30 Rock: Back to the Start

We have a LOT of significant series coming to an end this year: 30 Rock, The Office, and Breaking Bad to name three. And tonight, in about 90 minutes from now, we will get a taste of our first: 30 Rock will airs its final episode. And as long as I've been a fan of television, I (oddly) have also always been a fan of series finales. So many amazing finales pop into mind. When I think back on classic shows it is often moments in the last episodes that I remember best. Most people will typically say they hate endings, they hate saying goodbye, and that they avoid such situations. (I even have a friend, an avid Lost fan, who put off watching the final episode for a year and a half.) But for some reason that's not me. I always look forward to a good ending, a cathartic conclusion, and an emotional satisfaction with the story/characters. And thats especially true of such a monumental show like 30 Rock.

But before going into tonight's finale, I took it upon myself to rewatch the show's pilot episode (which I honestly don't think I've seen in years...possibly even since it aired). And what I took away was how much this show has changed. Its voice, its focus, the characters, their appearances, and most of all, its comedic tone, were all DRASTICALLY different at the start than where we are today. And this is neither good nor bad. While many of the relationships have developed, and characters have grown, and careers/lives have progressed, that is generally a fair expectation of a critically acclaimed show seven seasons in. And yes, humor often changes as well: just compare early Friends to late Friends. But for a show like 30 Rock, with such a distinct and unique zanyiness it calls its own, I found the more subdued pilot incredibly fascinating. That, and the drastic changes in character (Tracy: skinny, charismatic, and even sly; Jenna: smarter, more together, and easier to accept as Liz Lemon's best friend; etc), were the major takeaways I took from the rewatch. But I'm so glad I got another quick glimpse of the beginning right before experiencing the end.

I absolutely adore the 30 Rock we have today (even if its for only about an hour more). And while I prepare for tonight's farewell, I have been reflecting back on the show's run. It really was such a clever show that bravely addressed race, gender, politics, and comedy without actually even trying to. Besides its quirk, that is what I admire most about the show. And while I'm very sad to see such a comedic milestone come to a close, thats not to say I'm not looking forward to a genius and poignant finale. So lets go to there, people. Because there ain't no party like a Liz Lemon party and a Liz Lemon party is...ending.

The Office: "Customer Loyalty"

So I was trying to get this post out all weekend. But for some reason I was finding it hard to articulate it in a way that made it sound worthy of a post. Then I realized I was making a mountain out of a molehill all over a quick minute of television. And every post doesn't need to be a dang essay.

Anyway, now to the point.

This is the ninth and final season of The Office, a show that has definitely dropped in quality over the years, but which remained one of my favorites out of habit and sentimentality. Its heyday is long past, but at its best it was hilarious and heartfelt, yet cringy and conventional. It was somehow standard and specific at the same time. When Steve Carrell left, the show lost its way a bit, but it still made me laugh (and what more could I ask from a comedy?). I accepted the fact that the story was going forward without Michael Scott (a decision I personally wasn't jazzed about) and that it was probably going to stumble along the way. But I stuck with it, and I'm glad I did because it somehow managed to reveal glimpses of former hilarity and heart. This ensemble is so in tune and professional, it remains hard to resist their charisma and comic relief. I'm glad the show has finally accepted it's time to leave, and I'm even more glad they are tying things up and pushing the story forward.

One thing I always loved about The Office was its acceptance that relationships grow, people change, careers progress, employees have secrets and interests and dreams, and that its okay to just let characters find each other and be together. Most shows would have dragged Jim/Pam out so much longer than The Office did. Greg Daniels isn't afraid to let relationships progress in relatable, natural ways. He still finds ways for there to be stakes and to keep things funny and fresh. This is something I've always admired about The Office (as well as Greg Daniels and Michael Schur's other amazing sitcom, Parks and Recreation).

However, for the past couple of seasons I've been fleetingly craving something else from The Office. For this documentary crew, through which we witness the weekly happenings of Dunder Mifflin, to become more involved with the goings on of these characters. I just felt that a crossover was bound to happen. I knew the writers were perfectly capable of it, and I was surprised they didn't do more with it. Yes there were references and creative flourishes now and again...but I honestly thought it was a missed opportunity that we at least didn't get an intoxicated Meredith propositioning a camera man (straight into the camera and unsettling viewers at home would have been perfect), or Kelly crushing on a sound-guy, or Ryan the egomaniac constantly blogging/tweeting about the crew. So upon this final season's premiere episode, I was very glad to see Jim and Pam talk to someone off camera, asking why the crew was still filming after all these years, only to actually hear a voice respond: telling them they wanted to see where Jim and Pam Halpert ended up, of course.

And then this past Thursday's episode happened. I feel like seasons and seasons have been leading up to the last five minutes of "Customer Loyalty" in which a raw and emotional fight between Pam and Jim led to a devastated Pam looking to the familiar faces behind the cameras for comfort and advice. And she actually received a sympathetic hug from a boom operator named Brian, who put down his equipment and got the cameras to turn away. They broke the fourth wall in those last five minutes and it was pretty riveting-- especially for a comedy that has "lost its way." It was emotional in way The Office has always done so well. We've known Jim and Pam for nine years, we've seen their friendship lead to love and marriage and family. We know them. And seeing that fight was actually really hard to watch (a true testament to both the actors, I have to say). That alone was story-telling I responded to. And then the show actually did something I thought they would have done long ago for a gag. But they pulled it out in a very tense moment instead. And I'm glad they chose such a dramatic and vulnerable moment to do it...to make it important, to spin the show on its head and actually shake things up a bit before bowing out in May.

Who knows where we go from here. Who knows how big of a part Brian and his crew will play going forward. Some people weren't a fan of this reveal. But I have to say, I'm truly excited to see what Greg Daniels-- who returned for this final season-- does now that this card is in play. I for one am excited about The Office in a way I haven't been in years, and truly intrigued by what they do with their final twelve episodes.

A Blogged History of D's Relationship with GIRLS

I know. Enough already. I'm sick of hearing it. You're sick of hearing it. But upon last night's Golden Globe awards, and the season two premiere of Lena Dunham's brain child, now is as good a time as any to get some things out there.

As I mentioned in my "Top Ten of 2012" list, I personally connect to Girls. It's one of my favorite shows and I relate on many levels. I am the same age as the characters. I have had similar life experiences and I know these people on this show. And I happen to have been born and raised in New York. So it goes without saying that I have been defending Girls for quite some time. But I wasn't always on its side. The pilot episode left me defensive and annoyed. I had a lot of conflicting thoughts and emotions about entitlement, whether I liked Dunham's character Hannah, whether she was defensible or awful or sympathetic or delusional or, more likely, everything at once. I actually posted my immediate thoughts on my tumblr...and its pretty clear I started off a bit of a hesitant fan (ugh I can't believe I just linked to my tumblr). But I came around. And I came to the conclusion that I couldn't dislike Hannah for being more fortunate than I am. Because if my parents ever afforded me the opportunities Hannah has, to live in Brooklyn post-college and intern (or go to grad school) and follow my dreams and live my life with my closest friends, I would have done it in a heartbeat. Yes, Hannah is insufferable a lot of the time. That's who she is off the bat. She's a privileged middle-class white girl in her twenties. What do you expect? Thats the point of her character. And I genuinely love how conflicted I was--and still am--about just one episode of television. Especially a pilot episode with a blank slate. You have to admit that's pretty damn impressive.

Being the same age as Hannah and her crew, and seeing what Dunham has accomplished, I am left beyond impressed--even if her parent's and nepotism helped her along the way. She was so sure of what she wanted to do and she used her station in life to achieve it. And she does it well. I'm sure there are plenty of people our age who tried following their dreams, who had parents with connections and enough money to support them, but who never got off the ground due to laziness or lack of talent. But Dunham somehow made it work. I am an underemployed twenty-something living at home. I work a nine-to-five job, come home, roll my eyes at my parents, get jealous of the care-freeness of my 19-year-old sister's age, sit on the internet for hours, visit some social media sites and the like, and, if I'm feeling up to it, maybe right a blog post of my own for a blog that no one even reads (but me and possibly you...thank you, by the way). Meanwhile, Dunham spends all day doing things I WISH I could. And she manages to do it provocatively and compellingly. She writes whole episodes of television, directs her friends and herself in these episodes, and tells a cohesive, amusing story with well drawn characters. AND SHE'S MY AGE. I think about what I do in general, even things I guess I do well, and its nothing compared to this. I watch this show and its still crazy to me whenever I realize that Dunham is my peer.

Now I'm not idolizing Dunham. I often have similar reactions when I think about what actresses like Emma Stone or Elizabeth Olsen or Dakota Fanning have accomplished. (The difference is that these actresses dont have complete control over their projects. They're artists but they're not creators). Essentially, the whole point of the previous paragraph is that I don't think we can hold it against Dunham that she's living the dream and doing it well and so openly. She lets her insecurities out for the world to see and is genuinely sincere when people respond to it. And it just really grinds my gears when I see so many people harshly hating on her, and the cast, for this show. Because any of us would love to do what she does. And I could only assume I'd do it maybe half as well.

My personal feelings and defenses aside, the quality of Girls itself and what it's trying to say should also be addressed. It's only fair. And to begin with, I am sick and tired of all the vitriol Hannah & Co. get. Yes Hannah does dumb, grating, selfish, immature, bonehead, irresponsible things. But so does Claire Danes on Homeland, and Mindy Kaling on The Mindy Project, and Edie Falco on Nurse Jackie, and Kat Dennings on 2 Broke Girls, and Krysten Ritter on Don't Trust the B---- in Apartment 23, and....you get the point. I just don't understand why Girls gets all the hate and controversy. Because it's a braver show? Because its characters and situations are relatable? Because the humor isn't cruel? Because she's not bipolar and chasing terrorists? God forbid TV (well technically it's not TV, it's HBO) presents us with three-dimensional characters. With human beings who are young and unsure of themselves. Who make mistakes and who are still searching--like so many of us currently are or have in our past. So...enough already. Back off this girl and her show. I'm sick and tired of this trendy opinion of disgust and dislike. Why does it have to be black and white, love versus hate of this character? It's the dumbest most unnecessary extreme I've come across in quite some time. Just admit that you are conflicted about Hannah and Dunham alike. And unsure of whether you like her, love her, or hate her. There's room for more than one emotion here. Thats what you fill the gray areas in with. And thats what good writing does. It was okay to admit it about Tony Soprano and Walter White and Don Draper, but why not Hannah? Is it her lack of Y chromosomes (you sexist!)? Is it that she's middle class (like the male antiheroes I just listed)? Or that she's white (ditto)? I just don't get it. We allowed ourselves to feel conflicted about Joan Holloway this past season of Mad Men. And about Skyler White over the course of Breaking Bad (which is another character that gets way more hate than she deserves). What makes Girls different? Is it unworthy of nuance, reflection, and critique? The only conclusion I can come to is that certain websites have made it trendy to have a negative opinion. Its easier to let the cynicism from such snarky sites sway your perspective rather than watch the show with an open mind. And its getting ridiculous.

That being said, Girls is clearly not the best comedy on all of television this past year, as the Golden Globes deemed last night. However, in that particular Golden Globe category, it actually was the best. The Golden Globes seem to make television award decisions based on buzz, celebrity, and trends. And lets be real, that has been Girls this past year. And if you're sick of seeing such an undeserving, awful, indefensible female and the show she created (and writes, directs, and manages to star in) win in the future, then try shutting up about it already. And while I admit that Girls deserves writing and directing recognition, it didn't necessarily warrant acting. As much as Dunham pushes herself, there were other actress more deserving. But it's still better than most things on TV. Personal feelings aside, as a television show, it's a damn good show. I just wish other's were more willing to see it. And at least appreciate how refreshing it was to see a show other than Modern Family win something.

And lastly, if I could go off on a tangent real quick, can we just acknowledge how awesome it was seeing so many great young actresses take home trophy's last night? And I'm including Jodie Foster in this. How great and emotional were all their speeches? So good! And how amazing were the hosts Tina Fey and Amy Poehler? Hilariously amazing! And how surprised were you to see Hillary Clinton's husband? So surprised! Good for the women. And good for the Golden Globes for mostly getting it right this year (minus Les Misérables and Don Cheadle....and perhaps Lena Dunham...but I'll get to that later...)

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.