The most intriguing part of The Magicians isn't the magic--it's the material that explores the dark side of being a fantasy or sci-fi nerd

The following contains spoilers for the first-season finale of The Magicians.

So Syfy's bawdy and foul-mouthed The Magicians, which wrapped up its first season earlier this week, is Harry Potter for grown-ups, right? Well, I wouldn't really know. I never read any of J.K. Rowling's novels, and I've watched only Harry Potter and the Philosopher's Stone, better known in America as Harry Potter and the Sorcerer's Stone. I found the 2001 Chris Columbus movie to be a ponderous slog back in 2002, so I never sat through another Harry Potter flick again. Not even Daniel Radcliffe can sit through most of his own Potter movies: he actually dislikes most of his performances as the titular boy wizard ("My acting is very one-note and I can see I got complacent and what I was trying to do just didn't come across," he once admitted) and considers his performance in the fifth movie to be his least flawed.

Potter is a franchise that just won't die, even after I resisted watching the seven other Potter movies for so long because of both the tedium of much of the 152-minute (!) first movie and the fact that the Potter franchise is white as fuck. Universal opened the Wizarding World of Harry Potter attraction at its Universal Studios Hollywood theme park last weekend. In July, the Wizarding World attraction will be followed by the West End premiere of Harry Potter and the Cursed Child, a two-part stage play that takes place 19 years after the events of Rowling's final Potter novel, and then in November, Warner Bros. will attempt to build a series of Potter prequel movies out of the 2001 Rowling book Fantastic Beasts and Where to Find Them, a fake school textbook about the creatures Harry and his Hogwarts classmates encountered in the Potter novels.

So because of the onslaught of all this Potter shit (and because that new Fantastic Beasts teaser trailer actually looks enticing), I've lately been considering doing a rewatch of Sorcerer's Stone and a marathon in which I would be viewing the Potter sequels for the first time, as homework for the AFOS blog's "I Can't Believe I've Never Seen It Till Now!" series. For now though, if I want my magic school genre fix, I prefer Syfy's adaptation of Lev Grossman's Magicians trilogy, a series of novels I was unfamiliar with before the January debut of the Syfy version, which has been renewed for a second season.

"Potter for grown-ups"--the most frequently repeated shorthand description of The Magicians by the press--isn't a completely accurate breakdown of the show, although there are a few campus scenes of beloved character actors (whattup, "Cutthroat Bitch"!) teaching difficult sorcery techniques to the younger cast members, just like the only scenes in Sorcerer's Stone that didn't make me snooze. In its first season, The Magicians has been more like a millennial In the Mouth of Madness, which, for me, is a more enticing hook than "Potter for grown-ups."

DirecTV's 101 Network reopens Eyes

I was surprised to find out DirecTV's 101 Network has started airing this week all 12 episodes of Eyes, one of my favorite TV shows that were cancelled too soon. I thought the 101 was going to premiere Eyes back in July, but apparently there was some sort of delay.

John McNamara TV shows just never get any respect, do they?

McNamara is a former Brisco County, Jr. and Lois & Clark writer whose most entertaining creations have been shows built around antiheroes with no qualms about being unethical. Years before audiences were willing to embrace The Sopranos, The Shield, House, Rescue Me, Dexter, Mad Men, Breaking Bad and Nurse Jackie, all dramas with not-so-virtuous lead characters, McNamara gave us a shady corporate climber who sleeps in a cardboard box (1996's Profit) and a private detective who enjoys mind-tricking the criminals who wronged his clients a little too much (1998's Vengeance Unlimited).

But while Tony Soprano, Vic Mackey, Dr. House, Tommy Gavin, Dexter Morgan, the players at Sterling Cooper, Walt White and Nurse Jackie are amoral--somewhere in their bastardly selves lurks a conscience or whatever's left of it--Jim Profit was unabashedly immoral. Whether or not dark and detached central characters like Profit are the reason why McNamara's shows don't last more than one season, McNamara just can't catch a break, even when he crafts antiheroes who are still as shady as Profit and Vengeance Unlimited's Mr. Chapel but less insane and a little more likable, like he did with the gumshoes on Eyes.

McNamara's 2005 series centers on Judd Risk Management, an upscale private investigation firm made up of detectives who don't mind skirting the law to protect their clients. The P.I.'s include sexy master of disguise Nora Gage (Garcelle Beauvais-Nilon); buttoned-up, military-trained newbie Meg Bardo (A.J. Langer); Chris Didion (Rick Worthy, so underutilized as "the black Cylon" on Battlestar Galactica), a gay associate who returned to the firm after a leave of absence caused by a nervous breakdown; and Jeff McCann (Eric Mabius), who conspires with Trish Agermeyer (Natalie Zea), the firm's hot equivalent of Q from the 007 flicks, to hide their affair from another co-worker, Trish's dweeby husband Danny (Reg Rogers).

"Every character has a different back story, a different moral compass. I don't think in terms of 'he's bad' or 'she's good' or vice versa. The fun of this world is in exploring the duality of these characters," said McNamara to Zap2it.com interviewer John Crook in a 2005 article about Eyes. "This world that these characters are in has an effect on them, just as they have an effect on it. They are not machines moving through the investigation, chewing up facts and spitting them out. It takes a toll on their psyches."

Their leader--and perhaps corrupting influence--is smug smart-ass Harlan Judd, Tim Daly's most enjoyable role to date. After playing so many uncomplicated characters (the straitlaced older brother on Wings, the animated version of Superman, Dr. Richard Kimble on McNamara's 2000 remake of The Fugitive), Daly clearly relished embodying more complicated guys like drug-addicted screenwriter J.T. Dolan on The Sopranos and Harlan on Eyes.

"Harlan's way of keeping people off balance is something I totally identify with. My default setting is to make people not know whether I'm giving them shit or not. I think that I get that about him," said Daly to TV Guide interviewer Craig Tomashoff. "He sort of teases people, [and] I love teasing people. Most of the time, I'm not mean about it. I haven't been punched in a bar yet."

Daly may have been a lucky bastard inside bars and taverns, but he wasn't so lucky with the ax that was wielded by ABC, which cancelled his serialized show after five eps that weren't able to retain the audience that tuned in to Lost, its lead-in on the network schedule. Warner Bros. Television made the unaired Eyes eps available to stream on In2TV, their clunky precursor to Hulu, but I hated watching Eyes on In2TV, and the site didn't even contain the complete series, which still hasn't received an official DVD release. The 101's Tuesday night broadcasts of Eyes will mark the first time the complete series will be shown in America, which is why I'm firing up my DVR. Eyes ranks with The Rockford Files, Smoldering Lust/Black Tie Affair, Veronica Mars and Burn Notice as one of the best private eye shows ever made.