The series was "Breaking Bad," Vince Gilligan's great American television novel about a high school chemistry teacher who turns to cooking meth after he's diagnosed with lung cancer. There's a lot of junk, especially in the reality show category, and there is a distressing lack of creativity in comedy. "Homeland" felt wobbly this year, so much so that when the season finale aired and a major character was killed off, it didn't surprise viewers as much as the demise of major characters in other shows did. Take away the androids from "Almost Human," the all-seeing computer from "Person of Interest," the master criminal in "The Blacklist," and Ichabod Crane in 21st-century "Sleepy Hollow," and you wind up with the ever-reliable police procedural. Whether they are good or bad, though, every television show faces the challenge of the radical shift in how people access content. The most obvious evidence of the changing landscape was Netflix coming out with three of the better shows of this or any year: "House of Cards," "Arrested Development" and "Orange Is the New Black."