Cane

In his book The Last Great Ride, the great programming executive Brandon Tartikoff explained that the hardest thing to do in television was to find the leading man for a sitcom, but the easiest thing to do was to find the complete cast for an all-black TV series; there were so few available black roles and a surfeit of talent to fill them.
The series Cane suggests that the same thing might now be said about Latinos. Any show that can throw Jimmy Smits, Hector Elizando, and Rita Moreno at as so easily is taking advantage of both a rich talent pool and a coming tipping point for the market. In this case, it’s the tale of a powerful Cuban family in the rum and sugar business. It is a tale of the powerful with varying degrees of ruth, really about two families preparing for war. It’s not meaningful, but it can be taken seriously due to the quality of the performances. It doesn’t start off as lurid as a Dallas (or Dirty Sexy Money, for you young folks), nor have the zing of The Sopranos, and while it might not be quite what I want to watch (too much on the conflicts of power, and not enough on the comfortable small humanity of it), it seems to do what it does well.