On TV this Monday: Abishola comes to a family member’s defense, the 4400 reboot resumes its freshman run and Yara Shahidi moderates a conversation with Michelle Obama. Here are 13 programs to keep on your radar (in addition to our guide to Martin Luther King Jr. Day programming); all times are Eastern.
Through Tuesday at 5 am | In addition to a curated lineup of 40 Golden Girls episodes, the cabler will re-air the 2011 Hallmark Hall of Fame movie The Lost Valentine at 8 pm, starring White and Jennifer Love Hewitt. (View full schedule.)
Daphne Oz, Gail Simmons and Jamika Pessoa take over Dr. Oz‘s time slot with a series offering beauty, cooking, fashion and lifestyle tips.
Yara Shahidi (grown-ish) moderates a discussion between the former First Lady and college students about navigating young adulthood in today’s climate.
Kenan struggles to accept that Aubrey is growing up; Gary pursues a controversial revenue stream on social media. (View NBC’s midseason report card.)
Calvin offers to coach Dave for an amateur boxing tournament; Marty meets a new woman at the gym. (What are CBS’ best and worst rated shows?)
Before Super Wild Card Weekend comes to a close, the Arizona Cardinals must first face the Los Angeles Rams.
After Bob accidentally lets slip that Morenike is gay, Abishola and Kemi are forced to defend her against their church — and their own families.
As the government contemplates its next move, Rev reckons with his newfound ability and Jharrel receives unexpected news.
Shortly after a civilian research vessel picks up a small boat of wounded Navy officers, terrorists are found on board. (Get crossover scoop!)
Celebrity guests include Anthony Anderson, T-Pain, Ryan Tedder and Bebe Rexha.
Lucy goes undercover after evidence to put away a drug kingpin is stolen; Whistler’s ex-girlfriend arrives in town. (Which H50 vet has been enlisted?)
While Music Joe goes full rock star mode, Nurse Joe has cause for celebration and Cop Joe deals with an unsavory family secret.
What begins as a documentary examining racial and economic inequalities in cities from the perspective of low-income students of color morphs into something else entirely when filmmaker James Rutenbeck is forced to come to terms with his complicity in racist structures.
