D's Top Ten Shows of 2012

I usually find the overabundance of year-end lists in December to be excessive, arbitrary, and predictable. While I follow many TV and pop culture blogs--whose opinions I respect and whose taste I trust--and look forward to their year-end rankings, I usually take them with a grain of salt.

However, I find the personal challenge of list-making to be a fun task for myself (nerd alert). I also figured that since this blog is so new, with so little posts, it would be nice to offer a rough outline of my personal tastes and preferences. Lastly, I made a list last year and it would be a shame to break my streak.

Just keep in mind that I find rankings to be slightly arbitrary. It's more of a general list of top shows. The order could be rearranged in various ways (especially when it comes down to comparing dramas to comedies). And it goes without saying that I by no means have seen everything on television in the past year.

That being said, lets get down to business:

10. Honorable Mentions: Boardwalk Empire, American Horror Story: Asylum, Portlandia, Late Night with Jimmy Fallon, The Colbert Report, Bob's Burgers, Veep, The Walking Dead
Okay...so maybe not business per say. And I guess I failed my own list making challenge. But honestly I enjoyed all of these shows. Some I've seen every episode of and others, not so much. Some have done complete 180s, and others have maintained a certain level of consistency. But they each have had their moments and I truly think each of them deserves a nod of recognition.

9. Happy Endings
Many people find Happy Endings grating and the characters off-putting. And to be honest, the show is often hit or miss on a week-to-week basis. But when it hits, it hits SO good. The jokes come at a rapid fire pace. I'm constantly rewatching episodes or segments to make sure I caught everything. The performances are each hilarious in their own way and the cast is oozing with so much chemistry, its infectious. I honestly believe these people have been friends forever and have their own zany language, history, and outlook. The second half of the second season (including the lost kickball episode that only aired in the UK) and the first half of the third have had so many moments of pure hilarity and insanity. I love that they turn sitcom tropes on their heads, psyching out viewers in more subtle ways than a more blatant show like Community. Yes, the writing could be better, but it's ambitious and almost always hilarious. It's an underrated show and I just hope viewers, and ABC, continue to give it the chance it deserves.

8. Game of Thrones 
I generally find the translation of fantasy to screen, whether large or small, hard to pull off well. When its a book series that takes place in a completely different universe--with a huge cast of characters, its own history, customs, and religions--that only adds to the difficulty of putting it in your living room every week. Yet somehow HBO's Game of Thrones pulls it off without any confusion or inadequacies. One thing in particular about the second season I enjoyed, was how it strayed from the source material. I know thats a controversial thing to say when it comes to a beloved fandom or series, but I find the show more enjoyable to watch that way (and the book more enjoyable to read). Some things don't translate well to screen and retreading word-for-word can be boring and too predictable. The showrunners keep series writer George RR Martin in the loop so when they take artistic license, I trust them. This season once again exhibited fantastic acting, beautiful scenery and art direction, as well as well placed humor.  The scope of this show is immense and I'm regularly impressed. The story still finds ways to make my jaw drop in the best way possible. Character arcs and plot points that could have been boring or over-the-top are somehow stretched or confined to scale all in an incredibly well balanced season of genre-specific television.

7. Community 
Anyone who knows me knows I've been a huge Community fan since day one. Community is its own brand of hilarious, current, witty, zany, and self-referential humility. Although the Dan Harmon-less fourth season has been pushed back to 2013, this past spring still saw an extremely ambitious, creative, and comedic string of episodes. The Law & Order episode, the two part "Pillows and Blankets," "Digital Estate Planning," and the very emotional finale all immediately jump to mind. But besides the finale (which felt like a pseudo series finale), one episode that I found particularly poignant was "Virtual Systems Analysis": an entire episode that takes place inside the dreamatorium and Abed's head. This episode revealed the potential of the show, scratching away the comedic polish and genre-bending specificity it often hides behind, to reveal much more specific and affecting darker themes. Even the actors' performances in this episode were incredibly impressive and comedic. Actors playing a character playing a different character...it was Freaky Friday-esque but in the service of something much darker and emotional. Without Harmon I've been bracing myself for a drop in quality going forward, but I also find myself looking forward to spending more time with this hilarious community of characters.

6. Louie 
I genuinely think Louis CK is singlehandedly changing the face of the television comedy. Each episode manages to be filled with humility and pathos while remaining hilarious and even zany. Every week is like a new short indie film that somehow doesn't take itself too seriously. Its a comedy that makes me FEEL on a base level. It doesn't just move me (like other comedy's on this list do), but it manages to make me reflect and relate (and laugh) on a level I never knew a half hour comedy was capable of. This past season's guest stars were enormous. The episodes involving Parker Posey were clear standouts to me. But moments with Chloë Sevigny, Robin Williams, Melissa Leo and others were some of the best work I've seen any of them do. The episode of Louie in Miami is another that sticks out to me (and which I find being overlooked). But honestly, every single episode is pure gold. Its only when I'm comparing the show to itself that I can find myself criticizing, critiquing, and nitpicking here and there. He deserves all the recognition and praise he has been getting lately. And I can't wait for when he finally gets behind the camera again.

5. Breaking Bad 
I still have no idea whether this summer's installment was its own season or the first half of one long dragged out final season (I personally like to consider them each separate seasons), but that's neither here nor there. Witnessing Walter White further descend into darkness, crime, and isolation, leaving him alone with nothing but a pile of money and his ego, is still one of the most riveting things on television. The deconstruction of this character from the pilot up until this point is genuinely fascinating. Furthermore, no one does tension like Breaking Bad, and this season was full of little moments of nothing but gut-wrenching, breathless intensity. Episodes revolving around the character of Mike were particular standouts to me, but as were the immoral acts of complete depravity we witnessed this season. One episode tied my stomach into knots. Others had me cheering on the people whose lives Walter has essentially destroyed over the course of a year. Although there were only eight episodes, Vince Gilligan managed to introduce new characters and give them moments to shock me in ways that are still sticking with me months later. One other thing that I have always loved about Breaking Bad is its cinematic eye for open skies, desert land, and especially the molecular process. We're five season in and I have yet to be bored by a meth cooking montage. The reveal in the final moments of the season had my eyes bug and forced me to sit up as I slapped my leg and realized, along with the character of Hank, exactly what this means in the months to come. I'm so looking forward to the upcoming final season. If anything, I hope Walter White finally gets whats coming to him.

4. Girls 
One of the most talked about and debated series on television, even before the pilot ever aired, is Lena Dunham's debut series, Girls. I completely understand why many people find this series off-putting and the characters unsympathetic, but I also don't think it deserves all the hate and pretention its been getting. Not by any means. Personally, I love this show. Being the same age as Lena Dunham and her cast of characters, as well as living in New York, I find myself relating to this show more than any other on television. I won't go as far as to say Dunham is the voice of her generation, but she's most definitely a voice for me and the people I know. I have a friend that worked at Cafe Grumpy for years, I've been to huge random parties in the outer boroughs, I've seen friends run into old friends from camp, and I've had almost every conversation and disagreement these characters have. These are my friends and the people I grew up with. Yes many of them are sort of awful, entitled people, but there's just so much potential for character there. I realize this critique of the show is more about how I personally relate, and not so much an actual critique, but I just don't think I would feel right judging this show without being upfront. Aside from how I personally feel, I must mention that I am continually impressed by Lena Dunham as a writer and director. The shots, the music, the character development, the pace, the voice, all of it regularly impresses me. (I know we owe much of that to Judd Apatow as well, but I really do feel it is mostly Dunham's vision). This show has humor and a pathos in the vein of Louie (albiet it's much less zany and "indie"), and that is clearly something I respond to. These characters aren't easy to like, in fact they're easier to hate. But they each have a heart and a story and a journey ahead of them. And I genuinely believe you dont need to be a twenty-something female in New York to relate, laugh, or cringe along with me.

3. Parks and Recreation 
I have to say that this past year of Parks and Recreation may just be the series' strongest. Last spring's campaign and this fall's relationship development have all left me teary-eyed and emotional. And in an election year, Parks and Rec managed to remain unjaded about the state of politics in this country and the process itself. It never pokes fun at any one ideology or person, but finds a way to be all encompassing and relevant. As a politics-nerd I definitely appreciate this aspect of the show. And as a television-nerd, it only gets better. I love a comedy that isn't just jokes. That doesn't just hit the reset button every episode/season, but instead allows its characters to grow and progress. Parks and Rec knows when to end a story line or character arc and, more importantly, when to follow through and make logical, yet ballsy moves. Last season had hilarious guest stars in Paul Rudd and Kathryn Hahn, and stand-out episodes such as "The Debate" (written and directed by Amy Poehler) and the season finale, "Win, Lose, or Draw" (which brought me to tears multiple times; how Poehler didn't receive an Emmy is beyond me). But this current season also has its own run of hilarious and moving episodes, most notably "Halloween Surprise". But above all, Parks and Rec has a huge heart. For all the black-comedy shows on this list, for every example of crappy human behavior, and for all the shows that make jokes out of our darkest emotions (and for which I love them), Parks and Rec manages to be just as funny, poignant, and affecting...but with a smile on its face.

2. Homeland 
I obviously talk a LOT about Homeland on my blog. And I'm going to try not to get too into it right now. For my general thoughts on this past season, please see my previous post. But one thing I have to say is that much of the second season was just as good as anything in its first. Yes, it veered off course with a hit-and-run, (whose purpose appeared to purely serve relation disintegration, but in hindsight also served to give Dana a lesson in death and bring her closer to her father). And yes, there were plausibility issues. But I'm sorry, that season premiere, the reveal at the end of the second episode, the interrogation in "Q&A", the finale (and so many moments in between), is some of the best damn television I've ever seen. Period.

1. Mad Men 
In terms of television, Mad Men is in a whole league of its own. No other program could even begin to match its level of craftsmanship, style, storytelling, performance, or writing/directing. Yes this past season was pretty heavy handed with the death symbolism and its preoccupation with mindless death/murder, but it still pulls it off way better than anything else on TV. Characters made major moves this season, particularly the females (but also, and obviously, one particular Englishman). If I start to list the standout episodes of the season, I'll end up talking about almost every single episode. Instead I'll talk about the moments that I responded to, that ripped my heart out or punched me in the gut or sent chills down my spine or just made me laugh endlessly: Peggy saying goodbye to Don, Don showing up a little too late to Joan's apartment, Lane giving Pete a well deserved whooping, "Tomorrow Never Knows", Sally Draper getting an eye full, fat Betty, Joan standing up to her rapist husband, Roger Sterling's LSD trip, Don looking into the abyss of an empty elevator shaft, Michael Ginsberg's origin tale, Lane fixing his new Jaguar, and probably so much more that I'm forgetting. Actually, to be honest, I'm not forgetting. Because all thats left are vague feelings and images that feel like memories. And beautiful shots of museums and windows and snow and fog and orange sherbet and Alex Mack and hare krishnas and gap-toothed smiles and...not Bobby Draper. There's just something about Mad Men that feels like nostalgia. It deserves all the hype, buzz, awards, and recognition it gets. And the show's fifth season was certainly no exception.

Homeland: Season 2 Finale

NOTE: Sorry for the lack of updates. Sandy happened, recovery is still happening, I was behind on TV shows, and then I sailed away on SS Coachella for a few days so I'm only now getting to write about it. Without further ado, my SPOILER heavy thoughts on Homeland's second season finale, "The Choice."

Like many others I have been having some small irksome plausibility problems with Homeland lately. But when it comes to an amazing show like this, it is the ultimate nitpick to point out how a show written by former writers of 24 is similar to 24. Now ever since the first season I was waiting for the inevitable moment for Homeland to go over the edge and become a zany high-end 24. And I am still waiting for that moment. It hasn't happened yet. And the longer it takes the better. The small weak moments of implausibility are little scratches in a glass that's been around for two years. They are by no means cracks and the show is no where near shattering.

That all being said, I think we can agree that Homeland's second season is not as good as its first. But then again, how could it ever be? After last year's finale I knew they'd never be able to sustain themselves and do it again. So lets disregard the comparison. The first half of the second season they were still riding high. That was still incredible television. It was moving and emotional and shocking and brave. Outing Brodie, breaking him down, turning him, and ultimately fixing him was simply amazing character work and something Homeland does so well it almost looks easy. Giving Carrie her redemption and ultimately her life and swagger back was also incredibly satisfying. And Clare Danes and Damien Lewis did it flawlessly in compelling and moving turns in front of the camera. The trajectory drops off slightly in the second half of the season, but among all the kidnapping and complete disregard for national security and protocol, there were nuggets of pure gold to be found.

As for the finale itself, I thoroughly enjoyed it. I loved that the show returned to the cabin and what that meant to the characters. I loved that I knew SOMETHING was going to happen because Brodie and Carrie seemed too damn happy (and I'm glad it wasn't as simple as Carrie choosing the CIA over him). The cabin made their later goodbye at the border poignant and moving. 

I also thought Saul and Carrie's argument was great, as well as Saul's despair after the bombing (especially regarding Carrie), and that stupid grin on his face in the final shot of the episode. Because as much as this show is about Carrie and Brodie, its also about Carrie and Saul. That relationship is also something worth exploring as its wrought with incredible performances, chemistry, and history. I'm so looking forward to that next season. These two in charge of the CIA is absolutely something I'd watch. 

Speaking of which, I really like it when shows set off creative bombs like this. Just kill off everyone, fill the nation/government with terror, create a vacuum, fill it with new problems, give everyone a new role, and lets do this thing. Its brave and its ballsy and I respect it. I just always love a blank slate or when a show flips everything upside down because it makes the next season so interesting. Lost did it, Alias did it, Mad Men did it, Battlestar Galactica did it, and even Friday Night Lights did it. I can't wait to see what the writers do next. It sucks that we lost great characters and compelling subplots, but thats just a testement to how good/confident the writers are. 

A couple of other little things I thought were great:

• Quinn growing a heart and threatening Estes. The threat means nothing now, but at the time Quinn's, "Because I'm the guy that kills bad guys," was a pretty badass moment of character definition. I love the enigma of Quinn and I'm definitely looking forward to his role next season.
• Dana's conversation with her father and later defending him. She can't say why she knows he didn't do it, but I like that she still remains intuitive and honest enough to speak up. Just all the subtext and implication in the scene in the bedroom and later in front of the TV was very moving. I hope she remains convinced of his innocence next season. 
• The scene in Estes office, after the bomb went off, when Carrie has her gun on Brodie. Still not sure what it was about that scene that I found great, but probably the realistic tinge of paranoia and suspicion that this show has always been about. And that it addressed exactly what the audience has been thinking since Brodie's rendezvous with Nazir.
• Brodie's "Fuck me" after seeing his tape on TV. 

Lastly, one thing I sort of wished happened, but realize could have never happened, was that Carrie left with Brodie. That we have a season of Catch Me If You Can between Carrie and Saul. Two characters that love and respect each other. That know how the other thinks. That just happen to be on the wrong side of the explosion as they outmaneuver each other over and over. Maybe I'm the only one who thought that could be fun. And I'm glad it didn't play out that way. But it was a thought that crossed my mind during the finale and I just wanted to mention it. 

Anyway. I realize this was a long post. I'm just trying to make up for lost time. If you read it all, thank you. If not, I totally understand (but it would be cool if you read it because I spent a lot of time writing it). But Merry Christmas, Happy Holidays, and now that things are getting back to normal, I plan on updating more often. Thanks for sticking around.

Boardwalk Empire: "A Man, a Plan..."

NOTE: Post-Sandy recovery means I finally got internet back this past weekend. Which means I'm catching up with my regular programming as quickly as possible. Which means posts may be shorter, rushed, and infrequent, but I'm trying to get back in the game.

Now to the point. Boardwalk Empire's latest episode, "A Man, A Plan...", basically broke my heart. [SPOILERS TO FOLLOW]

I knew Slater's death was imminent. It was written into every scene of the episode: Slater essentially proposing to Katie, his discussing St. Louis with Margaret, his volunteering to take out Masseria alone, and even in the scene when Luciano warned Masseria about Nucky. Not to mention we all knew plot-wise Margaret and Slater couldn't actually run away together. It didn't look too good for Slater. And I had such anxiety over it the entire hour. Because I knew it was coming. But I refused to except it until I saw it. You see, Slater is one of my favorite characters on the show. He was well written, was the bridge between Nucky and Margaret, and his presence helped define those characters. Plus Charlie Cox as Slater was über swoon-worthy.

We all knew what was in the box well before it was opened. But Margaret's reaction was heartbreaking. (Kelly Macdonald is sure to submit that episode for Emmy consideration. Very well done on her part.) It was also very well played on Buscemi's part that Nucky had clearly deduced Margaret and Owen's relationship just from her reaction. I have my issues with Boardwalk Empire, but it's scenes like this that have me unquestionably tuning in every week for three seasons. Kudos to everyone involved. 

Now, as for the final reveal of the episode: the extended flashback to Margaret and Owen's last conversation. I would normally be turned off of such a withheld plot-line. It seems to exist just for the sake of a gotcha emotional moment. (Even though the possibility that Margaret might be pregnant had already crossed my mind more than once). But I have to say it was the right decision to structure the episode that way. If they kept that whole scene intact at the beginning of the episode, I'm sure we all would have been extra heartbroken at seeing Slater in a box. But holding off and replaying it as Margaret reminisces in grief gave it a little extra emotional punch. It was nice to see Slater one last time in all his kind, gentlemanly glory. And the pregnancy reveal led to a final bittersweet moment between the two lovers. 

That being said, I am definitely looking forward to the end of the season. (Even if it means having to find someone new to swoon over.)

Housekeeping

For anyone following this blog, I just want to take the time to apologize for not updating in a while. Hurricane Superstorm Sandy left my home with no power, water, sewage, heat, or (up until this week) cell service. My car was also destroyed. So my regular TV watching has taken a hit. I'm trying to catch up and post as quickly as I can. So please bear with me.

The Potential of Nashville

I am just going to come right out and say that if it wasn't for Connie Britton, I would have never given Nashville a second thought. When I first heard about the show, reading the synopsis and what we were to expect, I simply did not think that it would be a show for me. Especially the fact that it was to be heavy on the hee-haw country music. Oh, but Connie Britton is in the lead? Now you have my attention...

As ABC promoted Nashville, and as I watched the trailers and read reviews, I actually grew excited and curious about what this show would become. I generally enjoy a musical show. I watched the entire first season of Smash (mostly for Vulture's hilarious recaps, but also because sometimes, on a rare brief occasion, it was actually entertaining) and I stuck with Glee way past its peak. I am definitely not a country fan in any sense, but the promise that Nashville was more about the industry than about randomly breaking into twangy song and musical numbers meant I could feasibly put my personal tastes aside. The show also offers a sense of soap and camp which, again, is not necessarily something I respond to (unless done right). So Nashville had a lot going against it. And it is a testament to how much I admire Connie Britton that I gave the pilot a shot. And against all odds, I am really enjoying the show way more than I expected to.

Nashville presents an interesting insight on the music industry today, has fantastic lead performances from not only Connie Britton, but Hayden Panettiere as well, and it is particularly refreshing to see a show filmed in an American city that often gets overlooked. Heck, I'm even enjoying the political subplot because I am a sucker for politics and Powers Booth is just perfect in this role.

Again, I am by no means a country fan, but I genuinely liked the acoustic duet in the pilot. I'm also enjoying how the awful pop-country songs are juxtaposed with genuinely well-written refined Country music (with a capital C). It just adds another layer to the story. It is also refreshing that characters are not randomly breaking out into song. The music and the performances serve a purpose to the plot and character, but they also happen in a matter-of-fact way. These characters exist in the music industry so performances and music videos are bound to happen. And so far the musical performances are used in the same way football games were used on Friday Night Lights. It's a way to bring all the characters together at the same place while reflecting on what that moment means for each of them. And so far this has been executed quite well.

As for Hayden Panettiere, I think she is enjoying this seductress role of hers. Her character isn't just a villan. She is also presented with a desire to mature personally and professionally. The steps she takes towards this maturity is quite destructive, but she's a damaged character with lots of emotional baggage to sort through. And I believe Panettiere is doing a great job thus far. I have spoken to many people who are not Panettiere fans, but I have personally never had a problem with her. Claire on Heroes and Kirby in Scream 4 were two of the best characters in each respective project. And I'm looking forward to what else she does with Juliette Barnes (even if she is a main source of the show's soap). As for Connie Britton? I think we all already know how I feel about her and she is in top form as Rayna James.

Against all odds and expectation, I am thoroughly enjoying Nashville. However, it is currently walking the fine line between a genuinely good show and a soapy one. And I have a feeling they are going to one day fully embrace their camp. I will be very disappointed when that happens, but until then, I am considering Nashville my favorite new show this fall. On the other hand, I've made false assumptions about this show in the past, so hey...what do I really know?

A Long Post About: Glee

Oh Glee, where do I begin?

I watched Glee from the start. I watched a strong yet uneven first season. I stuck with it through its struggling second and even through most of its underperforming third. Along the way, the pattern of Glee had been revealed to us all. It gets ridiculous and hilariously campy--sometimes in a great way...but usually in a grating way--with overly produced pop songs, dance numbers, and sporadic theme episodes. But more often then not, it took the show a few too many steps too far. They would take it to the extreme, going off the rails in zaniness, character inconsistency, and jumbled plot lines. The majority of episodes were examples of writers biting off more then they could chew: telling too many stories at once while desperately trying to remain funny, fresh, and quirky. Even the breakout stars of Sue Sylvester and Brittany became tired caricatures.

However, among the jumbled mess of pop songs, wasted talent, and airborne slushies, Glee would turn out a couple of impressive performances, thrilling dance numbers, realistic story lines, and moments of such perfect poignant emotion that they brought tears to my eyes. And whenever an episode like that came along, it restored my faith in the show and its talented cast. It kept me watching through the grating nonsense because every now and then, it promised greatness. I could rattle off a list of performances I loved and regularly rewatched (from "Defying Gravity" to "Teenage Dream" and back). And I absolutely admire how the show has portrayed bullying, homophobia, physical and mental disabilities, unconventional beauty, teen pregnancy, and underprivileged youth. However, those moments were becoming few, flat, and flaccid as the seasons continued...and I was slowly getting too fed up to care.

Then, in the third season there was one particular episode that was the final straw for me. It started with a suicide attempt (a promising hint of raw emotion that Glee has presented so well in the past) but then quickly moved on to engagements, then regionals, and finally an absurd texting-and-driving cliffhanger. All within the same installment. Separate things that entire episodes once revolved around were all thrown together in cacophonous hour of television. And I realized that for three years, through all the awfulness, I was still defending this show, saying how good and sweet and heartfelt it could be. I was like a battered spouse defending her choices. But after that atrocious episode, I just couldn't take the abuse any longer. I swore off the show. I knew in the back of my mind that the things I once loved about Glee were likely to turn up. And it pained me to cut ties. But as weeks passed and the season wrapped up, I didn't miss it. At all. And I took comfort knowing that trusted sources would let me know when it was worth turning in for that one-off episode of promise.

And it just so happens that the fourth season's fourth episode was one of those times.

"The Break-Up" delivered on everything Glee has ever promised its audience. It perfectly captures growing up, leaving high school, disillusionment with life and relationships, betrayal, letting go, aimlessness, maturity, and heartbreak all with a restrained rawness that has been absent from the show for so long. All of this was paired with near perfect musical numbers (including an incredible, stripped down "Teenage Dream" reprise that in context shredded my heart to pieces). Acting skills have been honed and characters we followed for four seasons were given time to shine and sort through the experience of adolescent transition. A reason Glee can be great is its unique ability to capture certain growing pains that many other teen shows neglect. And "The Break-Up" offered them all, letting us focus and reflect without trying to juggle three other nonsense plot lines. Its an example of the show taking a time to pause, stretch, and flex before continuing forward.

Even though Glee loved living up to its name in being over-the-top-smiley™ in a cringy manic fashion, there has always been a darker tone to it. An inherent sadness that I frankly believe, when embraced, were the times the show has been its best. I accepted a long time ago (long before I stopped watching) that these moments are rare. I am by no means going to fall for the same old trick by tuning in weekly in hopes of glimpsing it again. But I'm not any less relieved and gleeful that they can still bring it on. This is what the show has always been. And for any casual viewer or hater, I highly recommend giving "The Break-Up" a go. It's a great hour of television and hits all the right notes in all the ways a great pop-song does. So watch it, maybe.

Homeland: "Beirut is Back"

SPOILER ALERT: This post is about the most recent episode of Homeland. Obviously, spoilers are sure to follow. Enter at your own risk.

Can we just work in reverse and talk about that ending real quick? I had a suspicion that what Saul was digging for may be the Brody video, but I also could not let myself believe the writers would play that card so soon. I wanted it to be the video, but oftentimes shows like Homeland prefer a slow burn of twists and turns. So I was expecting a fake out similar to the Abu Nazir assassination attempt five minutes earlier. But instead I got exactly what I wanted at the same precise moment I realized I wanted it. And its an example of what makes the show so good. Here is one thing I love about Homeland, the writers know exactly when to follow through. What happened at the end of this episode easily could have been the season finale of a lesser show. But instead, the writers decided to throw us this curve ball early on. And we know its going to shape the entire rest of the season. Whether for good or bad, we cannot say.

To put that ending in perspective, lets look at the whole episode. Carrie is still clearly recovering from the Brodie debacle of last season. She even says so herself whilst on the brink of a serious psychotic episode (and possible withdrawal). She's so used to following her gut and being right. And the fact that she could be so incredibly wrong about something she felt so sure about is leading her to question not only her abilities as a professional, but the very fiber of who she is. This is something we all expect Carrie to deal with for quite some time. The scene on the roof was so strong, we could easily see multiple episodes ahead of Carrie still dealing with the fallout. Instead we have her redemption handed over to us within the same hour of television. Its not only satisfying, but incredibly bold. This show has been impressing me nonstop since its debut and this is a perfect example of what made season one award worthy television.

In terms of the Abu Nazir operation, everyone expected him to get away. Once capture was no longer an option, I am pretty sure every viewer was confident in expecting Nazir to elude the ops mission. Because we all know there's more for him to bring to the show. He is what all the main characters have in common, giving each of them a separate purpose. So clearly there was going to be a near miss and a fake out. It wasn't any less satisfying when it happened, but it was definitely expected and formulaic. The Nazir appearance validated Carrie and strengthened Brody's loyalty. Having served its purpose, Nazir was quickly escorted out of the viewer's mind.

Now consider the end of the episode again. Here another fake out was sure to occur. We all think we know what is on that hidden chip. At least we all know what we were hoping for. But there's just no way that the Brody video would pop up so soon. More has to play out before a bomb like that goes off, right? Especially not after we just heard Carrie Mathison admit her self doubt and most significant professional misstep. A main character's redemption just doesn't come that easy. But instead we were given exactly what we wanted. And we were faked out of a fake out. The writers are jerking us around and its amazingly satisfying.

The tape being introduced so early is definitely going to shape most of the season. Whether its simply used as an excuse to give Carrie her job back, or if Saul chooses to sit on the tape, or if the CIA actually acknowledges this video as credible evidence worth investigating, anything that happens is going to be an interesting ride. At the very least we know Carrie will probably be back with her old swagger. She can start trusting herself again. And that is definitely something I am looking forward to.

Homeland: Season Two

This is basically a quick post to express my excitement that Homeland's second season starts tomorrow. I may have just ripped the Emmys to shreds, but that was in terms of comedy. In drama, they often get it right. In my opinion, Claire Danes won that award a year ago in the season's penultimate episode. Her performance was so powerful that before the episode even ended I knew it was hers. And if that episode belonged to Danes, the finale belonged to Damian Lewis, no question.

The fact that Homeland won best drama and best writing is also very much deserved. I was pleasantly surprised by both wins. I was honestly expecting either Mad Men or Breaking Bad to take home an Emmy in either respective category (as well as Bryan Cranston or Jon Hamm for acting), but Homeland also earned recognition. It deserves to be held to the same standard and it very much belongs in the same breath. Since it aired, I've been talking about this show to anyone who will listen. So its nice to be validated.

And I'm so glad it won for its first season. I'm honestly not sure if they can keep the quality up further down the road, so I'm pleased it nabbed an award when it could. Some part of me wished it was a one season show that ended slightly differently than it did. (Especially because the show runners, who previously worked on 24, aren't necessarily the best at long-term suspense.) But any doubts I had were quickly forgotten when I saw the season two trailer. So lets get pumped, people!

The Emmy's Comedy Problem

I realize the Emmys were six days ago. And I realize that awards don't really matter (although, to paraphrase Ron Swanson, it would be pretty swell if they went to the right people). But there are some things I just need to get out of my system.

The Emmys have a huge, unbelievably awful comedy blindspot. There are dozens of hilarious, clever, quirky, heartwarming shows out there. We are at an unprecedented level of quality comedy. Yet many of them are not getting the recognition they deserve. Listen, I am infinitely glad Louis CK was awarded for his work on Louie. That show is amazing. Every episode is its own indie short film of amazingly well-crafted dark comedy. And he has some stellar guest stars to boot. I'm equally as glad that Girls was nominated in various categories. Same goes for many other shows and performances. Those are things the Emmys got right. But this Modern Family business has got to stop.

Yes, Modern Family is a funny show. It regularly gets laughs out of me. It is its own brand of layered humor, and never feels the need to condescend. And I'm so glad that it is a good show that families can enjoy together. It's better than a lot of other sitcoms out there. But in the wide spectrum of quality comedy, it falls somewhere in the middle. There are shows so far beyond Modern Family. We are now entering the show's fourth season. And I honestly can't name a single character that has developed whatsoever. Normally this would be an overly critical and elitist comment to make about a network comedy. But when I can rattle off a list of programs that believably develop their characters/plot while still making me laugh so hard I cry (or just make me cry in general), then that critique doesn't seem so harsh. Heck, even Friends had better character/plot development while still remaining funny and heartfelt. And that is what makes a show like Friends a classic.

The people voting at the Emmy's are really missing out on some quality humor out there. And amazing performances as well. Even Julia Louis-Dreyfus winning best actress for Veep (on which she is amazing and hilarious, don't get me wrong) felt like voters gave it to her because of her name and body of work rather than the performance itself. I adore JLD, especially on Veep. And I'm not upset she won. But that Emmy belonged to Amy Poehler and to argue otherwise is a real shame.

Basically filling up an entire supporting category with actors from Modern Family, year after year, is just plain excessive. This year there was amazing supporting work done by Danny Pudi, Donald Glover, Nick Offerman, Adam Driver, Damon Wayans, Jr, Gary Walsh, and yes Max Greenfield and Bill Hader. All performances that could garner a nomination without backlash or disappointment. These people and the shows they work on deserve to be recognized so much more than the stale and stagnant Modern Family.

Modern Family's past Emmy's, particularly for its first season, were well deserved. But now it's just getting ridiculous. This show has gotten enough validation. Lets give another comedy and its cast the attention it deserves. Not that the Emmys, or really any award ceremony, matters very much. But please. I'm begging you.

Last Resort

I have mixed feelings regarding the pilot episode of ABC's Last Resort (cleverly entitled "Captain" rather than "Pilot).

I felt the episode itself was awfully paced, constantly throwing information at the viewer at breakneck speed. I understand the urgency in trying to set up a plot as tightly knotted as this into approximately 45 minutes (not to mention the network pressure to attain viewers and ratings), but I felt I had almost no time to absorb one thing before moving on to the next. I repeatedly had to shake my head and process information as more was thrown at me...and not in a good way. I don't mind working for my entertainment. I prefer taking a bite out of a smart, challenging program. But if that bite is underripe, it takes you out of the moment. It leaves a sour taste in your mouth. And you are going to question whether it is worth continuing or not.

That being said, I find myself admiring this pilot episode. Its felt as if the writers had so many ideas that they couldn't contain themselves. The ambition and set-up is enough to get a viewer excited. You understand the stakes and how they not only affect the main characters, but also the entire world in which the show exists. That is awfully hard to do well in under an hour. The attempt alone is admirable and exhilarating.

In terms of a general impression, I couldn't help but compare the show to Battlestar Galactica. For anyone who has seen BSG, this is a natural comparison to make. Genre aside, the two shows are cut from the same cloth. However, BSG did it with so much more confidence, grace, and restraint that Last Resort's effort seems cheap in comparison. But as the episode continued, I also found myself thinking of shows like Lost, Alias, 24, and even Homeland. And any pilot that can do THAT is definitely worth my time. I don't care if I have a sour taste in my mouth because I'm pretty sure I've tasted something like this before. And I'm pretty sure it has traces of awesome in it.

Ideally, I would have liked the episode to be longer only so we could have built more tension and suspense throughout. Because the potential here deserved a much more confident and nuanced coming-out. I'd hate to see it dumbed down (which is a very real, unfortunate, and likely possibility for a network program). I just hope they take a moment to breathe and gather themselves before trekking forward. I'd love to see this show do well. I'd love to see where it leads. And I'd also love to see them lose the cheesy action-staple cliches...because this could be a legitimate smart show about militarism, politics, strategy, and humanity.

Its probably the best new drama pilot I've seen on network television in quite some time (since Lone Star at least). For what its worth, I'm personally giving it another shot. And I'm looking forward to it.

Tabula Rasa

I have been trying to motivate myself to blog for quite some time now. There was always some new excuse.
That my computer was too old.
(But I bought a new one a year ago).
That I could not think of a proper blog title.
(Still cannot think of one, but these things aren't set in stone).
That no one cares about my opinions on television, film, or the like.
(Probably true).
That the timing wasn't right.
(This happens to be Emmy weekend).
That I have absolutely no qualifications to be offering my thoughts on media.
(Aside from my media degree....and the ton of television/movies I watch).

But then I got sick of holding myself back. Forget my insecurities. Forget whether anyone even cares or not. I'm really doing it for myself anyway (although readers/commenters would be greatly appreciated).

Basically, I don't want to regret never doing it, trying it out, seeing what develops, seeing if I even keep up with it. I am tired of telling people that "I want to start blogging" and then never following through (its like that tattoo I've been talking about for years). Eventually you have to bite the bullet and just do it.

And they say the hardest part is getting started. Staring at a blank page, agonizing over that first sentence, is daunting. Getting the train of thought to pull out of the station is slow-going. But once you gain some speed and start chugging along, you will get to where you want to be.

So please excuse this rambling post. It's really just me blowing the whistle and pulling out of the station. This train has been delayed long enough.