Blue Bloods is the first television drama to capture the best of the police procedural and also the warmth and charm of the family drama. It's like NYPD Blue invaded the set of Brothers & Sisters. The show brings incredibly good writing and production values that do look and feel like a film every week. You hear that a lot from series show runners, but this is one of those rare cases where it is true. It doesn't hurt that the show has a strong cast that includes the like of Tom Selleck and Donnie Wahlberg. It doesn't work unless everyone connected with a show buys into a common goal. That's exactly what you get here, and it shows on the screen.

Tom Selleck is Frank Reagan. He's the police commissioner of the NYPD. He's no stranger to the job. In fact, police is the Reagan family business. His father Henry (Cariou) was the commissioner before him, who was fired for his brutal honesty and straight talk. His father is a constant reminder that the job is not always just about policing the city. There are politics to deal with no matter how hard he tries to avoid them. His son Joe was killed in the line of duty. His elder son Danny (Wahlberg) is one of the force's best detectives. His youngest son Jamie (Estes) is a on the force. He has a Harvard law degree, but he decided to give up the idea of a law practice to go into the family business. Daughter Erin (Moynahan) is not a cop. But that doesn't mean she's out of the loop. She is a lawyer who works for the DA's office. When the Reagans gather for their traditional Sunday dinner, the family chatter often involves dead bodies and hard criminals.

"I'm Dr. Jason Bull. I'm not a lawyer. I'm an expert in what's called trial science. I study the jury's behavioral patterns. I know what they're thinking before they do. Everything my team learns gets plugged into a matrix, which allows us to assemble a shadow jury that is scary in its predictive efficiency. The verdict you get depends on me, and that's no bull."

When Michael Weatherly left NCIS after 13 seasons, it's not like he didn't have a pretty wide safety net. It should be noted that they did not kill off the character, leaving him room if his other plans didn't quite work out the way he planned. Those other plans can be found in the new CBS drama Bull in which Weatherly plays the title character and gets his chance to see what it's like to be number one on the call sheet. If you're looking for a clone of the beloved Tony DiNozzo, you will likely be somewhat disappointed. Dr. Jason Bull is intentionally miles away from that character. It's a somewhat brave move, but likely a necessary one if Weatherly is ever going to be thought of as anything but crazy Tony DiNozzo. But what about the show itself?

Tragedy has a way of tearing families apart, and that is the case in Oxenfree, a story about three foster brothers who reunite at their family’s vacation lodge. As expected, their reunion is not a happy one, as old wounds are reopened and differences are brought to the forefront. But beyond that, Oxenfree displays a childlike wonder that you cannot help but enjoy as the three embrace the better parts of their childhoods via the retelling of a ghost story passed down from generation to generation, as well as an epic battle for a makeshift fort. It is definitely a film worth seeing, and a wholesome experience that the entire family can enjoy.

Roy (Paul Vonasek), Benjamin (Timothy R. Lane), and Aaron (Steven Molony) are three foster brothers who reunite following the death of their father. Now this does not start off as a happy reunion, as Roy and Aaron immediately get into an argument regarding Roy taking their father’s old truck without permission. Things come to a head as Aaron attempts to implement several ground rules for the weekend, such as no using their cell phones and no talking about the events that transpired at their father’s funeral (i.e. Roy getting drunk and causing a scene after Benjamin pulled a no-show). Things also become physical when the two discuss their brother Benjamin, and whether he will actually show up for the weekend.

It seems there is no end in sight for comic book properties being bought and turned into movies or television series. Lucifer is one of the newer properties getting the television treatment, and personally this was a title I was looking forward to. With Tom Kapinos (Californication and Dawson’s Creek) at the helm, this seemed like it would be a good fit, though one thing did nag at me. When you have a show called Lucifer and it is about the devil taking a vacation on Earth, is broadcast television really the proper outlet? As a fan of Californication I was excited to see what Kapinos would do with the material and for the most part the show doesn’t disappoint. (Though it would seem with season 2, Kapinos has stepped away from the show to some degree.) Now with the second season hitting DVD shelves, I’m happy to say that show has found its voice and is a helluva lot of fun.

Lucifer Morningstar (Tom Ellis) is indeed the devil and has been vacationing on Earth for a few years with no real desire to go back home. He’s a ladies’ man who runs LUX, one of the hottest nightclubs in Los Angeles. But along with living the playboy lifestyle, he’s also a consultant with the LAPD. Lucifer’s brother, Amenadiel (D.B. Woodside) is an angel that has been tasked by God to not only look after Lucifer but to bring him back to his rightful place in Hell. The rivalry between the two brothers has simmered down this season and that’s actually nice because the pair actually have a good chemistry together.  But then again nothing can unite two people feuding more than a mutual enemy, and for these guys their enemy is their mother. Turns out their mother is the Goddess of all Creation and takes the form of Charlotte Richards (Tricia Helfer), a corrupt defense attorney. Naturally, drama and chaos ensue.

The blues has had a tremendous impact on our contemporary popular culture, as it is largely the foundation of what we have come to understand as “pop music.” Without the blues, cultural phenomena such as Rock N’ Roll, Beatlemania, the British Invasion, heavy metal, hip-hop, gangsta rap, grunge, and contemporary pop would have evolved much differently. Even as I look over that list, I can’t make an argument for any one of those cultural shifts to be as impactful or as lasting as the blues. Perhaps I am a little biased as a rock enthusiast and musician, but every good guitar player knows that most of their stylistic flair can be traced right back to the Deep South.

I Am the Blues takes audiences through some of Louisiana’s bayous and parts of the Mississippi Delta in order to capture what can be described as the spirit of the blues. Daniel Cross managed to film multiple powerful performances and develop a narrative that provides a philosophical cohesion the emulates the blues itself: simple enough to understand, yet complex enough to be just out of reach. With Bobby Rush’s guidance, Cross takes viewers on a pilgrimage to the Chitlin’ Circuit, grabbing interviews and performances of local blues legends along the way.