Eric Deggans

Eric Deggans is NPR's first full-time TV critic.

Deggans came to NPR in 2013 from the Tampa Bay Times, where he served a TV/Media Critic and in other roles for nearly 20 years. A journalist for more than 20 years, he is also the author of Race-Baiter: How the Media Wields Dangerous Words to Divide a Nation, a look at how prejudice, racism and sexism fuels some elements of modern media, published in October 2012, by Palgrave Macmillan.

In August 2013, Deggans guest hosted CNN's media analysis show Reliable Sources, joining a select group of journalists and media critics filling in for departed host Howard Kurtz. Earlier in the same month, he was awarded the Florida Press Club's first-ever Diversity award, honoring his coverage of issues involving race and media. He received the Legacy award from the National Association of Black Journalists' A&E Task Force, an honor bestowed to "seasoned A&E journalists who are at the top of their careers." Deggans serves on the board of educators, journalists and media experts who select the George Foster Peabody Awards for excellence in electronic media.

He also has joined a prestigious group of contributors to the first ethics book created in conjunction with the Poynter Institute for Media Studies for journalism's digital age: The New Ethics of Journalism, published in August 2013, by Sage/CQ Press.

Deggans has won reporting and writing awards from the Society for Features Journalism, American Association of Sunday and Feature Editors, the Society of Professional Journalists, the National Association of Black Journalists, The Florida Press Club and the Florida Society of News Editors. In 2010, he made national headlines interviewing former USDA official Shirley Sherrod at the NABJ's summer convention in San Diego, leading a panel discussion that was covered by all the major cable news and network TV morning shows.

Named in 2009, as one of Ebony magazine's "Power 150" – a list of influential black Americans which also included Oprah Winfrey and PBS host Gwen Ifill – Deggans was selected to lecture at Columbia University's prestigious Graduate School of Journalism in 2008 and 2005. He has lectured or taught as an adjunct professor at Loyola University, California State University, Indiana University, University of Tampa, Eckerd College and many other colleges.

His writing has also appeared in the New York Times online, Salon magazine, CNN.com, the Washington Post, Village Voice, VIBE magazine, Chicago Tribune, Detroit Free Press, Chicago Sun-Times, Seattle Times, Emmy magazine, Newsmax magazine, Rolling Stone Online and a host of other newspapers across the country.

From 2004 to 2005, Deggans sat on the then-St. Petersburg Times editorial board and wrote bylined opinion columns. From 1997 to 2004, he worked as TV critic for the Times, crafting reviews, news stories and long-range trend pieces on the state of the media industry both locally and nationally. He originally joined the paper as its pop music critic in November 1995. He has worked at the Asbury Park Press in New Jersey and both the Pittsburgh Post-Gazette and Pittsburgh Press newspapers in Pennsylvania.

Now serving as chair of the Media Monitoring Committee for the National Association of Black Journalists, he has also served on the board of directors for the national Television Critics Association and on the board of the Mid-Florida Society of Professional Journalists.

Additionally, he worked as a professional drummer in the 1980s, touring and performing with Motown recording artists The Voyage Band throughout the Midwest and in Osaka, Japan. He continues to perform with area bands and recording artists as a drummer, bassist and vocalist.

Deggans earned a Bachelor of Arts in political science and journalism from Indiana University.

Marriages, especially long ones, are among the most complex and misunderstood relationships regularly depicted on television.

On the small screen, marriages are usually static things; they are good or bad and continue along in whatever way is needed to further the week's plotlines, from Mike and Carol Brady's upbeat union to Walt and Skyler White's perpetually doomed partnership. But marriage veterans know it's often a complicated, evolving thing, as two people negotiate a continued relationship even as time and circumstance transform them into different people.

Countless episodes of The Simpsons are built around goofball dad Homer's inability to understand anything online, including starting a home business with no declared purpose: Compu-Global-Hyper-Mega-Net.

His reasoning: "Everybody's making money off the Internet, except us!"

Five weeks after the fall TV season started, the broadcast networks are still cranking out new shows.

And in the case of CBS's The McCarthys, you may wish they had stopped a bit sooner.

It's easy to slip into gloating mode, now that cable channel TLC has finally canceled a show so many of us critics have hated for so long: Here Comes Honey Boo Boo.

What's most amazing about this point in the TV season is what hasn't happened yet.

One month into the new season, no new fall TV show has yet been canceled.

(By this point last year, several shows had already been put out of our misery, including ABC's Lucky 7 and NBC's Ironside remake.)

Still, despite programmers' patience this year, there are still lots of clues about what's working this TV season and what isn't. Here's a peek at what we know so far about the current TV season.

The worst fate of all may be to make a terrible mistake and then learn the wrong lessons from the experience.

That's the thought I had reading a heartfelt column about the Boston Herald's unfortunate decision to publish a cartoon featuring a White House gate-crasher asking the nation's first black president if he had "tried the new watermelon flavored toothpaste."

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AUDIE CORNISH, HOST:

Cable cord-cutters are more than a little excited today about news from HBO.

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STEVE INSKEEP, HOST:

This week, Rosie Perez celebrates one full month in a job she never expected to hold in the first place, co-host on ABC's revamped version of "The View." She told NPR TV critic Eric Deggans what's fun about the job and what's not.

The Walking Dead is so successful – it's TV's most popular show with young viewers and cable television's highest-rated drama – that AMC has already picked it up for a sixth season, days before the fifth season starts Sunday.

And it returns this fall with a bloody, explicit answer to a troubling question from last season:

What is the deal with the people in this place called Terminus?

As The CW's new superhero series The Flash debuts tonight, it seems there are more TV shows based on comic books in prime time than ever before.

And a look at two of the best new network TV dramas this fall also reveals two different ways to tell superhero stories on television, both with wonderful results.

It's tough to find a more traditional superhero story than The CW's take on The Flash, which opens with a voice over from the hero himself:

(Be warned: There are spoilers ahead, particularly if you haven't watched all of Homeland's third season yet.)

Showtime's widely-lauded terrorism drama Homeland returns Sunday facing a curious question for a show starting its fourth season.

What, exactly, is this series about now?

That was the biggest issue left by the death last year of Damian Lewis' supremely dysfunctional soldier-turned-terrorist-turned-doomed hero Nicholas Brody. And it's not clear if producers have found an answer yet.

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ROBERT SIEGEL, HOST:

It's tough to imagine that Hollywood's movie machine could forever be changed by this guy, but it could happen.

(SOUNDBITE OF FILM, "BILLY MADISON")

Even though some TV critics hate Fox's new crime drama Gracepoint, you just might love it.

And that mostly depends on one thing: Whether you've seen the British TV series it's based on, Broadchurch.

It's the best show that you're probably not watching.

As FX's The Bridge ends its ratings-challenged second season Wednesday, it has told a sprawling story about two detectives — one in El Paso, Texas, and one in Juarez, Mexico — pursuing a Mexican drug cartel.

This year, much of the story has centered on reluctant hero and Mexican police detective Marco Ruiz, who's chasing cartel boss Fausto Galvan. Almost all of those moments are filmed in Spanish, helping flesh out characters who tend to remain mere stereotypes in other shows.

It was 50 years ago today (Friday, Sept. 26) that the world was introduced to what may have been the oddest idea around for a TV comedy until Hogan's Heroes cracked jokes in a German prisoner of war camp a year later.

Yes, Hollywood wanted to make America laugh about seven people who got marooned on a tropical island. And that oddly endearing show celebrating its golden anniversary had an unlikely name: Gilligan's Island.

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This is what happens when voices that have normally been pushed to the background take center stage.

That's the reaction I usually offer these days whenever someone asks me about a race-based media firestorm — this time, in reference to the nuclear-sized backlash against New York Times TV critic Alessandra Stanley's bewildering commentary on Shonda Rhimes, one of the most successful showrunners in television history.

The Cosby Show celebrates its 30th birthday on Saturday.

It was a monster hit inspired by the comedy and life experiences of its star, Bill Cosby, as shown in the new biography Cosby: His Life and Times. In the book, author Mark Whitaker makes a strong argument that Cosby's comedic style and approach to race issues turned The Cosby Show into television's most quietly subversive program.

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STEVE INSKEEP, HOST:

Television critics are slogging through hour after hour of new shows to help guide our eyeballs through the busy fall season. And that includes NPR's own Eric Deggans, who's gotten off the couch long enough to talk with us. Thanks, Eric.

It seems some TV networks have gotten the message on late-night diversity and others have not.

Friday's news — that Saturday Night Live hired comic Michael Che to join Colin Jost behind the anchor desk on its popular "Weekend Update" segment — shows NBC's venerated late night comedy franchise may, finally, stand among those in the first group.

[Note: This post discusses plot points and story lines from previous seasons.]

The first episode of the final season for FX's biker drama Sons of Anarchy begins with a familiar scene: gang leader/hero Jackson "Jax" Teller brutalizing a man in jail, interspersed with images of his gang and family living life — including his mother caring for his sons — with a mournful tune playing in the background.

The View just made history in naming Rosie Perez as a new co-host of ABC's daytime chat show.

ABC revealed Wednesday that Perez would join former GOP strategist Nicolle Wallace, teaming with stars Rosie O'Donnell and Whoopi Goldberg when The View's new season debuts Sept. 15.

In hiring Perez, a Brooklyn-born daughter of Puerto Rican parents, ABC did something new: It named the first Latina as a regular co-host in The View's 17-year history.

Which raises an important question: Will it matter?

How much football is too much for TV?

That's the question CBS and the NFL may face Sept. 11, when the curtain rises on their ambitious experiment to build a new broadcast television home for pro football on Thursdays.

When it comes to original TV series, it's tough to understand exactly where Amazon is going.

At first, its strategy seemed simple: It went where big-ticket competitors like Netflix and HBO didn't, greenlighting comedies like Garry Trudeau's political satire Alpha House and the Silicon Valley series Betas, along with a raft of kids' shows.

For TV critics, last night's Emmy Awards show was a bit like seeing an old flame promise to treat you better, only to slide right back into the same old disappointing behavior.

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STEVE INSKEEP, HOST:

TV's longest-running science fiction program is about to get a new hero ... sort of.

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