thousand dollars to Michael Phelps in a single round of poker. In the end, being around rich people costs Josh far more than it earns him.<\/p>\n

Most of the American middle class isn\u2019t hobnobbing with the likes of Phelps or Benny Blanco, but Josh\u2019s risky wishful thinking\u2014that some combination of \u201cinvesting\u201d in one\u2019s network and spending one\u2019s way to the top will inevitably pay off\u2014is the kind that can take root more readily when no other paths are available. The delusion is painful to watch, but the greater tragedy is that his proximity to this staggering wealth insures his and Lindsay\u2019s misery. The fact that their happiness is so dependent on success means they\u2019ve practically set themselves up for marital collapse. Perennially being reminded of their place fuels the couple\u2019s status anxiety, which in turn stirs up a tempest at home. Theirs is a relationship built on shared hopes for the future\u2014and on the reflex to turn on each other when those dreams fail to materialize.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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If \u201cBeef\u201d and \u201cDTF\u201d are focussed on the most intimate site of financial tension\u2014marriage\u2014\u201cThe Comeback\u201d takes a more panoramic view. The third and final season of the HBO series opens with its heroine, an aging sitcom actress named Valerie Cherish, receiving an offer to star in a new multi-cam. This being \u201cThe Comeback,\u201d a Hollywood satire whose protagonist pays for opportunities via novel forms of humiliation, there\u2019s a very big catch: the multi-cam is to be written by artificial intelligence. As insulting as the role is, the rest of the industry doesn\u2019t look much better: unemployment is rampant, and some of Valerie\u2019s onetime colleagues have been forced to leave the business behind. (Jane, the reality-TV producer who trailed her in the first two seasons, is found working at Trader Joe\u2019s.) For Valerie, who has downsized from a house in Brentwood to a condo in West Hollywood\u2014and swapped her signature Birkin for a Tod\u2019s tote\u2014the choice is between working on an A.I. production and not working at all.<\/p>\n

\u201cThe Comeback\u201d dramatizes the more subtle human cost of tech-induced scarcity: not just the elimination of a vast sector of formerly reliable, union-strengthened jobs but the breakdown of vital collaborative structures and the sense of community that came with them. Not that the show is particularly nostalgic for the industry of yore, which was similarly rife with exploitation. No one is better versed in, say, the dysfunctions of the writer-actress relationship than Valerie, who, in previous seasons, suffered endlessly at the hands of a misogynistic showrunner. But, on her new sitcom, that relationship is severed altogether. The nominal showrunners have no incentive to punch up the lines that the A.I. churns out, which would be tantamount to training the machine designed to replace them. Neither they nor the A.I. are able to pull off the magic that successful multi-cams have relied on for decades: that of writers observing actors and playing to their strengths.<\/p>\n

If A.I. discourse often revolves around jobs lost, \u201cThe Comeback\u201d explores what it\u2019s like to live and work amid the ensuing distrust, anger, and panic. Valerie is asked to speak out against her own show for the sake of human dignity\u2014an act that seems noble on paper but risks putting two hundred or so of her crew members out on the street. When they discover that they\u2019ve been duped into working on an A.I. production, morale plummets. They\u2019re not the only ones to fall victim to a contractual bait and switch; in the end, the streamer replaces both Valerie and her castmates with digital scans of themselves.<\/p>\n

\u201cThe Comeback\u201d is an insider\u2019s parody: the show is co-created by and stars the \u201cFriends\u201d alum Lisa Kudrow, who\u2019s intimately familiar with the arduous work of making people laugh, and with the way an actor\u2019s career can wax and wane over time. But this season feels much more expansive than its predecessors, warning of the personal and professional diminishment that may lie ahead in the increasingly insecure future that tech moguls have promised. Valerie, the consummate survivor, will doubtless find a way to keep her head above water, even if Hollywood goes down in an A.I.-pocalypse. The pessimism that tugs at the rest of us is best encapsulated by the contraceptive pills that Josh\u2019s wife, Lindsay, takes with resigned practicality on \u201cBeef.\u201d The couple have had numerous conversations about starting a family, but, like many real-life millennials, they\u2019ve responded to their circumstances by hedging their bets. There never seems to be a \u201cright time\u201d in an age of decline.\u00a0\u2666<\/p>\n

Read more Mar\u00eda Corina Machado\u2019s Opposition in Exile<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Amid a real-life economic downturn, the greatest shows of 2026\u2014from \u201cBeef\u201d to \u201cThe Comeback\u201d\u2014are all about scraping by. Inkoo Kang writes.<\/p>\n","protected":false},"author":1,"featured_media":1024,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1025","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-on-television"],"yoast_head":"\nWelcome to the Age of Broke TV - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1025\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Welcome to the Age of Broke TV - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Amid a real-life economic downturn, the greatest shows of 2026\u2014from \u201cBeef\u201d to \u201cThe Comeback\u201d\u2014are all about scraping by. 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