House of David 2010

An Appreciation of Christopher Nolan

2011-03-16T20:35:00.000-07:00

There have been some very good directors emerging in the cinema with the coming of the new millennium, but only two directors whose work I most eagerly anticipate have emerged as exceptional. Jason Reitman and Christopher Nolan. Reitman is one of the most talented comic directors, but two of his three films have been adaptations (albeit brilliant ones) of other novels. Nolan, therefore, has a secure place as the most original filmmaker of the last decade.

So when this years Academy Award nominations were released, and Nolan's Inception received eight nominations, but none for best director, one can not help but think that Nolan is being unfairly regarded by the film industry, much in the same way that Steven Spielberg was disregarded early on in his career. To understand why the Oscars have been remarkably unfair to Nolan, one must consider his body of work, and see that there is some prejudice.

Nolan first came to the attention of the film world with his 2001 film noir Memento, a very small independent movie that deeply split the film industry: while most critics acknowledged that it's method of storytelling was ground-breaking, some, like Roger Ebert and Leonard Maltin, were very hostile to it. Considering that this was one of the most complexly layered films--- one that reads just as well backwards as forwards--- one can understand why some people didn't get it. And because it opened in January of 2001, by the time Oscar nominations came around, it was clear that Leonard Shelby wasn't the only person in that world who had really problems with their short-term memory. (The Independent Spirits had an easier time, and awarded it Best Picture, Best Director, Best Screenplay and Best Supporting Actress. ) It remains one of my favorite films of the last ten years, and set the tone for the challenges that Nolan was willing to take.

His next film was Insomnia, a remake of a Norwegian mystery. If Memento demonstrated how good a craftsman Nolan was, this film showed how good he was at getting performances out of actors. Al Pacino gives a masterful performance as a New York City cop trying to solve a murder in Alaska, while suffering from the complete inability to sleep. By the end of the film, he's teetering on the brink of exhaustion, and can barely keep up with the killer he's trying to catch. The film also demonstrated once again how wonderful an actor Robin Williams can be when he's underplaying everything, and the first real proof that Hilary Swank's work in Boys Don't Cry had not been a fluke. A well made thriller is a thing of beauty, and this was a near gem.

After choosing such fine films to start his career in Hollywood, one might be able to see the path that Nolan's career might take, which may have been the reason that so many people were appalled that Nolan's next project was to take over the Batman franchise. One that Tim Burton, a director whose talents who have seemed perfectly suited for, had tried to master and failed creatively. Further efforts to try and carry on with the project had led to the film sinking further and further into camp. Which is why a lot of people--- myself included--- were so astonished when Batman Begins came out.

The reason it succeeded was because Nolan used his individual gifts to make the film work. Rebooting the entire series was a good idea, but given the direction the last two films had been in, anything would have been an improvement. What made this film work was that for the first time Nolan explored the psychology of Bruce Wayne. By now, everybody and his mother knew why Wayne was driven towards this --- the murder of his parents. But this time the event was given breadth and depth, and one could get the idea of loss. The movie also did something it's predecessor had almost completely ignored--- they made Bruce less of an island. Burton's Wayne is almost isolated from the world, Schumacher's is more convivial but the relationships are more rivalry than they are anything else. Here, Alfred the butler is given far more depth and access. Jim Gordon, just a sergeant in this movie, seems to be the last bastion of decency in a corrupt Gotham police. And Lucius Fox, basically ignored, is shown to be the brains behind all of the gadgets and toys that will eventually come to be Batman's stock and trade. Of course, it helped matters immensely that Nolan had cast Michael Caine, Gary Oldman, and Morgan Freeman in these roles ---- none of those people are actors that you can ignore, and they seem to fit perfectly into the film.

Also, we get the feeling that everything is being done by steps. The Batcave is an actual cave. The Batmobile looks more primitive than the humming vehicle that will become his trademark. Bruce is clumsy as he does his first acts as the Bat. The eventual Batsignal looks foggy and out of focus.

And you can't have a good comic book without villains, but here Nolan was especially cagey. Knowing that all of the canon villains had been used in the previous movies, he chose to put to the front and center characters who were a lot smaller tier than some of the others, and perfectly cast them. Liam Neeson as Ras Al'Ghul, the man who basically gives Bruce his start as a hero, shows himself to be as ruthless and merciless, even though many of his aims are similar to that of Wayne's. Cillian Murphy is also very impressive as Jonathan Crane, the doctor who runs Arkham Asylum, and who takes on the alter ego of Scarecrow by the movies end. (Even here, there is a sign of primitive-- the mask Crane uses seems like it could fall apart at any moment.) By the move's end when the hints of what was coming in the last ten minutes, one could look forward to the franchise as one with a future, and left filmgoers breathless with anticipation.

To call The Dark Knight the best comic book movie ever made, or even the best sequel ever made, would seem to be damning with faint praise --- how much effort would it take to make a better movie than Superman Returns or Daredevil? It might even be considered one of the best films of the decade, and while that might be a little extreme, let's examine the evidence.

Separating the film from the work of Heath Ledger as the Joker is impossible to do. We will never know if Ledger would have received the same critical praise (or his posthumous Academy Award) that he did had he not died six months prior to the films release. But it is one of the most memorable and haunting portrayals of any villain anywhere. Like everyone else in the series, the Joker appears to be in his earliest part of his career--- his makeup seems and clothing seems in its initial stages. But there is an incredibly disturbed mind behind that mask, one who seems to have seen the darkest parts of the human race, and, unlike Bruce Wayne, seems determined to bring it out to fruition. The diabolical plans he makes are so ingenious. He doesn't want money or credit or even to destroy; he seems determined to creating a new kind of archetype--- the epitome of evil. It's a great shame that we will never see him in another movie, yet it is a great credit to Nolan in not trying to dilute the character with any other kind of performer.

Yet Ledger is not the whole movie. Aaron Eckhart may go down in history as one of the most undervalued actors of this generation, and this film is a prime example of his bad luck; had Ledger not so dominated the film, Eckhart almost certainly would have received an Oscar nod as well. The moment we hear the name of Harvey Dent, even the most casual follower of the Batman franchise knows that he is doomed. It is a credit both to Nolan and Eckhart that they were able to take Dent's fate, and give it one of Greek tragedy It is clear that Dent could have been the savior of Gotham, that he recognizes that there is hope in the city. Yet before his fall, we see the potential for evil in him, and even though it takes truly horrifying events, we know it wouldn't have taken much to bring out Harvey's evil side. There was a certain amount of ambiguity regarding his character's ultimate fate; I hope that somehow Nolan finds a way to bring Eckhart out again.

The movie featured so many virtuoso sequences --- Joker's chasing of Dent as he is transported by a police escort may have been the most brilliant action sequence I've ever seen--- yet it also raised great moral questions that other so called 'adult' movies wouldn't even dare to touch. The fact that Bruce Wayne is, at his core, not that different in how he wants to fight evil in the same way that the Joker wants to bring it out, is illustrated in a way that is frightening, and some of the questions of what happens have relevance to issues about how we fight the lesser angels of our natures. The fact that this film was not considered worthy of a Best Picture nod and The Curious Case of Benjamin Button was is yet another reason that the Oscars are still not capable of recognizing intelligent blockbusters when they see them. Hopefully, when the third film in the series comes out, they might be inclined to see things differently.

Which brings us to Inception. I may have a very difficult time convincing my family and some of my friends that it was as brilliant as everyone said it was. And I will admit that the plot had several intricacies that may not have held water. But so much of the film was well executed that I think it deserves higher praise than it got.

I believe sincerely that one of the duties of the film as a medium is to take us to stunning new places both visually and emotionally. A lot of films that try to do so never get the recognition they quite deserve ---- Dark City and Minority Report are two of the most obvious examples of this work. Inception tried to take us inside the subconscious, and deal with some of the most stunning visual ways that only very great cinema can. The chase sequences, the constant spinning of the camera the deeper into the subconscious one went, the way that each level of the dream within a dream seemed to be having an effect on the other. These were the coming together of so many brilliant technical aspects--- cinematography, editing, visual and sound effects--- yet all of this had to come out of Nolan's ideas.

Nolan also has the gift to reach inside the interior of great performers and get work you wouldn't expect from them. Leonardo DiCaprio never quite gelled with his work with Titanic but while working with filmmakers as gifted as Scorcese, Edward Zwick and Samuel Mendes, he taps into a deeper well and brings out a hidden reservoir of pain. Nolan managed to elicit a fine work out of him, and I think he never got the credit for it he deserved. He also demonstrated the talents of Ellen Page, Joseph Gordon-Levitt and Tom Hardy in their first mega-blockbuster, and that they, unlike so many so called big things, might actually have a deserved future outside the Independent film world.

Many blockbuster films are ethereal things--- they look brilliant and seem good when you're in the theater, but once you're outside it, you can't remember a single lasting image from it. Inception was the rare hit that not only benefited but almost begged for repeat viewings, not merely because the visuals were so stunning, but because looking at things from a certain perspective, there might be whole other ways to look at it. And considering that ninety percent (I'm probably being generous with this figure) of summer films are manufactured so that they don't tax your brain, to develop one that was stimulating and raised questions--- Nolan deserved a prize just for that. Nolan deserved a Best Director nod, and while I found the five films that were nominated were worthy, I can't help but think that the Coen brothers or David O. Russell would have been all right without being recognized if Nolan had been.

It is rare that a filmmaker can created a masterpiece with a million dollar budget; nearly as hard to do with a hundred million dollars. The fact that Nolan has demonstrated the capability of being able to do both shows that he may be the most dazzling talent to come out of Hollywood since Francis Ford Coppola. We know what his next film is going to be, but after that, I don't know which way he'll go. I only know that I can't wait to see it, and that is the mark of a true artist.

A Last Bit of Love

2011-01-20T21:34:00.000-08:00

Rare is the HBO program that is given its proper amount of due.. They are either showered with praise and award nominations despite their lack of quality, are hailed quickly, and then ignored for the majority of its run, or are truly awful, yet linger on forever. Yet, in its own quiet way, Big Love is the prototype of an HBO drama, perhaps the networks most well performed and produced show since Deadwood.

Despite the fact that at its center is one of the more humble protagonists, Bill Hendrickson, played by the closest thing to an everyman HBO has produced, Big Love has been all about the women. Jeanne Tripplehorn, Chloe Sevigny, Ginnifer Goodwin --- three superb actresses who never got the Hollywood stardom they deserved, are each in their own way as pitch perfect as, respectively, the affectionate Barb, the prickly and repressed Nikki, and the overly emotional Margie. Amanda Seyfried's Sarah, Bill's oldest child and the series breakout star, the one desperately wanting to escape entangling web that this polygamist life is hurting. Grace Zabriskie, Bill's mother, Lois wizened and seemed nearly ancient, whose criminal manipulations and fights with husband Frank, have become legendary. And Eileen, played by Mary Kay Place, initially seen as the power behind Juniper Creek, where the true horrors seemed to be, but who has begun to fall apart as her power has diminished.

Most times, I have managed to find myself attracted to HBO dramas, because of the strength of the writing or the power of the setting, but my relationship with Big Love has been more uncertain than it was with The Wire or Deadwood, and part of this may be due to my inability to agree with the problem. I have less of a problem with the setting of a polygamous family and its challenges, even though I find some of their ideas barbarous. But ever since the middle of Season 2, I have begun to feel that Bill has been, willfully or not, leading his family down a dangerous path.

\It started when he convinced his family, against their better wishes, to buy into a slot machine company, in order to protect their income. This was the first time the plural marriage seemed like less of a democracy than it had been. Then he became romantically attached to Ana, a Russian waitress. First, he lied about being married, then he lied to his family about this relationship. Ana became a piece of contention in Season 2, Barb didn't want another wife, Nikki and Margene did-- but not for the same reasons.. The signs of alarm were particularly deep for Barb, who learned her eldest wanted to become a polygamist.

In season 3, when a health scare came for Barb, she gave in and allowed the family to date Ana, which didn't make Ana happy. She eventually agreed to become the fourth Mrs. Hendrickson, but the conflict over grew so fast and developed such hostility that the marriage was over within a week. The cracks in the family started getting more visible, especially with Sarah and got worse when Bill seemed to find proof that plural marriage was part of Mormon doctrine. His beliefs led to estrangement from the rest of Barb's family, and her eventual excommunication. Bill's reaction was to form his own church. My first thoughts were This is how cults are formed.

In Season 4, Bill elected to run for the State Senate, with the idea of revealing his family's secret when he won. He did so, almost completely against the wishes of Barb and Margene, and had no problem being as ruthless as any politician, sacrificing his oldest friend and business partner, nearly severing his relationship with Ben, and nearly getting destroyed by a Washington lobbyist (Sissy Spacek, at the top of her game) Near the middle of the season, Ana remerged, pregnant with Bill's child, starting a new mess. This situation may have led to a final break between Bill and Barb, who tried to destroy Bill's campaign. Bill finally admitted that he saw that there was a darkness in him, and that only by coming into the light could he save himself -- once again, showing how self-centered

All through these seasons, I have been watching this show with growing dismay, feeling that some point, the writers have got to find a way to deal with the consequences of Bill's actions. Well, Sunday night, we got a first glance at what they might be, and they're worse than even Barb could imagine.

Bill and his family left home for a week hoping to escape the news cycle and the attention of the press. He clearly thought that might be the worst of it, showing a naiveté I wouldn't have thought. But Home Plus, the foundation of Bill's business, is falling apart, with people quitting in droves, and those who stay, very unhappy. His constituents are literally spitting in his face. And his hope for a future in politics is probably doomed from the start. In two short scenes, the new Speaker of the Utah legislature (played, as always, with considerable smarm, by Gregory Itzin tells Bill that his career in politics is likely to be both short and messy. And when Charles Logan tells you that your career in politics is in trouble, he knows from whence he speaks.

Things are going into meltdown for each of Bill's wives. Barb is going through the biggest emotional crisis, as she has begun to start drinking heavily. Margene, who in Season 4 came closer to financial independence than she ever had in her life, was terminated from her position under a morals clause. Nikki alone seems to be adjusting, but her overreaction to a little boy who attacks her son, is a sign she's not nearly as sanguine as she appears. She's also looking even more concerned about the health of her daughter.

Bill Hendrickson is, fundamentally, a good man. But he has misjudged the world if he thinks that they are ready for polygamy. He has placed a target on his families back, and it's probably going to explode even more than he and his family did near the end of the season premiere. The end may finally be coming (God knows there will be confrontations in the days to come) but it can only make a glorious noise before it does.

The Golden Globes, Part 1

2011-01-13T20:56:00.000-08:00

Technically speaking, the awards show season will begin with the Broadcast Critics on Friday night. But the first really show that everybody will be paying attention to will begin Sunday evening when the Hollywood Foreign Press honors the "best" in movies and television.

Now, as much I love these awards shows, the hype, the circus, et al, the choices that these critics make often leave me baffled, starting from their very arbitrary decision as to what is a comedy and what is a drama. I thought that Up in the Air was a lot closer to the former, but it was listed in the Drama's with The Hurt Locker and Precious. In 2002, after winning a Best Actor in a drama Globe for Alexander Payne's brilliant About Schmidt, even Jack Nicholson confessed to being baffled because "I thought we did a comedy." Of course, this was the same year Nicholas Nickleby got a Best Comedy nod, a distinction I'm pretty sure Dickens himself would dispute.

The clarity in TV is not much better. For one thing, the Globes have always tending to classify certain shows that our combinations of comedy and drama into the comedy category, but there's always a sense of being random here, too. Ally McBeal, Desperate Housewives and Ugly Betty have been ranked to the comedy category, even though the mixture of the two genres was uneven at best. Six Feet Under, on the other hand, ended up in the Drama category, though I've always felt that particular position was somewhat more precarious. This year Nurse Jackie and The Big C are in a similar position, though I'm inclined to say they weight a bit more towards the serious side.

And of course, there's that subtitle, 'best Musical' which the voters never had to worry about until Glee. This takes them off the hook from having to decide about it's comedy potential, but has already caused major uproar with those who write for shows like Modern Family or 30 Rock. I'm pretty sure this combination of bias is why Housewives and Ugly Betty never won Best Comedy at the Emmys, and why Glee lost last year. Considering the immense popularity of both shows, this doesn't seem like an issue that's going to be resolved soon--- unless the TV people feeling like adding some new categories.

I like the Globes, and they have a tradition of recognizing shows that didn't get the same appreciation in the community they just didn't get in the Emmys like Curb Your Enthusiasm and The Shield. They also recognized The Sopranos and Sex in the City years before the Emmys were willing to acknowledge them, but since I didn't much care for either show, I'll refrain from commenting. They'll also on occasion recognize a well done network show like Felicity, Once and Again, or 24. I'd like to say this means they're a lot less stodgy than those people at the other awards shows, but since they often refuse to acknowledge other highly qualified overlooked programs such as Buffy, Battlestar Galactica, Homicide or The Wire in favor of Nip/Tuck or Melrose Place, I'd say they're often more in love with appearances rather than quality. They're also not immune to the habit of recognizing the same show or actor over and over for no apparent reason. Sarah Jessica Parker won three Best Actress trophies, none of which I think she deserved. Mad Men's a great show, too, but it hasn't deserved to win the last season. (But that's a personal call, so I'll let that go for now.)

Usually, I have only a casual interest in who wins the films awards because, as I explained in an earlier post, I don't normally see most of the films until they come out on DVD. But this year, I saw several of the likely contenders , which probably makes me better up than some of the voters. However, to keep this post from going on interminably, I'll just list my posts for TV shows in this post, and deal with my film choices in one later on.

Best Drama: Always a difficult call, this time it's a lot tougher than usual, as there are several new contenders that could triumph. Mad Men could make it a four-peat, but this is still very close. For the moment, though, I'm going to give the edge to Boardwalk Empire. It's an HBO show, which the Globes like, and it's their finest offering since Big Love. However, just about any of the picks is a good one, which I normally can't say.

Best Actor, Drama: After three consecutive Emmy wins, Bryan Cranston finally got some recognition from the Globes for his superb work on AMC's Breaking Bad, which was otherwise shut out. Jon Hamm gave a superb performance in 'The Suitcase' episode of Mad Men, which could help. But I think this year the Globes will recognize Steve Buscemi for his performance on Boardwalk Empire. He's an acting veteran with over twenty years in the business, and the Hollywood Foreign Press loves to acknowledge a great actor.

Best Actress, Drama: Another very tough call. Elisabeth Moss deserves to win something for her work on Mad Men, and she'd get my vote for the Emmy. But I think that it' more likely that they will honor Juliana Marguiles for The Good Wife. Her work on this show was ignored by the Emmys, and even though she won last year, this time I think she deserves a second trophy

Best Musical or Comedy: Why they continue to nominate The Office is beyond me, but the other five choices are brilliant comedy. Basically, you have sitcoms and dramedys. With five nominations, Glee leads all contenders, usually a good sign, but Will & Grace perpetually got four nods and it didn't help them. I think Modern Family will win at the SAGS, but here is Glee is the veteran show. I think (and hope) it will repeat.

Best Actor, Comedy: Alec Baldwin's had a lock on this ever since 30 Rock premiered five years ago, so the big question is: can Jim Parsons in The Big Bang Theory, who beat him at last years Emmy's, break his stranglehold? I'd like to see Matthew Morrison for Glee triumph, cause his character does everything Baldwin does and sing and dance, but I'm betting that this time Parsons will emerge triumphant.

Best Actress, Comedy: And here the question is, which strong, powerful actress from a quirky Showtime dramedy will prevail. It could go to Edie Falco, who already has a couple of trophies for her work on tHE Sopranos. But I think that the show that is fresher in viewers minds will prevail, which is why I'm picking Laura Linney in The Big C.

Best Supporting Actor: Always tough to figure out which way the supporting categories will turn because they merge all three specialties. I've beefed about this before, though, so... Tough one to call, but I think it's going to come down to Chris Noth for The Good Wife vs. Glee's Chris Coifer, and Coifer has had more swinging for the fence moments on the show this year.

Best Supporting Actress: I was sure Jane Lynch was going to win last year in this exact category, but Chloe Sevigny for Big Love (who honestly should have gotten an Emmy nod) won. Now Lynch faces competition not only from Sofia Vegara on Modern Family, but the stunning Julia Stiles' work on Dexter. Man, this is the toughest call yet. I pick Sue Sylvester... by about an inch.
Stay tuned to this spot to see my picks for the movies.

Awards, awards, and more awards

2011-01-10T19:41:00.000-08:00

I like award shows a great deal. Mainly I find the nomination far more exciting than the actual awards. I also like the pre-award period, but I think that recently it has reached levels that surpass overkill. I remember an era when there were only four major critics organizations--- the National Board of Review, the Los Angeles Critics, the New York Film Critics, and the National Society of Film Critics. And that's not a long distant era--- that goes back to 2003.

Since then, it seems that expansion has come to this process, and, just like it did in professional sports, it has diluted the value of any awards. Now I can understand why Chicago, Boston, Detroit, Washington, and Florida have picked up awards, but Oklahoma? Indiana? Frigging Utah? A state which I would have been willing to bet had more electoral votes than it did film critics?

By my last count, and I may miss a few, there are twenty-five critical organizations giving awards before the Critic's Choice, Broadcast Film Critics, Hollywood Foreign Press and all the Guilds start giving their trophies, which are somehow considered more significant. But if this many groups are giving so many awards, how valuable is anything supposed to be considered? Do the writers of The King's Speech think their film will suddenly gain more clout because the Phoenix film critics named it Best Picture? Is that likely to help it at the box office? The Academy Awards is considered a political process, just like everything else in this world, but, just as the extensive primary season may have watered down the quality of political nominees, perhaps all of these minor awards have diminished an already very thin subject.

Does Natalie Portman make time for a trip to Texas because she has been named Best Actress by the Dallas, Houston, and Austin Film Critics? This actually raises a better question? Do all these groups have ceremonies? I know New York and LA did, but how far down the food chain do you have to go, before you're going to the San Diego Film critics awards to pick up a Best Supporting Actor trophy? Imagine how irritating this must be for Christian Bale, whose already won fifteen prizes, and the real awards haven't even begun to be delivered yet.

None of this is, of course, news. All throughout the Internet people have been ranting that this process and how this is a bigger deal for the organizations then any recipients.. But it does beg the question: if the performers don't care and the reviewers are indifferent... no, this is dangerous territory to get into. Soon, I'll be suggested that maybe they should get rid of awards all together, which is the complete opposite of what I actually feel about these awards.

There are website which keep records of these awards, and probably manage to catch some of the ones most people do. There are also ones that do it in a nice little chart with special graphics (I've visited one site, movie city news, btw.) So there's not going to be anything earth-shattering. But I like lists and I like awards, so for the next few days, I'm going to have listings of all the minor associations that have given out critics awards. When we get into the bigger deals (which is coming up pretty fast now) I'll actually list some of my own picks based more on what I've seen.

BEST PICTURE
There appears to be one film the critics really like: The Social Network. Up until now, it's one just about every prize imaginable. Not only New York, The National Board of Review and Los Angeles. So much so that it would be easier to list the ones it hasn't won.

127 Hours, Utah
Black Swan, Austin
Inception, North Texas, Central Ohio
The King's Speech, Phoenix
Winter's Bone, San Diego.
We'll see if its luck keeps holding when the major trophies start coming out Friday.

BEST DIRECTOR
David Fincher, The Social Network NBR, NY, LA, (tie) Utah, Chicago, Southeastern, Boston, Dallas

Darren Arronofsky: Black Swan: Austin, San Diego, San Francisco
Oliver Assayas, Carlos: LA (tie)
Danny Boyle, 127 Hours:Detroit
Christopher Nolan, Inception: Indiana, Kansas City, Utah, Phoenix, North Texas, Central Ohio

BEST ACTOR
Little more variety here
Jesse Eisenberg, The Social Network: NBR, Boston, Houston, Oklahoma, Toronto, National Society of Film Critics
Colin Farrell, Ondine (San Diego
Colin Firth, The King's Speech: LA, NY, SF, Austin, DC, St. Louis, Detroit, Chicago, Florida, Phoenix, Kansas City, North Texas, Online, AWFJ
James Franco, 127 Hours: New York Online Critics, Indiana, Dallas, Las Vegas, Utah, Central Ohio

BEST ACTRESS
Annette Bening, The Kids are All Right: New York, Women's Film Critics, AWFJ
Jennifer Lawrence, Winter's Bone: NBR (most promising newcomer) LA, DC, San Diego, Toronto, Detroit
Leslie Manville, Another year, (NBR, San Diego
Giovanna Mezzogino, Venice: National Society
Natalie Portman, Black Swan: Austin, Florida, Houston, St. Louis, Kansas City, Dallas, Boston, Phoenix, Oklahoma, Chicago, Southeastern, Indiana, Las Vegas, Utah, North Texas, Online
Michelle Williams, Blue Valentine: SF

BEST SUPPORTING ACTOR
Christian Bale, The Fighter: NBR, Boston, Las Vegas, Indiana, Chicago, Florida, Detroit, St. Louis, Houston, Austin, Dallas, Kansas City, Phoenix, Utah, AWFJ
John Hawkes, Winter's Bone: San Francisco. San Diego
Arnie Hammer, The Social Network: Toronto
Mark Ruffalo, The Kids Are All Right: New York
Geoffrey Rush, The King's Speech: LA, Southeastern, National Society, Central Ohio

BEST SUPPORTING ACTRESS
Amy Adams, The Fighter: Detroit, Las Vegas
Mila Kunis, Black Swan: Oklahoma
Melissa Leo, The Fighter: NYCO, NY, Florida, St. Louis, DC, Phoenix, Dallas, North Texas
Juliette Lewis, Conviction: Boston
Hailee Stanfield, True Grit: Southeastern, Kansas City, Austin, Houston, Indiana, Toronto, Chicago, Online, Central Ohio, AWFJ
Jacki Weaver, The Animal Kingdom, NBR, LA, San Francisco, Utah
Olivia Williams, The Ghost Writer, National Society

New Year, New Plans

2011-01-04T21:12:00.000-08:00

A new year, a different kind of resolution. For the past year, I've been mostly blogging about television because it's one of the subjects that I feel most comfortable with. I have mostly stayed away from the movie industry even though it might be easier to get into, because there are far better people more qualified to bitch and moan about the sorry state of the cinema. I may think that certain critics are more rigid and curmudgeonly or that the film industry closely resembles a snake swallowing itself, but that adds nothing to the discussion other than my opinion, which is biased. Besides, as someone who prefers to see movies at home than go through the exercise of sitting through a film at a multiplex, my reaction to certain films is almost inevitably on tape delay.

But there is one aspect of the film industry I love, despite the fact that people have been bashing it since its founding, and that everything they've tried to do I still get thrilled by --- yes, the Oscars. There's something about awards shows that bring out the boy in me, even though I'm past thirty. And I follow the buildup to the Oscars with a fanaticism that probably would frighten all but the most loyal movie buff. But over the past decade, I've had my own series of problems with them, and while there's probably nothing earth-shaking in what I'm about to relate, maybe letting loose some of my confusion will help make me feel better.

Now, I'll admit to be an amateur film buff. I haven't studied the art of cinema much more than your average cinephile (if such a thing exists), so it doesn't take a genius to notice that the quality of films has been going downhill for quite some time. And sometimes it takes even less of a genius to notice that even the films that some people consider brilliant are anything but. However, my prejudices are inevitably shaped by my parents, who also love movies, but perhaps have grown a lot more rigid with their advancing age. My father loves movies, but he doesn't like how cheerless and unenjoyable even the very good films are, and while this may be partly due to my own prejudice, there's something to his position. Particularly over the past decade, cinema has been getting a lot darker in tone and in style of films. Dad may be unused to seeing copious amounts of blood on the big screen, but I am, and even I am dismayed by how much you tend to see in a lot of these darker films. No Country for Old Men was one of the best reviewed movies of the past few years, but I walked away from it thinking that I had just seen a glorified snuff film. I've seen mindful violence on a lot of network TV, but this was one of the films I thought that was glorified mindless violence. I've come to expect better from the Coen brothers (Fargo had a lot of violence too, but there they had a sense of black comedy which this film desperately needed.) I had a much similar feeling when I saw The Departed but I was prepared to show leniency as I've never much cared for the work of Scorcese. Heresy for a native New Yorker, I know, but that's my problem.

Of course, sometimes my parents dislikes come out of harder to justify reasons. Neither of my parents thought that much of Far from Heaven or Good Night, and Good Luck two movies which I consider among the better of the first decade of the twenty-first century, but I understand their reasoning. In the first case, my parents was familiar with the kind of films that the director was paying homage to; in the latter, they lived through the time, and thought that it had nothing new to say.

But sometimes watching a movie with them is a little strange, Part of its because we have now reached a stage in our movie-going relationship where I'm nervous about sex and violence in what they see. I want desperately to see Black Swan before Oscar night; but there's no way I'm watching a lesbian love scene in the same theater with them. I just don't have the stamina. More annoyingly, I think their opinion of a movie will sometimes affect my own sense of judgment. I can't help but think I might've enjoyed The Kids are All Right a bit more if I didn't have them looking over my shoulder. (I'll be coming back to this in a moment.)

But perhaps the real reason I don't enjoy watching films with them is that sometimes they will raise a mirror that I'm not comfortable with, particularly on critically acclaimed films. Last year, we sat and watched The Hurt Locker together, and they didn't have a good time. Normally, I try to defend the critics point of view, but when I saw it, I wondered--- what was in this movie that every critic in the world seemed to see in this? This was the best film of the year? Precious and Up in the Air were light-years ahead of it. And Invictus and The Last Station were ignored in favor of it. Maybe the academy was saying something arguing against the war in Iraq, but The Messenger did it a lot better, and much less flashily. And if they hadn't been in the room, I might have had been able to talk myself out of it.

I had a similar POV with Kids are All Right. Now I thought that Julianne Moore and Mark Ruffalo gave brilliant performances, but this was the film that every critic in America (almost) had gone into paroxyms of joy over? Maybe I would've thought it was funnier on my own, but I've seen this filmmakers work; I've come to expect better from her.

I am perhaps giving my parents more credit than they have earned --- I'm capable of making my own judgments a lot of the time, and most of the time, I see beyond the flash and CGI of films to see that there's no 'there' there But because some part of me doesn't want to give the critics the benefit of the doubt, I follow their judgment other than my own far more often with movies than I do with TV. This may be the main reason that I'm reluctant to delve into the world of the silver screen more than the smaller one.

But I'm going to rectify that at least a little over the next few weeks. Tune in next week when I continue to bite the hand that I want to feed me, and continue to criticize critics.

Top 10 TV Shows for 2010

2010-12-27T20:47:00.000-08:00

Man, does this year lend itself to alliteration.
A lot of people have complained that there was a certain lack of good TV this season, particularly how carved up the network fall season was. But the fact of the matter was that this season featured some truly majestic peaks of for the medium --- they just weren't in the most populated areas of the world.
So, starting from the bottom, here goes:

10. Nurse Jackie (Showtime)
It's official: this season Showtime has become the strongest cable network. Particularly as it has managed to create a new medium: the half-hour comedy-drama. Three of the shows are populated by formidable actresses, but this one is by far the strongest. Edie Falco has reached levels she never achieved on The Sopranos and an able supporting cast from Paul Schulze to Anna Deveare Smith more than ably supports her. Let's hope that the season finale's intervention doesn't do more than slow her down.

9. Damages (FX)
It may not draw the prestige that Rescue Me and Nip/Tuck did, but this was the most fascinating piece on a strong network. From extraordinary turns by Martin Short, Lily Tomlin, and the criminally ignored Campbell Scott, this show kept me guessing week after week. I'm still not sure about everything that happened (Keith Carradine's role was never quite clear) , but it was very satisfying to watch Patty Hewes goes after her biggest fish yet. I'm glad this show has a future, even if right now, it's means I won't be able to watch it.

8. Dexter (Showtime)
Considering how good Season 4 was I didn't think the writers could top themselves this season. They didn't, but they came damn close. We've seen some bloodthirsty killers on this show, but this season painted us a picture of what true evil might looklike. Add to that stunning character roles by Julia Stiles and Johnny Lee Miller --- neither of whom I would've thought would be capable of it before Season 5--- and the continuing growth of Julia Carpenter as Debra, and you've got an absolute stunner. I don't know how much of a future this show has, but this seasons end gave the first real hint that Dexter's future may nto end in blood.

7. Lost (ABC)
First of all, let's admit that no ending for this show would really have satisfied us. But even if the last episode left you feeling a little cold (like me), that doesn't change the fact that this series did some stunning work in its final season. Any show that is capable of creating episodes like 'Dr. Linus' and 'Ab Aeterno (where we finally learned who Richard Alpert was) is worthy of our respect. Maybe the show didn't give us all the closure that we thought we deserved. But if it had, would it have been true to Lost? It'll be missed, but not as much because ...

6. Fringe (FOX)
This show has been providing the goods for the last couple of season, but with the introduction into the alternate universe, Fringe has become spectacular. Anna Torv and John Noble's bifurcated performances over Season 3 have been Emmy-caliber, and watching us getting actual answers to questions that this show asks has made this the most thrilling show on TV. It's just a shame that so few people are watching. Maybe we should start a 'Save Our Show' style campaign in both universes?

5. 30 Rock (NBC)
Maybe it was a bit premature to give Tina Fey the Mark Twain Prize from the Kennedy Center. But it doesn't change the fact that five seasons in, this is still the biggest laugh riot on television. Only this show could use the utter collapse on NBC and turn it into a hysterical joke. Let's hope that they'll move it to a good time slot, and that it will stay there (and wish Tracy Morgan a speedy recovery from his surgery)

4. Parenthood (NBC)
OK, I'll admit that I was slow to climb aboard on this one. But after being stupendously disappointed by Brothers and Sisters, this show with realistic marriages, successful and borderline, realistic children with some really strong actors playing them, and some issues that have some particular relevance in both being a parent and a child, this show is
is that utter rarity--- an adult network drama. Why is it that nobody's watching it? Oh, that's right....

3. The Good Wife (CBS)
Is it a legal drama? A political drama? A family show? A show about relationships when you're in your forties? The fact that this series does all of these things is a marvel. That it does them so spectacularly is incredible. As long as networks continue to turn out programs like The Good Wife, there will be a future for them. And as to that acting--- Alan Cumming, Best Supporting Actor. The race starts here.

2. Mad Men (AMC)
I'm still not convinced that it deserved three Emmys in a row. But that doesn't change the fact that this may be the most searing dramas in TV history. Watch Sterling-Cooper-Draper-Price struggle for survival was stunning. Watching Don Draper come to terms with his battle with drinking mesmerizing. Watching Betty confirm that no matter who she marries, she'll never be happy--- that was astounding. And as good as Jon Ham is (The Suitcase was a stunner), this show is really all about the women. I'm convinced that by the end of the series run, Peggy and Christina will be running the agency. But then again, that might be a demotion for them.

1. Glee (Fox)
Most of the shows on this list would be considered dark and depressing. This show has moments of that (it is high school, after all) but for most of the time, it is filled with sheer joy and energy. Featuring one of the most talented ensembles television has ever assembled, this show is funny, heartbreaking, powerful and joyous hours of TV ever created. Chris Coifer and Jane Lynch are two of the best actors currently working in the medium, and the guest cast (who would've thought that Gwyneth Paltrow had such a voice?!) has been next to flawless. Never has their been a show where the title perfectly describes the experience of watching it.

With this, we look ever forward into the new year. Maybe there's more great TV in our future.

The Nominees Are...

2010-12-20T20:43:00.000-08:00

Well, I know that's it's been a very long time since I made any additions to this blog, and my few but faithful followers may have thought that I've abandoned it all together. My only excuse is that there has been a lot going on in my life, and that while I've been able to spend a fair amount of time watching TV, I have not had enough time to write about it.

But now, the holiday season is upon us, and there are two things that are sure to come with the arrival of December: the supposed 'War on Christmas (which because this is not a political forum, I've not going to take a side on) and the coming of award nominations. A lot of the major critics groups in this country, most of them having to do with films have announced nominations, but a few deal with TV. I've seen more than my fair share of films this year, so I might be able to comment with some degree of wisdom about the films that will be in this years Oscar race. I may even do that a little later on. However, for the moment, I will stay within the borders of TV, which has also been getting recognition.

I will focus on the Golden Globes, which on occasion will right some of the more obscure wrongs that the Emmys often make, and sometimes will demonstrate that the Hollywood Foreign Press can live on Mars.

First the good things. While admit that this has been a piss-poor year for new network TV offerings, the Globes has seen fit to recognize two of the stronger shows: Boardwalk Empire, HBO's best new drama since Big Love, and AMC's The Walking Dead, which has become the most popular series on AMC---- ever. They also recognized Dexter, Good Wife, and Mad Men, three of the best shows currently on TV.

I've got no problem with the Best Actor noiminees. I'm glad to see Bryan Cranston finally getting some love (after three straight Emmys, it would be surreal to be ignored in favor of Simon Baker again). But Piper Perabo for Best Actress? I'm not even sure Covert Affairs was renewed for a second season. Glenn Close caught shunted aside for her?

And Damages being completely shut out after one of its finest years? Martin Short, having given one of the finest performances I've seen on TV last year ignored? There are always problems in the Supporting categories, but come on, Scott Caan for Hawaii Five-0? Alan Cumming or Aaron Paul would make sense, but Scott Caan? I'm pretty sure even his father wouldn't vote for him, given the opportunity.

I'm similarly baffled by Thomas Jane getting a best actor nod for Hung. It didn't make any sense last year, and it makes even less sense this year. The only explanation I can come up with is the shortage of candiates for Best Actor in a comedy, but David Duchovny's work in Californication was superior, and seen by a larger audience. What bizarro world mentality does this fit? Here's hoping there are more candidates with the coming of 2011.

Nurse Jackie deserved to be nominated for Best Comedy, so they got that right. I'm less certain about The Big C. At times, it was very funny, but it's behavior was erratic. Still, Laura Linney deserved her nomination, and now it's becoming clear that Showtime has a lock on comedies centered around fascinating woman with big problems. Without question Showtime is the real winner of the Globes this year, and continues to demonstrate that it is the real powerhouse in the pay cable world.

Nods that just made me feel good: Chris Colfer's for Glee. He is without question one of the best actors of a very strong cast, and watching him is probably the most enjoyment on one of TV's best rides. I was also glad to see Chris Noth and Julia Stiles nominated in the Supporting categories and I hope that when the Emmy judges get around to honoring them (and trust me, they will) they'll remember where they were. And though I still don't watch it loyally, it's good to know that the Foreign Press has finally recognized the superb Big Bang Theory as one of the Best Comedies of the year. I don't pay as much attention to the TV movie side of this, but I was glad to see Idris Elba nominated for his work in Luther, not just because it was just good work, but because I'm glad to see any alumni of The Wire getting recognized for something. (Hint, hint)

One last thing Foreign press, you might want to consider creating a whole new categories for Supporting Actors and Actress in TV movies. Yeah, it might add a few extra minutes to your show, and it was just be another category for HBO to dominate... you know what, forget I mentioned it. Few years, they'll all be gone anyway. Such is the balance of power in the TV industry.

That's enough for the Golden Globes. I'd try and run through the SAG awards as well, but the sad truth is, considering how wide a base they use, and how leads and supportings get shunted into the same category, I've given up getting worked up or excited by them. Besides, how seriously can you take a group that considers Hot in Cleveland one of the Best comedies of the year?

Stay tuned to this spot for my ten best list for 2010. But first, some classic antidotes for the Christmas themed episodes.

Man, I'm taking a lot of time between postings

2010-11-10T20:50:00.000-08:00

I realize I have been posting so irregularly that it may seem like I'm disappearing off the face of the earth sometimes, but I have a new job that takes a bit out of me, and I have other obligations, like all of us. Still, i should be a little more regiar about what I do. I saw The Social Network this weekend (brilliant movie by the way) You never know where a blog will take you. Reminded me how much I missed Aaron Sorkin's dialogue too. But I guess he's all about the films now. Well, he'll get an Oscar nomination this year for sure.

At the other end of the last decade, January 2001 to be precise, I was watching an episode of ER, a show I never thought was quite as good as everybody thought it was. I don't remember the title of the episode, onyl that Mark Greene, in the midst of his battle with cancer, was having brain surgery in New York to remove a tumor. The more interesting B-story was back in Chicago. A middle-aged man was driving his son to hockey practice (I think) and was in a car crash. The episode followed his process through the ER and through the medical process of Cook County. The character was played by Jim Belushi, and I remember being shocked by how good a straight performance it was. ER always managed to coax fine performances from its guest casts, but this was more than I'd come to expect from Belushi, who always seemed to be coasting through not quite good comedies and the occasional whimsical drama.

I remember that performance because Beliushi very soon after would starting 'According to Jim', a series known not just for extraordinary mediocrity, but for ABC's keeping it on the air season after season while other brilliant shows got cast by the wayside. The need for the show made sense when they depending on Drew Carey and Regis Philbin for their survival; after they had 'Lost' and 'Desperate Housewives', there really was no excuse. It still sticks in my craw that Invasion and Line of Fire got cast aside for that. His acting seemed to be an aberration.

But then in September, 'the Defenders' premiered on CBS. Now the courtroom drama has been on life support for awhile, but CBS does seem to be interested inr resusciating. It's nowhere near the level of 'The Good Wife' (which continues to get better with every succeeding episode) but it's definitely a lot better than some of the pale imitations we get these days. Belushi and Jerry O'Connell have a good rapport, the cases are interesting, and the writings good. But this show wouldn't work without Belushi's solid work. Pete Morelli has layers in the way that a lot of characters on TV don't (Not Patty Hewes' or Alan Shore's level, but few shows did) and even though there is a certain amount of sleaze, he demonstrates charm, something I really haven't associated with his work in film or TV. Add to this the fact that this was supposed to be a reality show, and I'm really starting to get in it's corners.

The Defenders has challenges ahead (it's up agains the latest incarnation of the Law and Order franchise) but the future is good. And maybe if Belushi continues to do solid work, he can atone for all those years we had to suffer his pale excuse for a sitcom.

The next Post will come sooner. I promise

Better Late than Never

2010-10-27T21:06:00.000-07:00

I know that I promised to post earlier, but life, sad to say, gets in way sometimes.. Here are some of my random thoughts on TV over the past week.

While I thought season 4 of Mad Men was generally superb, I thought the season finale was a disappointment. Usually, there is some optimism to rise among the pessimism, but I thought that Don's proposal to his secretary seemed a false note, and came almsot completely out of left field. Had he had the relationship with the doctor there, I'd have thought it would be more realistic, but it seems labored and a mistake in a show where the writers don't make that many. Rather it was the woman who stood tall. Peggy may have single-handedly saved SterlinG-Cooper (by 1970 she'll be the running the place, I tell you) Joan got promoted and revealed that she didn't get the abortion we thought she did, and Betty demonstrated what we've known for a long time--- she'll never be happy no matter who she's with or where she lives. It is January Jones who takes a character whose behavior in the long run would be loathsome and turns her into a human being--- I hope this year she gets the Emmy she's been owed the last two seasons.

In regards my earlier posts on Boardwalk Empire, I must recant a bit. The more episodes that I see of it, the better it gets. I'm still not sure who all the players are in this particular drama, and I'm not entirely convinced Buscemi will be a solid lead, but the surrounding cast, particularly Michael Pitt and Gretchen Mol (who's finally got a role worth of her talents) are giving fine performances. This show may come from Sopranos stock, but its Deadwood that it reminds me of, not just because of the somewhat archaic cursing. Boardwalk Empire demonstrates that there is a very fine line between law and crime, and these authorities keep pushing it back further.

However, the real most valuable player on TV today is Parenthood, a show that I had early misgivings about has become one of the best performed shows on TV today. After being so gravely disappointed by Brothers and SIsters, it's nice to know that there is the possibility of a functional family, with parents who love and support each other, who aren't always stepping on each others toes, and marriages that need work but have people willing to fix each other. I am also glad to see that some of the actors who didn't have as mcuh to do like Sam Jaeger, Mae Whitman, and Bonnie Bedeila are finally getting some screen time. It's a shame that, like almost everythign else on NBC, no one seems to want to watch it. Maybe the Golden Globes will show it some much needed love.

That's enough for now. Next time, my thoughts on some of the new crop of shows, including why I'm finally on Jim Belushi's side.

What we talk about when we talk about sex

2010-10-21T21:14:00.000-07:00

This week there's been a big fuss about the racy photo shoot of the cast of Glee in this months issue of GQ. I don't see what the sound and fury is about; every time there's a popular franchise with young women involved, there are often photo spreads like this. And hey these aren't the kids in Larry Clark films; these are young adults in their twenties. But apparently because Glee is considered by some circles as a 'family show', this leads the woman of The View to cluck at how these woman are acting.

First of all, have you been watching this show? Glee has made it clear almost since the first episode that sex is a big part of it. It's part of any teenagers life, and is part of what they think. That doesn't mean that children and teenagers shouldn't watch it with their parents; on the contrary, compared to some of the reality shows that emphasize it, this is the kind of show that encourages discussion about these kinds of issues in a mature and--- yeah, I'll say it--- adult manner. You know all those brainless tween and teen shows. This one has a brain.

As for the photo shoot--- grow up. Since the beginning of Hollywood, we've been told that sex sells. I've seen some of the things that get posted on the web; by comparison the photos in GQ look practically Victorian. Over and over this is the message that we keep sending Hollywood. We can't blame them for doing what we all know works.

Perhaps I am not unprejudiced about this because I love the show, but I really hope this kind of bias doesn't stop peoplr from watching Glee. This is an adult, mature reasonable show that discusses sex and hormones. Married couples don't sleep in twin beds any more, and Mayberry was a fantasy. Let's not pretend our sensibilities are more offended by this than what shows on Cinemax at 11.

Okay. I've vented. The next post will come in a shorter interval. Stay tuned.

Lost Post Number 1

2010-10-06T22:05:00.000-07:00

Hi, my name is David, and I'm a Lost-a-holic. I followed the show for five years.

How do I explain my feelings towards Lost as a series? I'll use another TV show metaphor. In the second season of The West Wing, Leo, the chief of staff, is trying to persuade the President to sign off on a missile defnse system, even though the latest test failed. He tries to persuade him by saying, "We succeeded on 9 out of 10 parameters," he tells him. "What was the tenth?" asks the President, with a sense of mischief. "We missed the target."

That is very close to how I feel about Lost, only in this series case, it was worse. This was a show that succeeded 95% of the time. In the final analysis, so many of the questions that it asked were answered in the shows final season. And the avoided the mistakes that The X-Files made during it's final seasons that I kept defending it to, well, non-fans, that I really thought the show would tie everything together at the end. And then 'The End' came... and it just didn't. I intend to watch the series again, and see if I missed anything, particularly in Season 6, but right now, my feeling is still, one of being cheated.

Now I fear for Lost's legacy. Though critics still consider it one of the greatest series ever created, I have already seen articles written online, advising shows like The Event how to avoid turning into Lost. I feel that the show may be consigned to the ashbin of the internet, as yet another mythology series that crashed and burned, like the X-Files. Worse, actually--- at least the X-Files has a possibility as a film franchise. No such luck for Lost.

The serialized drama is a risky thing. Throughout the shows runs, there were at least two dozen shows that tried to jump on Lost's particular bandwagon. Invasion, Flashforward, Life on Mars (American version), Dollhouse ... all of them interesting shows that never got quite the chance that Lost did, and I got suckered in on most of them, hoping for the next big thing. Hasn't come yet.

Few shows have inspired more joy in me, or appeal to the better angels of my nature. I loved Buffy and Battlestar Galactica but I've never felt the urge to buy a bunch of their action figures or bobbleheads. (Speaking of which, Nik, have you ever been inspired by any series in such a way, I've always been a little curious about this as well.) I was genuinely sad when the series was over, not just because I felt slightly cheated, but also because I was pretty damn sure I'd never see another series like this again. Fringe is a criminally underrated series, and it does have the same cult following, but Walter Bishop is still not John Locke.(Though maybe now the Emmy judges will think so) I've followed a lot of series that might have had that kind of pull, but they all got abruptly cancelled. Each year, I kept watching series, hoping I'd find the next Lost. Each year, I came back to the original. I don't have that option any more.

Basically, this group--- the group of fans who have gathered at this site--- is Lost's legacy. This is a series that deserves to be remembered, not because it's grasp exceeded its reach, but because it did so many things right so much of the time. Lost may not have been a complete success, at least not the way we wanted it to be, but it was not a failure.

Miss Me?

2010-09-26T21:05:00.000-07:00

Hello, ye few but faithful, and those of you who watch but don't sign in. aiat's David, and he's had a busy three weeks. I got a new job, I started expanding my social graces, and I attended my best friend's wedding (something that, to be perfectly honest, I wasn't sure would happen til it happened). All of these are earth shattering, life-changing events, but I don't want to talk about them here. I am building myself a place where I will begin writing about all this, but I intend to keep this place all about my thoughts on TV. That's what I said this blog would be about, and damn it, that's what I'm going to keep it about.

Fortunately, about a week ago, the new fall season began. Now normally this is a busy time for me, but nature intervened to stop my involvement--- a blackout hit my area after a storm powerful enough to be classified a tornado, and I had no TV from last Thursday to the following Tuesday. Considering how involved I was with Mad Men, Glee, and House, I nearly hd a small breakdown. I'm one of those people who still believes iin watching TV on TV, so it took a lot out of me. But I'm back and ready to rumble.

Normally, I like to give series a couple of episodes before I decide whether or not I like them. Also, the networks are generally so quick on the trigger, I don't know if a series will get killed. (OH, I wish I'd been prewarned about this for The Nine, Invasion, and Flashforward, but that's a story for a different blog.) So rather than talk about some of the network series, I'm going to go to cable and discuss a couple of the bigger deals.

Last Week saw the premiere of Boardwalk Empire. If you live in New York, you couldn't get away from how HBO was promoting it. Billboards,TV ads, Subway ads, and with Terence Winter and Martin Scorcese attached, it certainly has the pedigree for great promotion, especially if you call it 'the next Sopranos'. But as someone who watched, and who has expressed elsewhere that particular show wasn't as great everyone thought it was, I was inclined to take it with a grain of salt. But the cast of actors is so well known, and HBO has a pretty good history with period series, so I decided what the hell.

The material of Boardwalk Empire has the potential for greatness, I will not deny. Steve Buscemi is one of our finest actors, and we all know he's played gangsters before. The good news is that the writing is much stronger, and we do seem to be getting a lot of familiar faces, especially for those of us who know a bit about the Roaring 20's . The mood is set appropriately with music, films and stage acts from the era (I think I heard Al Jolson and Enrico Caruso on a couple of victrollas) so it seems authentic, and seeing the rough atmosphere, and meeting Al Capone, Lucky Lucianoet al, before they were the legens, that's a little unsettling.

However, what I didn't sense in the Pilot was a great deal of subtlety. Now, Matthew Weiner wrote for them, and Mad Men is nothing But an exercise in subtlety. (I'll be getting to that in another post) so it leads me to wonder if Winter was the one responsible for all the bloodshed. And while every adds up to quality, it also all seemed to spell out--- This is Emmy Bait in almost every scene. Don't ask me to explain what about it, but this show does what Damages and The Wire never did--- show you it's brilliant, and not tell you. Perhaps I'll feel different after I see a couple of more episodes, so I'll try not to judge yet. But this is a series about gangsters in Jersey, so you'll understand why I'm a little trepidatious.

The show that I've been looking forward to seeing for the past--- hell with it--- ten months, finally premiered tonight. Season 5 of Dexter. Ever since he discover Rita's corpses in the bathtub--- Trinity's last victim--- I've been waiting to see how he'd deal. And the answer is: same way he appears to deal with everything else. Looking like you're sleepwalking is Dexter Morgan's stock in trade, but what do you when the one real human element in your life is gone. Equally jarring were the flashback scenes where we saw the very first date between Rita and Dexter and learn, just like everything else in his life, it was based on a lie--- he only went on the date to track a killer.

With Kiefer Sutherland and Matthew Fox gone, Hall continues to demonstrate why he is still the best working actor in TV . (Take that, Bryan Cranston). He seemed like a shell of himself, and considering that the image he projects to the world is a shell, that's a lot harder than it looks. And because of this, Quinn, who was suspicious of Dexter before Rita died, is finally suspicious of him. The irony is rampant--- all the horrible things we've seen Dexter do on this series, and the death of the one person he'd never hurt that might finally lead to his undoing. Which does lead to problems considering that Quinn banged Debra (in self-defense, really) and that particular relationship is going to be a factor for most of this season.

As for Mad Men---- Don Draper's false identity has always hurt him in the past, and now it seems that his secret is going to come back to bite Sterling-Cooper-Draper et al in the ass. Don's come close to exposure, but this time he seemed on the verge of collapse in a scene that makes you wonder why Jon Hamm is also Emmy-less.

But then the whole firm, never stable, may be on the verge of complete collapse. With Lucky STrike finally about to jump ship, we finally found out what it took for Roger STerling to lose his cool--- and get censored even on basic cable. Add to this, the mess that's going on with Joan (there's another child she'll never have) and Roger's probably going to break down by the time the season ends--- which is just three weeks away.

But by far the most shocking thing involved the stiff upper lip of Lane. We knew his relationship with his father was tense, but watching him beat the crap out of him--- well, I was floored. I hope he makes the right choice cause this firm can't take much more.

So ends this nights epistle. Stay tuned for further updates, including whether Glee still has what it takes for sophomore season, the return of Good Wife, Fringe, and Parenthood, and whether or J.J. Abrams still has the magic touch. Good night

I Should Know Better By Now

2010-09-02T21:10:00.000-07:00

Every year I say I'm not going to be frustrated when they announce the winners for the Emmys and every year I practically have conniption fits on Emmy Night. Why, why, why do I get my hopes up that they'll acknowledge the shows I like when they seem to fall into old habits.

Okay, that's not fair. Especially when it came to the Best Comedy awards. All of the winners there pretty much deserved to win. Maybe I'm being a little cross because I don't pay as much attention to Modern Family as I did to Glee and Nurse Jackie. And Jim Parsons' victory was pleasant because it was another triumph of geekdom over quirkiness. Who am I kidding? I just love Sheldon. And technically speaking, Glee and Nurse Jackie are not as traditionaly comedy in the same way Modern Family is, but I have a feeling that both shows will be in the arena for quite awhile to come. Huzzah Jane Lynch!

No, it's the dramas that kind of wear me dow. Now, don't get me wrong, Mad Men is a brilliant show--- arguably the best show to come up anywhere in the last decade. But I can't help but feel--- particularly this year--- that they seem to be honoring it more out of habit then anything else. I saw all the nominated shows this year--- and, honestly, I really think that Dexter and The Good Wife were at least as good, and Lost was even better if possible.

And seriously, even Bryan Cranston doesn't really believe that he's the best Actor in TV. I know that everybody with the exception of Fox will probably get another bite at the apple but come on! Who do Michael C. Hall have to kill to get some Emmy love? Why can't Jon Hamm sell anything else? As for best Actress--- it's not that Kyra Sedgwick hasn't deserved to win at least once in the last three years, I just thought that her moment had passed and that Juliana Marguiles had arrived.

Oh well. Here are some random thoughts I had about the show itself.

They need to decide an order of presenting the awards and fracking stick with it. I myself didn't have a problem with the way they used to do it before--- at least then you had a reason to pay attention all three hours. Come on, after the first ninety minutes were over, I didn't have any reason to keep watching. And it is kind of ridiculous to put all those movies in one place. We all know HBO's gonna sweep, so it's kind of hard to care.

Give John Hodgman a permament job. I 've been watching this guy on the Daily show for six seasons, so I know he's brilliant, but he he has just the right tenor to deflate all of the pompousity of those walkup to the awards shows. And you might want to consider giving Ricky Gervais a chance to host. The last three years he's generating more laughter in his presentations than the hosts ever have. And considering how good Harris and Fallon are generally, that's saying something.

HBO is bordering on irrelevance. It'll self promote saying they won more Emmys than any other network, but all of their wins for TV movies. In the meantime, Showtime and AMC each picked up six awards and are clearly a better representation of where the real talent is gathering. To mae an appropriate pun, Boardwalk Empire better come in like gangbusters, cause they're barely hanging in there. God Knows there never going to recognize David Simon's work.

Well, the new fall season is fast approaching which means the networks will be turning out their "best and brightest" But soon Glee and Dexter will be beginning their new seasons, and that's enough to bring joy into this bloggers clogged heart. Keep watching this spot.

This Years Emmy's

2010-08-27T21:08:00.000-07:00

I know it's a silly thing to get excited about, but there's something about award shows that make my heart pound faster. Maybe it's just because after all the political circuses, turmoil abroad and at home, and concerns about this country's future, the ability to focus on something as demi-serious as the Emmy's is always an entertaining distraction.

Of course, I have huge problems with the Emmys in general. I've never felt they fully honor some of the true greats in TV. (For my first witness, I call Joss Whedon, followed by David Simon and Bill Lawrence). And they have the annoying habit of just recognizing the same shows over and over, and recognizing new blood in nods, while honoring the same old faces. This has been true particularly the last couple years, where the nominees and winners in Best Drama and Best Comedy were duplicates. But they've made some big improvements in the last six or seven years--- they've fine tuned some of their rules, and I think there nominations for 2009-2010 were generally the best they've been in nearly a decade. Still, there are concerns. The Creative Arts Emmys held a last Sunday seemed to show the old habits are dying hard. I'm glad that John Lithgow and Neil Patrick Harris got recoginzed, but seriously Ann-Margaret for Law and Order SVU?! She wasn't even the best guest actress on the show this season. Lily Tomlin and Elizabeth Mitchell got robbed again. And really, showing them just seems to honor the same people over. Why do the Tudors, CSI, and this years Oscars always have to have this special time? And shifting the writing for Vairety series to this show is a robbery. The Writers Guild is going to be royally pissed.

okay. Enough bitching. Let's get to why I'm here. Here are my picks for this years Emmy-- what I think should win, and what I think will win. I'm focusing my energy on fictional programming--- reality TV is just something that I don't cotton to.

Outstanding Drama Series
Should Win--- Lost. Regardless of what you thought about the last episode (God knows I've got issues with it) it can't be denied that it did a much better job of wrapping up then any other mythology series ever has. And the last sixteen episodes featured some truly great writing, acting and directing. Add to this the fact that the Emmys have a habuit of occasionally recognizing great series in their final seasons (think The Sopranos, Everybody Loves Raymond) and I think it might pull off a sentimental vote.

Will Win--- Mad Men. I'll admit that Season 3 did drag a bit, but it's last three episodes were among the greatest I've ever seen on television. Plus it has won the Golden Globe and SAG awards, so it may be habit will be enough to carry today.

Best Actor, Drama
Should Win: Matthew Fox, Lost. This is more a sentimental favorite than a genuine preference. I think all six nominees are superb choices. But Fox has been the most underrated actor on that show even though he was the obstensible lead. Add to that, he probably won't be coming back to TV in any series, and he's a dark horse.

Will win: Michael C. Hall, Dexter. Everyone's sure Bryan Cranston's got this locked up, but no actor has repeated three years ina row in the drama category in nearly half a century. Plus Hall's work as America's favorite serial killer was even better than usual. He's won the Globe and the SAG award, and Lithgow triumphed in guest actor earlier,s o he's fresh in the academy's mind. I think he's going to upset the field here.

Best Actress, Drama
Should Win, WIll Win: Juliana Marguiles, The Good Wife. It's not just that she won the globe and the SAG awards or that her show has completely revitalized the legal drama. But she took what could have been a gimmick and helped turn out the best show on CBS in over a decade. January Jones had some great moments this season, but Marguiles owned the stage this year.

Best Supporting Actor, Drama
Should Win: Terry O'Quinn, Lost. Ever try to play what may be the epitome of evil while maintaining the face of a character who was beloved by fans for five seasons? I've always loved O'Quinn's work, and though I missed John Locke this season, both the characters he ended up playing were nearly as fascinating. One of our best actors working today. I await his next project with bated breath

Will Win: Martin Short, Damages. To be perfectly honest, I want Short to win. He did some stupendous work on one of the best acted shows on TV, and we later saw that it was actually a dual performance, so he deserves more creit. My one debit is that we probably won't be able to see him accept due to tragic circumstances involving his wife. But if he wins, he earned it. Big time.

Best Supporting ACtress, Drama
Should Win: Elisabeth Moss, Mad Men. Peggy Olson is probably the most fascinating character at Sterling Cooper Draper Price--- its small wonder Don begged her to join. I'm only surprised she took the demotion to this category from best actress last years. But wherever you put her, she deserves to get it.

Will Win: Christine Baranski, The Good Wife. Honestly, I'm less sure about this category than any of the others. We've had more surprise wins in it then all the others. Baranski just seems likely because, like Short, she's a brilliant comic actress, and she did a compelte 180 in this show. The academy likes versatility--- some times.

Best Comedy Series
Should Win, Will Win: Glee. Some critics would argue that given the opportunity, the voters will vote for the more traditional brilliant comedy, Modern Family. No insult to the ABC shows, but are they nuts? Glee has been running against it in every major preaward show this year and beaten it. Modern Family is a great show and will probably win in the future, but Glee is a phonemenon. It's also the most original show to come up on TV in decades. This is a lock.

bEST Actor, Comedy
Should Win: Matthew Morrison, Glee. The fulcrum of what is a brilliant cast, he's made Will positively enduring. Add to this, everything his character went through this season, and he went on the greatest journey.

Will Win: Alec Baldwin, 30 Rock. Sigh. It's not that his work isn't genius, that he's not comedic dynamite, and that he's still wondrous to watch four years in. But really, hasn't he gotten enough awards already. Isn't it time to let someone new, or at least recognize the fine work of Jim parsons or Steve Carell, into the winners circle.

Best Actress, Comedy
Should Win, Will Win: Edie Falco, Nurse Jackie. No other actress could make drug addiction or falling apart this much fun. Showtime has created a new genre-- the half hour dramedy, and Jackie is one of the most delightful portrayers of it. Another couple seasons, and I'll be able to forgive her for The Sopranos

Best Supporting Actor, Comedy

Should Win: Chris Colfer, Glee. The show's secret weapon, and one of the most real performers of the entire cast. He took what could have been a cliche, and turned him into the most fascinating characters in TV.

Will Win: Neil Patrick Harris, How I Met Your Mother. Am not sure whether the two Emmys he's already won this year mean it's going to be his time to shine or whether the Academy will think it's finally his time to shine. This is probably Modern Family's best chance to win to upset, so watch this category carefully

Best Supporting Actress, Comedy
Should Win, Will Win: Jane Lynch, Glee. What can I say about Sue Sylvester that she wouldn't already say funnier? She's had a lock on this award since the series debuted. All I can say is I can't wait to see how she'll see this.

Am not sure about any of the other categories. Except for Varietyb Series--- I want to see Bill Maher win at least one award in my lifetime. And if Conan O'Brian pulls off an upset--- this could have the most drama of the night.

Well, i've written myself out. See you Sunday night.

nOT quite an A for the Big C

2010-08-23T20:47:00.000-07:00

Well, I promised that I would take a look at Showtime's latest entry into the dramedy field, and now after two episodes, I think I'm ready to make an assessment.

First of all, there are very few actress capable of hitting notes of subtlety that Laura Linney. In both salary and talent, she hasn't gotten her fair due in awhile. And I can see why the idea of the character of Cathy Jameson would appeal to her so much. And she manages to make the show come alive whenever she's on the screen. Some of the funniest moments in the first couple of episodes come to life when we see Linney just hang lose. The problem is we've never gotten a picture of why she was so uptight or what exactly has begun to free her so much. The family life was very confused, but considering the condition that her brother seems to be in (we'll get to that in a moment) they can't have been happy.

Then there's the problem of making the surrounding characters accessible. This is not something that most of the Showtime half-hour shows, with the exception of Nurse Jackie, have managed to do very well. Oliver Platt is one of the most buoyant personalities in any medium, and his manboy of Cathy's husband is very entertaining at tiems, but we've got no idea what happened to make their mariage fall apart, and when it comes to figuring otu what's going wrong, he seems pathetically clueless. Cathy's brother is apparently living the ultimate green lifestyle by being homeless, and while John Benjamin Hickey's h occasionally entertaining, I can't help but be reminding of Steve Buscemi's 'God' on Nurse Jackie, who in a much smaller part managed to seem much more real. And I loved Gabourey Sibide in Precious and I know that she's a real talent, so why the hell would she want to play a character who barely seems more recgnizable than half a dozen other black teenagers on any television show? These characters might be multidimensional, but the script rarely lets them loose or see them outside the parameters of how they relate to Cathy. This is the kind of thing that will sink a new program if it isn't rectified fast.

The writingis, so far, hit or miss, mainly because the writers while they've been able to make Cathy and her surronding characters amusing, still haven't realized a way to make cancer funny. I know that dying is easy, while comedy is hard, but the overall purpose of this show is to entertain, not lecture Right now, Cathy's interactions with her doctor are by far the most real thing about the show, but they're only funny in the darkest sense of the term. We know he's going to be seeing her as the disease progresses, but how is it going to work as television.

I'm not going to give up on The Big C. I like the actors too much not to give up on the show, but it doesn't solve the problem--- if the show survives, how will they justify Cathy's being alive? I hate to put things in such dark terms, but that would be giving the show more gravitas than it currently has.

My score on a scale of 1 to 10: 6.5

Stay tuned this week for my predictions of this years Emmys.

How other TV Characters have dealt with the Big C

2010-08-15T20:12:00.000-07:00

tommorrow, Showtime premiers yet another darkly humorous show around a very dire subject anchored by a resonant female lead. But this one has even more difficult job than making MPD and drug addiction -- the subject is a woman with cancer.

Now having a show based around a central character developing cancer is nothing new. Bryan Cranston has already won two Emmys for playing cancer-ridden meth dealer Walter White on Breaking Bad. And other shows have had central characters deal have battles with cancer. Lynn Scavo went through a bout with it on Desperate Housewives, but the highest degree of her suffering seemed to be that she wore several handkerchiefs around her head symbolizing weeks of chemo. Dana Scully went through a bout of cancer as a result of her experience on the X-Files, but that seemed even harder to measure as the most symptomatic she ever got was the occasional bloody nose. Also she miraculously went into remission while on death's door, but considering they never explained how that happened either, I think the writers lost a lot of fans in that particular story arc.

In his last two seasons on ER, Mark Greene suffered from a brain tumor. He underwent radical surgery for it, and he seemed to be in remission. Then little more than a year later, he suffered from recurrence, and succumbed a few months later. That one really did hurt because Anthony Edwards was the pillar of that show, and without him, there always seemed to be a gap at Cook County that was never refilled.

The most pertinent case of cancer appeared to be that of Dr. Daniel Auschlander on St Elsewhere. 73 years old when he was diagnosed with liver cancer in the show's Pilot, one would have expected him to succumb within the first season, at the very latest.. But he battled with it nobly for the entire six season run of the show, dealing with bouts of chemo, struggling with the battles with old age. One could make the argument that he was the symbol of St. Eligius--- as long as he was still alive, the hospital could survive. And he did outlive quite a few younger cast members, which is probably symbolic as well. Of course, he might just have been Tommy Westphall's imagination, but I don't buy into that particular theory.

What will separate Cathy from the characters that have come for her is trying to keep this show funny while staying true to the source. Nurse Jackie is still amazing two seasons in, while Weeds has become so dark and so far from where it started that it should be put out of his misery. Laura Linney is one of the most subtle actresses that I have ever seen and God knows she has the capable to make comedy emerge from death. (Watch her Oscar-nominated role in The Savages and you'll see why) And arguably, her bio is more varied than Toni Collette's or Edie Falco's. Seeing her interviewed on Wednesday's The Daily Show demonstrated that she has an understanding of how to make death and comedy merge. Can she do it for real?

Tomorrow at 10:30, she starts proving it. Stay tuned to this spot for more updates, because this is one show I want to get behind.

Forgot I was here...

2010-08-08T20:19:00.000-07:00

I'll admit that it's been awhile since my last post, but I've been trying to explore new avenues for the last few weeks, and am now ready to resume posting. They will come more frequently from now on, I promise.

As I watch the new season of Mad Men unfold, several thoughts cross my mind every time I watch an episode.

First off, I know why HBO decided to pass on it, probably to their detrment. There's not enough action for the network of The Sopranos, Deadwood and True Blood. Even on shows which were more character based--- Six Feet Under, The Wire, etc. There was always a certain amount of action. Mad Men flows a lot slower, at a pace that no doubt struck some of the other networks as near glacial. I'm not criticizing. It is in the smaller things that Mad Men has it's finest moments. When we see Betty Draper unnecessarily scold one of her children, or watch Roger Sterling subtly watch a secretary, we see the minor cracks in the picture perfect establishment.
And given the fact that the shows rating have been slowly going up for each succeeding season, it's good to see that more and more people have been willing to go on this particular journey.

Another thing that becomes more and more obvious with each season. The people at Sterling Cooper Draper Pryce are celebrated for being retro. They're the establishment. What none of the characters realize is that they're quickly becoming old-fashioned. In a memorable moment, disguised as a throwaway, Bert Cooper discussed with another fellow Republican how Medicare and Civil Rights were going to bring down the end of civilization. And right now, the woman that they regard as little more than eye candy are on the verge of a revolution of their own. The series just entered 1965, which means that they're about to become--- to millions of young people--- the enemy. We saw hints of it in this week's show; I've got a feeling it's going to get a lot less subtle in succeeding episodes.

The Draper's marriage was based on a lie. We saw it implode last season when that lie was discovered. It's also clear that they're no happier apart then they were together. I love watching January Jones struggle with the desperation of Betty. She seemed imprisoned by her life the first season of the show. She tried to rebel against it in Season 2, but was brought back to earth when she became pregnant with their third child. She tried to find happiness both with and without Don, and finally seemed to break in the last few episodes. But as has become obvious, she's no happier without him than with him. If anything, her children seem to have become even more unhappy, and it's more clear she was never meant to be a mother. Don is little better off on his own. He's splitting his energy between half-hearted dates with friends of friends, and now he seems to be openly seeing prostitutes. This episode, he saw Anna, and he seemed happier with her than we've seen with any other woman. But now she is dying of cancer, and he dealt with this by going straight in the arms of a $25 hooker. Is happiness even possible for these people? Will the series end with them coming back together somehow? Cause these people can't fit in the world's they've built for themselves.

It's always like pulling teeth to get information about what will happen next week, but I would remind the people at Sterling Cooper, et al. the times they are in changing, and I can't wait to see how Roger Sterling reacts when he learns his daughter listens to Dylan.

Stay tuned for more news.

Emmy Time! The Votes Are In

2010-07-08T21:24:00.000-07:00

For me this is the most wonderful time of the year. Awards seasons always get my blood pumping, partly because of the hope that some of the greatest television around will be recognized for their skill. Furthermore, the predictions that I made were about the same results. They did nominate the old standbys, but their was for the first time in awhile, a much needed infusion of new blood. Let's go over some of the things that made me feel warm inside.

Glee --- Is there ever a more accurate description? Few shows have deserved so much joy, and they'll probably win a good deal of those 19 nominations. I was perhaps happiest to see that Chris Colfer earned a nomintion for his work as Kurt, the member of New Directions who is responsible for some of the most superb moments. I was also gratified to see Mike O'Malley get honored for his work as Kurt's father. This guys come a long way from Yes, Dear. I don't know if Matthew Morrison and Lea Michele will win, but they deserve a chance at the big prize.

Mad Women--- Yes, the men at Sterling Cooper are ultra cool, but the woman of this show are even more appealing. January Jones work as Betty Draper has been ignobly ignored for the past two seasons, so I was glad to see that she got recognized. Elisabeth Moss continues to wow as Peggy, who I'm convinced by the end of the series will be running an agency of her own. And Christina Hendricks is the epitome of svelte on this show as Joan Holloway, especially when she left her husbands side to join the new agency Sterling is founding. Let's hope they recognize her talent as welll as her figure.

The REAL Showtime powers---- Last Season of Weeds was probably it's most unfunny, so I'm glad the voters didn't just cut and paste it's nominations from last year, and instead recognized Edie Falco and Nurse Jackie. And it's also good that Dexter, which had it's best season, racked up eight nominations (Still, John Lithgow, best Guest Actor, not Supporting? Really? I know they did it for Jimmy Smits last year, but I kind of think that was misplaced as well? Oh well...

Lighting up Fridays --- I'm not a big fan of the show, but I can't help but feel impressed that Emmy Voters finally got their heads out of the sand, and recognized real talent in an unwatched you, when they nominated Kyle Chandler and Connie Britton for their work on Friday Night Lights. Show aside, I've been a big fan of these actors work for over a decade in countless solid performers, and they might be able to run an upset to pull off a victory.

Damages Done? ---- F/X still won't say whether the brilliant legal drama has a future, even though it is, for the third year running, the networks most recognized show. I do think they could've recognized Campbell Scott and Lily Tomlin's work really belonged in the Supporting Actress category, and it deserved a Best Drama nod, certainly more than True Blood. Here's hoping this earns them one last bite at the apple

Guest Actors --- Traditionally, Guest ACtor and Guest Actress are given away in an earlier ceremony, but considering some of the nominees this year, the Academy might want to rethink that stratagem.

Consider: In Best Guest Actor in a Drama, we have Dylan Baker and Alan Cumming for the Good Wife, Robert Morse for Mad Men, Ted Danson for Damages, John Lithgow for Dexter, and Gregory Itzin for 24, and Beau Bridges for a swell one-shot on the Closer. Best Guest ACtress isn't as flashy, but we still have Sissy Spacek, the one good thing about Big Love this season, Elizabeth Mitchell for Lost, Lily Tomlin for Damages, and Ann Margaret for Law and Order:SVU. I'd pay to see who comes out on top in either of those matchups. . Comedy isn't as flashy, but with Neil Patrick Harris, Kristin Chenowith, Christine Baranski, Jane Lynch, Jon Hamm all double dipping, they'd have some reason to watch. I know it ain't gonna happen, but the show could be so much more fun.

Out of their grooves---- And with this influx of new blood, the Emmys seem to have shaken some habits that I have been wishing they'd break for years. Finally, Grey's Anatomy, House, and Entourage are out of the Emmy Gods systems after years of diminishign returns. Maybe we can have some proof that the awards aren't stuck in a five years ago. And in the ultimate screw you, Conan O'Brian got nominated for the Tonight Show, and Jay Leno didn't. Conan if you win anything August 29, just say something like: "I would like to thank NBC for all the faith they had in us." Though personally I'll be routing for Bill Maher or Stephen Colbert.

That's it for recognition. Next post, I'll discuss some of the biggest snubs. (Treme, anyone?)

The Final Five. I thought quite a bit over these

2010-07-07T21:00:00.000-07:00

It's taken me nearly six months, but I've finally reached the end of this list. Glad that I did it, but I really want to hear is how horribly you disagree with me, or which ones I left out. For several of these shows, I could have picked multiple episodes, but I tried to find the one that may have had the greatest impact. You've got any better ideas, let me have it

24--- Day 5: 6:00 P.M.-7:00 P.M.
This one probably presented the greatest challenge of all the shows: how do you pick the best from what is essentially eight different shows? And how do you choose an episode from one where every piece is integral to overall effect? You choose the one that has the moment that probably resonated more in the middle of what the series greatest day. We see the Vice President arrive on the scene raised to appear to be the probable villain. You put Jack Bauer in the same room with the daughter he betrayed when he faked his own death nearly eighteen months earlier. You make one of the most insidious attacks on the most daring group of terrorist--- CTU's been attacked from within and without, but never quite like this. And then you kill everyone with nerve gas --- including one particular CTU tech. Considering how many regulars the creators had axed so far this season (people we'd known for longer and were more invested in) it's surprising that chubby Edgar Stiles who we hardly know really meant so much to us. Perhaps it's just the way he dies--- his running on to the scene with no way of escape, his slow little cough as he doubles over, and the horrified expression on Chloe O'Brian's face as this man she feuded with dies right in front of her eyes. Her look made that scene. We didn't need the ticking clock to go silent; her look was so devestating that it really said it all.

Lost --- There's No Place Like Home, Part 2 and 3
Say what you will about the last episode--- the finales that Carlton Cuse and Damon Lindelof designed for this jigsaw of a show were positively brilliant, and this one shined brighter than most. We thought that rescue had come for some of the Oceanic survivors, instead all it seemed to bring was death, but there were so many set pieces Sawyer's swan dive of the helicopter to allow his fellow passengers to be rescued, Ben's act of revenge against the mercenary who killed his daughter, the helicopter flying off the freighter just in time for Sun to (apparently) see her husband get blown to smithereens--- all of this shock, balanced by the awe when Desmond was reunited with his beloved Penelope after nearly eight years, the apparent moving of the island (still not sure where it actually went) and, oh yeah, the revelation that in the future John Locke was the man in the coffin. All of this seems byzantine when I describe it (and believe me, even when you know what's happening , it's still confusing) but this demonstrated better than any other how remarkable an accomplishment Lost truly was. Even knowing the ultimate fate of all the characters that were involved, it's still a hell of a shock and watching it blows my mind and brings a tear to the eye. Episodes like this are why we watch series like Lost in the first place.

Buffy the Vampire Slayer --- Hush
There are at least six or seven episodes of this series that register as some of the most landmark in television, so choosing this one--- the only one of this series to even earn an Emmy nomination --- may seem a bit obvious. But it's not just that Joss Whedon elected to due an episode of his series without dialogue for nearly forty minutes. It's that he elected to do this series--- where the rapid fire repartee was ninety percent of thefun--- without dialogue. Amazingly, none of the series trademark humor got sacrificed--- there are at least a dozen brilliant sight gags locating throughout the episode. It also happened to have one of the scariest standalone monsters--- the Gentlemen, with faces that looked like they were right out of German horror films. This also celebrates the introduction of Tara, the shy little woman who would become Willow's greatest love, and finally reveal the exsistence of the Initiative, which has been stalking Buffy since the beginning of Season 4. And considering how much of the brilliance of this show centers around the general kick-ass nature of the heroines, it's rather ironic that the key to stopping what was the most dangerous threat was a woman's scream. This was a landmark episode, and demonstrated why Joss and Sarah Michelle Gellar should have been wracking up an Emmy a year. Another blog.

The Wire --- Middle Ground
This is an even harder pick than 24. How do you separate a show that tells so many intricate interlocking stories with so many characters, and then try to pick out one that is the most amazing. That may have been one of the reasons this show got even less Emmy love than Buffy. Watching Major Colvin try to justify the establishment of a drug free zone than led to a major reduction of crime is hard enough because even though it worked, the city councilman he's selling it to will deliver enough information to bury it and him. The case to try and bring down Stringer Bell--- an investigation that essentially had to have the Major Case Squad sell pre-tapped cell phones to a bunch of drug dealers is creative marketing, to the say the least. But what makes this episode last in the mind is Stringer Bell's fate. For years, he's been trying to negotiate a middle path to sell drugs with less death. He believes every solution can be solved with money. Which is why there's something tragic about his eventually dying by being in a situation with the bloodthirsty Omar Little that he just can't negotiate out of. The best laid plans of mice and Baltimore detectives are not able to get him in jail in time to stop him from meeting his fate at the end of two shotguns. And the fact that so many fans of the show were horrified that this murderous, cold-blooded drug dealer met his end just goes to show how brilliant David Simon is as a writer. There is no good and evil in the world of The Wire, and the fact that Simon thinks both Bell and Colvin's approaches might have merit in this world, only guarantees that they will be ground into dirt by the system they are both locked into.

Homicide --- Crosetti
Another flashpoint for debate--- this police drama was the best television of the nineties. And even though it should so many episodes demonstrating the effect of murder, none-- not even their billiant 'Subway' episode in 1997, matched the power of this earleir episode. Detective Crosetti hasn't come back from a supposed vacation in Atlantic City. Which is why it comes as a huge shock that a bloated, waterlogged corpse dragged out of the harbor belongs to the detective. Everyone in Homicide knows what has happened, but Meldrick Lewis can not accept that his partner has killed himself. He spends most of the episode trying to convince all of Crosetti's associates that he was all right, while Stan Bolander tries to convince him otherwise. The moment when the autopsy's results are revealed finally break him, and leads to a wrenching moment of agony for everybody. The rest of the episode is dealt with what seems to be part of the mundane, Lieutenant Giardello trying to get an honor guard for his fallen detective, and ultimately failing, Munch trying to get a coffin from his undertaker brother, Pembleton and Bayliss trying to buy cookies for the wake. All of this is balanced by Frank Pembeleton (the peerless Andre Braugher) appearing to act like a self-righteous jerk for almost the entire episode, refusing to go to church because of his own personal antagonism towards God. Which makes the last two minutes of this episode so moving. As the funeral procession walks by the Homicide Unit, standing there is Pembleton in full uniform, performing a one-man honor guard. No matter how many times I watch this episode, I can't see the last couple of scenes without crying. I've seen a lot of beloved characters deis on TV (many of them mentioned in these posting, but this one, more than any of the others hits the hardest. It's been over sixteen years since I first saw it, but it's still arguably the most wrenching moment I've ever seen.

Please by all means tell me how wrong I am. Tomorrow I will be ranting (or cheering) at this year Emmy nominations. Stay tuned to this site for more diatribes

The Top ten of the Past 20

2010-07-05T20:58:00.000-07:00

Well, it's taken me nearly three months to get here, but I finally made it ---- the top ten TV episodes that, in my mind, are the high points of television in the past twenty years.. I don't know if I'll take the same kind of heat that TV Guide does (unlikely, even I'm not egocentric enough to think I've that big) I am just a humble scribe who has watched a LOT of TV in his life. I welcome any other opinions, or really justa response or too.

OK. I've stalled long enough. Here goes.

Mad Men ---- The Grown Ups
The minute I learned that Season 3 was going to take place in 1963 (and that Roger Sterling's daughter was going to get married in November) I knew they were going to interesect with the Kennedy assassination. It's one thing to know it; it's another to see it. Watching these characters (most of whom are rock ribbed Republicans) deal with perhaps the seminal event of the 20th Century was stunning. Seeing them crowd around the TV's, watching Sterling's wedding going on with only half the usual attendance--- it was mesmerizing. One of the key moments came when Pete's wife said: "I don't care what you're politics are --- you don't kill the President"--- we know how people can say something like this, because tragedy causes us to say things we know sound idiotic. This was a realism I hadn't expected, even from this show. And watching the Draper's marriage (which had been hanging by a thread all season) finally implode gave us a chance to see Jon Hamm and the criminally undervalued January Jones do some of their finest work in a year which had already demonstrated Emmy caliber work. Other episodes have gotten more publicity, but this one shown t he brightest

The Simpsons --- 22 Short Films About Springfield
It's been on the air at least five or six years too long, but it has produced some of the most endearing image in TV comedy. And no other episode demonstrate the true depth of the shows depth then this little gem. Taken as a riff on all of the background characters that the Simpsons has, they try to do a lot of little vignettes on how Springfield really operates. From Apu's five minute party to Mr. Burns 'helping' Smithers practically kill himself, Moe finally collecting some of Barney's 14 billion dollar bar tab only to immediately be robbed by Snake, the Tarentino like bit in the Krusty Burgers, Wiggums ineptitude even in getting runover by a hoodlum--- this demonstrates how versatile the Simpsons cast really is, even with the first family getting little more than walkons. There may have been other Simpsos that had more hysterical moments, but this one better than anything else demonstrates the quintessential Simpsons

The X-Files --- One Breath
Darin Morgan's episodes were landmarks in TV history, and rightfully so, but some of the best scripts in the shows early years were written by his brother Glen and collaborator James Wong. Few demonstrated better how clearly the X-Files would work, which is odd, because there really isn't much supenatural that's in it. Rather, it's a character piece as Scully, missing for three months is finally returned to a DC hospital, just clinging to life. The episode focuses on Mulder's desperate efforts to find out who did this, and spends almost the entire episode considering giving into his dark side. Most of the quasi-regulars on this show--- the Lone Gunmen, the Cigarette Smoking Man, Skinner, X (my favorite of all of Mulder's informants) and Maggie Scully give some of their finest performances in this episode. In the end, Mulder is left with a choice between dark and light--- he can kill the men who abducted Scully, or he can spend what might be her last night by her bed. He chooses the latter. We never know what helped Scully come back from the jaws of death, and for once, we don't need to know. And for those people who believed David Duchovny's face is unexpressionless, his look of pure joy when he hears Scully is alive speaks volumes. In that moment, I knew--- all evidence to the contrary--- Mulder was in love with Scully. Why'd it take them six more years to realize it? THat's another blog

The West Wing --- In Excelsius Deo
The Thanksgiving episodes are required viewing at my house, but the Christmas episodes of this series would lead to some of the finest moments in TV history. The majority of them would focus on the relationship between chief of staff Leo and his deputy Josh. Knowing a scandal is coming involving Leo, Josh tries to run a counterstrike by going to a friend of Sam's who's is also a call girl. Leo tells him not to, Sam tells him not to, Josh does it anyway, the girl chews him out royally, and later Leo does the same. But when Josh asks if this was supposed to mean something, Leo said: "It did." These are two people who will go to the ends of the earth for each other. Of course the meat of this episode occurs when Toby gets a call from the DC polcie and learns a homeless man has died wearing a coat he gave to Goodwill. The normally stoic Toby goes into this, learns he was a Korean war vet, and uses his power to give him a military burial. The final sequence, intercutting that funeral with Little Drummer Boy, may have been the finest the show ever did, and still raises a lump in my throat every time I watch it. Plus CJ learns her Secret Service names is Flamingo, Donna tries to get Josh to go Christmas shopping for her, and the President visits a rare book store. Really you couldn't ask for more from this series, and Aaron Sorkin did his damnedest to give it to us.

Frasier ---- An Affair to Forget
I'll probaby get derided by this til the day I die, but I've always held that this show--- not Seinfeld, not Friends, not Everybody Loves Raymond--- was the funniest show of the 90s. It hat a slightly higher intellectual tone that other shows didn't, while constantly putting its characters through situations that could only be described as pure farce. No episode demonstrated this better than this one where Frasier comes to believe that Niles' never-to-be-seen wife Maris is having an affair with a Bavarian fencing instructor. Frasier goes to extremes to keep this from Niles, but their maids trouble with pronouns and a sensory deprivation tank leads to the truth coming out. Urged on by Martin, Niles tries to engage in a fight with him--- only to learn he speaks no English. This leaders to the maid translating the instructors German into Spanish, which Frasier ends up translating into English. The two engage in a duel after Niles insults him to the following brilliant exchange--- Niles: En garde! Frasier: Oh yes, that's all we needed: a fourth language! There have been brilliant comic moments on almost every season of this spinoff, but none matched the pure comedy gold of this episode. David Hyde-Pierce, please come back to TV

Tomorrow, the final five. ALmost there now.

Said I'd Finish it And I will

2010-06-26T20:02:00.000-07:00

Many moons ago I started this site with an intent to name the 50 greatest episodes on TV in the last 20 years. Truth is, the closer you get to greatness the harder it is to measure up, and I've been trying to pick and choose. After several weeks and some analysis, I think I've finally narrowed it down.

So here, in no particular order, are the next five:

Quantum Leap --- Lee Harvey Oswald
Perhaps naturally enough, because it was the seminal event of an entire generation, the events surrounding JFK's assassination are at the heart of two of them. I've always had a soft spot for this show, and I've always considered this episode, it's finest hour. For the first time, Sam leaps into a 'famous' person, and there's a good chance that he's not alone this time We see Oswald in the midst of his long path, and watching Sam become more intermeshed is one of the most frightening events the series did. We see that Sam come this close to committing the ultimate horror, only to fail in the last minute. This takes the more frightening, and (at least in the shows creators mind) more plausible scenario that Oswald was the sole orchestrator of the events of November 22, 1963, and it is by far the most realistic look (from an erstwhile scifi show!).

Once and Again ---- Let's Spend the Night Together
Never mind all the sex and lust that pervade cable about having a relationship. This unjustly ratings deprived so by TV geniuses Edward Zwick and Marshall Herskowitz depicted romance in one of the most realistic ways I've ever seen on any medium. Watching Sela Ward and Billy Campbell as two forty-something divorced parents trying to give love a second chance led to some fairly genius work, and this episode demonstrated how great it could be. Watching them wind their way to their first sexual encounter was good enough, but the last ten minutes are among the most realistically sexual--- and romantic--- moments of TV relationships I've ever seen. It had a good run, considering its ratings, but shows like this don't come around as often as this.

Picket Fences --- The Dancing Bandit
I'd have a special place in my heart for this series even if it wasn't for, a bright shining moment, one of the truly great series of all times. I was fourteen when this episode aired, and found the stories and the character of Marlee Matlin's 'Dancing Bandit' bank robber so engaging, that I started watching this series regularly the following week--- this is the wellspring of my fascination with great television. But even seperate my feelings, this was a great show as David E. Kelley would for the first time demonstrate the true power of his genius. If nothing else this show demonstrated what a brilliant actress Matlin is --- it's hard to imagine some shows without her. This was a great moment in a fine series, and hopefeully, it'll make it to DVD someday

30 Rock --- Rosemary's Baby
Pretty much any episode from Tina Fey's laugh a second series is a masterpiece, but this diamond shown more brightly than most. I'm not sure which plotline is more side-splitting--- Liz getting in an argument with Jack, and leaving the show to write with her favorite idol--- only to realize in the past twenty years, she's gone completely round the bend, or Tracy's decision to take up dogfighting that leads to his therapy session, which leads to Alec Baldwin's hilarious reenactment of the Jordan household in the wildest group therapy session you'll ever see. And we know watching Carrie Fisher that she was going to send up Star Wars somehow, but the waY she does it--- that's comedy genius.

L.A. Law --- God Rest Ye Little Gentlemen
Technically, I shouldn't be counting this because I only watched it in syndication, but that doesn't change the fact that it was one of the formative shows of TV history, and this episode has a good measure of why it was. Of particular interest is Victor's case involving a doctor suffering with Elephant Man's disease. He's on the wrong side for once, and it's interesting to watch the show from that perspective. Or you can just watch Jon Glover's Emmy-nominated performance,; same difference. From watching the death of Roxanne's father (a good one, as he was spared the tortures of Alzheimers) to the annual Christamas party, this episode is one of the few that shows genuinely at peace with eac other. Which is good, because Rosalind Shays is about to reenter their lives, and once they do, disorder and chaso will shake the firm to it's foundation.

Stay tuned for the last ten episodes. Some real greats among them.

Emmy Posts --- Part 2

2010-06-16T20:52:00.000-07:00

Sorry for the delay--- Here is my second round of Emmy Picks, the comedies this time

Best Comedy
30 Rock --- Four years in, and it still sparkles like a diamond. What do they need to get viewers, have all musical episodes?

Glee --- Take away the fact that it's a phonemon, and you'd still have one of the best shows on TV. Never has being a loser been so much delightful.

How I Met Your Mother --- I wish that Ted would hurry up and meet her, but the byplay between the basic five characters is so brilliant, I could still wait forever.

Modern Family --- Any other year, this would have been the breakout show. It still features one of the best group of comic actors I've ever seen

Nurse Jackie --- This is the Showtime dramedy that deserves to be recognized because it is funny and as addictive as, well, a snort full of Percocet. Don't ever change, Jackie

The Office ---- Still funny after all these years. What else do I need to say?

Best Actor, Comedy

Alec Baldwin, 30 Rock --- Does everything on this show but sing and dance, and I'm pretty convinced he could do that, too.

Steve Carell, The Office --- Considering that next year may be the sitcoms final taste, we might want to consider honoring him for six years of awkward genius.

Larry David, Curb Your Enthusiasm--- I liked the Seinfeld storyline too, but this guys quirks still make this show shine after nearly a decade.

Matthew Morrison, Glee --- I've loved watching him thrill all season, and he can do anything to make us laugh.

Jim Parsons, The Big Bang Theory --- This is the Jim Lorre performer who should be recognized for his skill. Let's hope the focus is off Charlie Sheen.

Tony Shalhoub, Monk --- Never much cared for it, but I have to admit his work in the final two episodes was a good mix of comedy and drama as it promised all those years ago

Best Actress

Toni Colette, United States of Tara --- Showtime is where all of the abrasive, complex woman hang out, and watching Tara deal with all her crisis --- and two more personalities is always fun.

Courtney Cox, Cougar Town -- Forget the icky title, and revel in her glory. Besides, we owe her for ignoring her decade of work at Friends

Edie Falco, Nurse Jackie --- A character with bigger issues that Carmela Soprano? Only she could have played Jackie Peyton, even though she'll have to buy a new trophy case for the prizes she'll win here.

Tina Fey, 30 Rock --- Oh, Liz Lemon, will you ever find love? Or relative normality? She hasn't changed in four season, to which I can only say huzzah

Julia Louis-Dreyfuss, The New Adventures of Old Christine --- This was a good show that deserved a better fate. Let's hope she's around for one last bow.

Lea Michelle, Glee --- Rachel can fill up a room just by being there, and watching her perform is astounding. She deserves to be recognized.

Best Supporting Actor

Chris Coifer, Glee --- The show's secret weapon. He's a great performer and comic, but the most marvelous moments of this series have come between Kurt and his fathers relationship, any one of which was Emmy worthy

Neil Patrick Harris, How I Met Your Mother --- This guy can sing and dance. And host award shows. And made one of the most indelible characters on the TV landscape. Will the fourth time be the charm?

Tracy Morgan, 30 Rock --- It's not easy to play things as daffy as he can. This guy deserves as much credit for this shows working as Baldwin and Fey. How else is he going to complete his GOTE?

Kevin McHale, Glee--- Doesn't take center stage often enough, but when we watch Artie, the heart melts. He's a lot more than the guy in the wheelchair

Ed O'Neill, Modern Family--- Any member of this cast is brilliant, but I've been in this guys corner since Married With Children. This is another perfect marriage between show and actor.

Rainn Wilson, The Office --- You can never have too much Dwight Schrute.

Best Supporting Actress

Diana Agron, Glee --- If you watch the show from Pilot to Season end, Quinn took the greatest journey of any character this year. This is a woman with a lot of range.

Eve Best, Nurse Jackie --- It's not easy to steal scenes from Edie Falco and Anna Deveare Smith, but this doctor can do it. She's a diamond in the rough, this one.

Julie Bowen, Modern Family --- Again this is a personal preference--- the whole cast is brilliant, but I've been a fan of hers through four different TV shows. She deserves to be recognized for her work sometime

Jane Krakowski, 30 Rock --- Has been at the top of her game for four years, and her romance was one of the most screamingly funny highlights of the show.

Jane Lynch, Glee --- The most stunning character of a great cast. She's deserved this nod from the first time we saw here. That's not just how Sue sees it.

Amber Riley, Glee --- No shrinking violet, Mercedes has owned the stage every time she steps on it. There are going to be a lot of awards in this woman's future.

Tune in to this blog soon, when I will discuss a couple of more shows to disappear prematurely from the screen this season.

Emmy Posts--- Supporting ACtors

2010-06-09T21:43:00.000-07:00

Best Supporting Actor, Drama

Nestor Carbonell, Lost --- I didn't think he had a brilliant performance in him, but seeing the epic story of the islands ageless wonder was probably the highlight of a strong season. There's a reason I'll miss Lost

John Goodman, Treme--- There's a lot of talent on this show, but so far, watching this embattled New Orleans writers struggle with his book while ranting about New Orleans n YouTube are among the high points of this series.

John Lithgow, Dexter --- He's played psychos before, but rarely one quite like Arthur Richmond, aka Trinity. And the episode where he walked into Miami Metro, saw the photos of his victims, and just... smiled. Most chilling scene of the season. It's been six months and I still can't get it out of my head

Chris Noth, The Good Wife--- The 'bad husband', its been fascinating watching Noth play a character with a little sleaze in him for once. Sometimes I care more about his election than Alicia's casework, and I'm not alone.

John Noble, Fringe --- Long shot, I know, but his stunning performance in the episode where Walter lost his son, and the finale where we finally met the Walternate probably the most brilliant work of an already strong series.

Martin Short, Damages --- He can do a serious role, and because the character he played was putting on a performance of his own, that gives us another reason to revel in this evil lawyers schemes.

Best Supporting Actress

Christine Baranski, The Good Wife--- Took what could have been a cliched part and has really made it her own. Deserves to have credit for this next to all the nominations she's gotten for playing comedy.

Rose Byrne, Damages --- This season Ellen dealt with some pretty big demons of her own, on top of her dance with Patty. If this is the series last hurrah, let's give her the love she deserves

Cherry Jones, 24--- Not as good as the last year; watching the final eight episodes and her moral collapse was mesmerizing. Just another example of when bad things happen to good presidents

Melissa Leo, Treme--- Don't get me wrong; Khandi Alexander and Kim Dickens are brilliant too, but watching Leo's lawyer try to get through the morass of the New Orleans justic system is one hell of a windmill to tilt at it. Besides, I've been a fan of hers since Homicide; she deserves a nomination for something.

Elisabeth Moss, Mad Men --- Always fascinating to watch, at the rate she's going, Peggy will be the head of her own agency by the end of the 60's. She can do just about anything

Lily Tomlin, Damages --- Watching the Tobin matriarch preside over a crumbling family situation while trying to hold on to her money and dignity was quite memorable, particularly when it became clear thats she couldn't. And she's never won for any major show. Sensing a theme?

Tomorrow, I take up the comedies.

The Season is Over-- Emmy Time begins

2010-06-09T21:09:00.000-07:00

It's been another good year for TV--- Jay Leno wars at NBC non-withstanding. And now we've reached the time of year that often fills me with the most anticipation--- the period where the Academy of Television Arts and Sciences gives its picks for this years Emmy nominations.

Now I know that while this organization is supposed to celebrate the best and the brightest, it has a nasty habit of ignoring quiet great shows for flashier, birghter show, and the better shows are usually ignored. (For my first witness, I call Joss Whedon) But they've shown better sense the last few years with gives me hope that might be refocused. And this season will give them a chance to make up for some past slights.

So here are the shows and actors that I think should be nominated this year, along with my logic. Because this is a big project I'll do it in two posts

First, the Dramas

Damages --- I still don't know if this show has a future, but it doesn't change the fact that this may have been its finest season. This show has redefined what a legal drama can do.

Dexter--- This show gets better with every year. And this season dealing with the Trinity Killer may have presented us with Dexter Morgan's most worthy adversary. Plus the finale still has me reeling.

The Good Wife -- Just when you thought there were no good courtroom dramas anymore, this show comes back to redefine both legal and political drama. This has a formidable future ahead of it

Lost --- Even if you had a problem with the final episode, it doesn't change the fact that this magical mystery tour ended stronger than any other series before it. And it deserves to be honor for its superb six years on the air

Mad Men--- I don't know what there is that's left to say about this show that hasn't been said before, save that watching the Drapers marriage implode while simultaneously dealing with JFK's assassination was a landmark episode even for a series which sets the bar high each year. And that wasn't even their finest hour this year.

Treme--- All right, it's not as good as The Wire, but David Simon's latest series demonstrates that he truly is one of the most important writers of any generation. And honoring him for this would make up for ignoring him twice before.

Best Actor, Drama

Matthew Fox, Lost--- His work on this series was always excellent, but he surpassed it this year. Considering he will probably never do another show, we should honor one of the most undervalued actors in one of TV's finest shows

Michael C. Hall, Dexter --- I thought that there wasn't anything that Dexter could do that could surprise me. But watching Dexter's confrontation with Trinity and it's immediate aftermath was devestating. I still get shakes thinking about i

Jon Hamm, Mad Men --- The real man in the grey flannel suit, he dealt with the loss of his liberty, the revelation of his true identity, the death of his marriage, and started a new Sterling Cooper. What the hell does he have to do to get an Emmy?

Peter Krause, Parenthood --- This generation's Henry Fonda, his dignified work on this rapidly improving series is special. Three brilliant series, no Emmy love: come on

Hugh Laurie, House -- Turns out House off Vicodin is just as fascinating on Vicodin. He alone makes this fading series engaging six years later

Kiefer Sutherland, 24 --- This is a sentimental favorite, but come on, watching Jack Bauer on a vengeance kick showed us why we followed him for the last nine years.

Best Actress, Drama
Glenn Close Damages -- What can I say about her that hasn't been said the last three years?

Lauren Graham, Parenthood--- Her work on this series isn't quite as good as it was on Gilmore Girls, but give her time. She may not have been the first choice for the role, but it's hard to believe it now

Holly Hunter, Saving Grace --- Why are they killing this show after just three seasons? This may be the last chance we get to honor the most gutty policewoman on TV.

January Jones, Mad Men-- Frankly, she should have gotten a nomination the last two years, and her work was not significantly better than it was this year. That's how high she sets the bar. Betty Draper may never find happiness, but we do just watching her.

Julianna Marguilies, The Good Wife --- It's hard to believe, but Alicia Florrick makes all those years being the heart of ER seem like she was being underutilized. The heavy favoritr.

Kyra Sedgwick, The Closer--- I actually feel sorry for some of the murderers that Brenda Leigh Johnson interrogates. And I feel for someone who is so fixed in her routines she can't bear to witness her cat be put down. These are the reasons I love her.

Finding a way to fill the gap

2010-05-31T20:46:00.000-07:00

As I posted on my blog last week between 9PM last Sunday and 11 PM last Monday, we lsot three of the most signifcant shows in Television history--- Lost, 24 , and Law & Order. I feel it's now in my interest to recite a little eulogy.

For one hundred and seventeen episodes (I may be counting wrong; I'd appreciate it if someone checked my math) Lost was one oft he most brilliantly written, superbly acted, and masterfully composed series in television history. The final two hours will probably stand as the most polarizing moment in the history of any medium, probably for decades. The very fact that so many people are disappointed or up in arms over it (and I'm one of them, let me be clear) just goes to show what a niche in our world that this show has left us with.

Let's be honest. No matter what Damon and Carlton wrote for the final episode, somebody was going to be upset. I am reminded of the dismay that millions no doubt felt with Stephen King completed the final book of his Dark Tower series. In a sense Damon and Carlton were telling us the truth when they said that the answers were never going to be fully satisfying. Cause it always is about the journey and not the destination. I'm upset, not because of what we finally learned about the sideways world, or that the island's secrets never were truly revealed (though I am) but also because I'm never going to see John Locke or Desmond or Hurley or any of the two dozen memorable characters that were created. These people had a place in our lives for six years, and we're going to miss them no matter what we saw of their fates. I watched the final episodes with tears in my eyes before the ending, and even though I did feeled a little cheated, the tears were genuine regardless.

I don't know what Nikki's opinion of 24 was (probably not high enough if it wasn't posting on her site) but in many ways, I thought that it's departure was ironically a little more satisfying. Were the final few hours as preposterously unbelievable as just about everything else that happened during the eight days we watched CTU and Jack Bauer? Of course they were. They gave up plausibility years ago. And considering the political implications of the series (which I found silly, I'm on the complete opposite of the political spectrum than many fans, and I found it appointment television for eight years) I imagine it's appeal has certain limitations. But it was always fascinating to watch the byzantine plots unfold, the tension held within the corridors of powers, and the always spot on work of Kiefer Sutherland, who now may be considered the Clint Eastwood of this generation. Didn't matter how horrible the threat, you could count on him to come through for the good guys. Lost may have had things done in a gray area more then any other series, but 24 got there first, and in many ways, did it better.

And now that they're gone, I suspect we will no longer any attempts to duplicate the idea of serialized mysteries. Which in it's own way is a pity. I may not have liked everything about Invasion or Flashforward or The Nine, but at least these were stories that seemed determine to twist the limits of imagination. I'd rather have that then a dozen more spinoffs of CSI. But all of these series failed. ANd not that the inspirations are gone, I seriously doubt will ever see another series like them. And that's a real blow to TV no matter what you thought of them. We need more series that task the mind.

I may have mocked Law & Order to just about everybody, I may have thought that their last seven or eight seasons were basically examples of cutting and pasting headlines into a formula, and I may not be happy that we keep getting spinoffs that greatly dilute from the original, but that doesn'[t change the fact that for nearly a decade it was one of the most brilliant shows on TV. There may have been so many cast changes that the actors may have seemed irrelevant, but I'll always remember certain aspects of the permormers--- Chris Noth tormented Mike Logan's calm approach to talking to criminals, Jerry Orbach's bitter sarcasm, the way that the cool Michael Moriarity cross examined suspects using 'sir' to show his complete disdain for them, Steven Hill's quiet dignity as he tried to negotiate justice and politics watching his ADA's run rampant. This show was about underplaying, a skill that one now finds mainly on cable Telvision these days, and the cast were masters of it from top to bottom. Should it have been on as long as it was? Probably not. Did it deserve a much better treatment from NBC than it ended up getting? Definitely.

This a great era for television. There are at least a dozen series on TV that feature some writign and acting that is among the best it's ever been. I wouldn't call it a golden age, but silver--- definitely. But these shows were among the benchmarks for what could be achieved when you had all that talent in the right places, when things fired on all cylinders The voids these series left will no doubt be filled with time. In the meantime, we should give a moment of appreciation for these series and what they did for all of us.

Reeling After Lost--- Nikki, try and read this

2010-05-23T21:16:00.000-07:00

I feel so... so...

I'm going to be going through my own form of withdrawal, so maybe I'm not in the best frame of mind to write this. But Nikki isn't going to be posting on this site until tomorrow at the earliest, and by then, I'll be going through more withdrawal because 24 will be going through it's final episodes, and then I have to get ready for Saving Grace, which begins it's final episodes this Monday. I don't know if Damages has a future, and Law & Order will be finished, though given its rerun quantities, we'll never see the last of that. We're losing a lot of good shows this year.

I watched the last 2 hours and thirty minutes of Lost in a semi-daze, my Lost action figures around me. Now I'm the kind of person who mists up over the smallest things on TV --- there are moments on Scrubs that make me weepy, so I may not be the best person to judge. But I spent half of the first two hours in tears. Part of it was seeing all the characters, most of whom I'd grown very fond of, for the last time.

But part of it was because, Nikki, you were right--- this show DID come down to love. All through the night, we watched character after character finally find their balance as they reunited with the piece in their life that made them whole--- Sun and Jin, their child, Kate and Claire, Aaron, Sayid and Shannon, Sawyer and Juliet, Locke seeing his foot move. All of these moments made me weak at the knees because if all the characters had pieces missing (as Jacob implies in the previous episode) they were all finding it. And I thought maybe that's what the sideways world was for

And the parts of the episode on the island seemed to work well, also. Ben's backhandedness being the element that saved the castaways,, Richard and Frank being found alive (I knew it in Frank's case) the final arrival of the volcano (cause nothing else makes it shake like that) Kate finally choosing between Jack and Sawyer--- and then having that choice thrown back in her face. Jack's final confrontation with Desmond, seeing Bernard and Rose one last time. My own highlight was seeing Desmond confront Mrs. Hawking and give her the verbal smackdown she's deserved sinces 'FLashes Before Her Eyes'.

For two hours the show was working nearly perfectly. It was even running smoothly when Locke got out of his wheelchair after one final conversation where he and Ben finally made peace. And then came those last ten minutes--- Jack coming out of the water on the island, and finally confronting his father, finally getting the peace that he deserved.

So what was my problem? They never explained to the best of my satisfaction what that world was. Was it somehow Jack's perception of what the world was? Was it some kind of heaven? Somehow that doesn't work because it didn't explain why the last few people who flew off the island were. Was this some kind of reward for finally passing the islands test? Did that mean he survived? And was it really that easy to kill the Man in Black? Why did a bullet work where before it failed?

What dissastisfied me was that so many other parts of the character's fates worked so well. Kate convincing Claire to get off the island, Hurley finally choosing Ben to help him make his number two. Bernard and Rose, still alive after all these years, and we know that there is still a way to reunite Des with his Penny. The show was running all sevens for the last couple hours, and then they seemed to fumble on the goal line And while the final shot was symmetrical (and it did make sense that Vincent was there) I don't know if it really satsified.

Does this episode mean that the journey was a waste of time? Of course not. The acting to the end remained flawless, and it was so wonderful to see all our old friends listed on the credits one last time. Damon and Carlton have done such a superb job this season, and they managed to succeed so much better than where other shows like X-Files had failed. It's just that I feel the show worked so brilliantly, and all we needed to make it perfect was maybe one more line of dialogue, and I'd have been able to say: they did it. They managed to meet our wildest expectations. Maybe then I'd have been able to get something I had hoped for--- closure. But then again, considering the nature of Lost, maybe we'd never get that.

Found ---- The Best Episodes of Lost

2010-05-22T20:26:00.000-07:00

Not long ago, I posed the question to people on this website: what do you consider the greatest episodes of Lost? Depending on how the show wraps up tomorrow, I may have some radically different answers. For now, her are my choice for the favorite episode of every season. These aren't necessarily the best episodes ever --- they're just the ones that made me realize how great a series this was.

Season 1: Walkabout
Yes, the Pilot was awe-inspiring, brilliant and budget-breaking, but despite all the things that happened, when it was over, I was still somewhat uncommitted to the series. When I saw 'Walkabout'--- especially the last two minutes--- I said to myself "I'm in. As long as the writers produce like this, I'm in." The first of a long series of brilliant performances by Terry O'Quinn, he introduced us to the quite fascinating John Locke, and made him a character we cared about. The final minutes of this episodes are one of the greatest twist endings of all time. Both O'Quinn and the episode should've won Emmys.

Season 2 --- The 23rd Psalm
Eko was one of favorite characters on this show, and I was devastated when he was killed. Not only did this episode almost tell a complete story from beginning to end, and link it to something that we had seen before, it also gave us our first real look at the monster. When Eko stared it in the face, it retreated, which leads me to believe that he might really have been a candidate had he survived. The acting and writing is stunning, and it reached a level that Lost hit far less often in season 2

Season 3 --- The Man Behind the Curtain
Nothing against 'Flashes Before Your Eyes' and 'Through the Looking Glass', but Ben Linus has always been one of the most brilliant villains in television history. This episode was the first really to suggest that he wasn't always that way. We also get our first real look at the Dharma Initiative, as well as the Purge. And then there's Ben, Locke and the cabin (even though it wasn't what we thought it was) I only wish we'd resolved who Annie was, but that's one mystery I wouldn't mind being left unsolved

Season 4 --- The Constant
All right, it 's a cliche, but this was probably the most mind-bending episodes this series ever did. The first to suggest that time travel was going to play a role in the series, it established a link between those eccentrics Desmond and Daniel. But we all know that the real reason we love this episode is the last couple of minutes when Desmond and his beloved Penny finally talk to each other for the first time in four years. Their love story is one in a million, and I really hope that the writers allow it a happy ending.

Season 5 --- The Life and Death of Jeremy Bentham
The backstory between Locke and his trip back to try and convince the Oceanic 6 the return to the island. It demonstrates once again how often he fails when his faith deserts him. It shows him getting stuck between Widmore and Ben, until the last minutes when he ends up become the latest casualty in their decades long war. What's sad is that this may have been the last time we ever really saw John Locke. I really hope that this isn't the case for the finale.

Season 6 --- Ab Aeterno
They've almost all been winners in the final season, but this last real flashback episode answered so many of the questions we've had for years--- what happened to the statue, how the Black Rock ended up in the jungle, and how the ageless wonder Richard Alpert ended up the way he is. Nestor Carbonell was magnificent in this episode, which also featured another look at Jacob and his nemesis. I really think that Richard is still alive, and that he has a much bigger part to play in the finale.

Hit or Myth-- Why we May Never See A Show Like Lost Again

2010-05-11T22:39:00.000-07:00

In May 2010, as has been pre-arranged by the creators of the show, ABC's Lost will air it's final episodes. Similarly, the heads of the network will determine whether or not they have a series to replace it with. The odds are not good, as both of the shows they tooled for it's audience, Flashforward and V are each barely averaging around 5 million viewers per episode. Though the network may decide to spare one or the other, it seems likely that both shows will join Invasion (2005), The 9 (2006) Daybreak (2006) and Life on Mars (2008) in the increasingly crowded attic of failed mythology series--- and those were only ABC's attempts.

Perhaps ABC should have learned from the failures of Fox. For over a decade, they tried in vain to come up with a series that could attract the same market as The X-Files, often in he same Friday night time slot. Over a dozen series tried to fit in during the series nine-year run, including two series by creator Chris Carter--- Millennium, which ran from 1996-1999, supposedly to keep Carter working for the X-Files, and The Lone Gunmen, an actual spin-off that premiered by the time energy was all but bled out of the original. Even now, when they premiered Fringe, a series from Lost creator J.J. Abrams typewriter, the end result was the same---small devoted following, but no ratings smash. (Admittedly, airing it 9 P.M. Thursdays against Grey's Anatomy and CSI hasn't helped.)

While there are a lot of reasons why all of these shows never enjoyed the success that these groundbreaking shows did, perhaps these repeated failures should serve as proof of a larger truth --- the very makeup of these series are not designed for any kind of long-term success. For starters, networks no longer have the patience to let a series like X-Files premiere and slowly build up buzz. Instant success is the only option possible for any new show, or series' are tossed to a new timeslot or--- more frequently--- cancelled after a handful of episodes.

However, one could make the argument that the same success that built the X-Files eventually led to the series' imploding. When Fox moved the series from the relatively crowded Fridays to the then all-but-empty Sunday nights at 9, the series audience nearly doubled to more than 25 million viewers a week. But because of it's rating, Fox extended the life of the series long beyond the original five years Carter wanted the series to run. The more Carter tried to extend the mythology that framed it, the less fathomable it became to the average viewer. Only because of the existence of standalone episodes did the series work at all. By the time it ended its TV run in 2002, even Carter had to admit that he had "stumbled and fell" in trying to map out a path for the series to take.

Lost endured a similar arc. After the landmark first season in which the show averaged between 12 and 15 million viewers, and won the Emmy for the Best Drama, the series leapt to number one in the Nielsen ratings. But as soon as the show's ratings exploded, a huge amount of critical and fan backlash emerged, partly because new viewers were confused by the shows mysteries, and because old viewers didn't like the new pace the show had taken. Creators Carlton Cuse and Damon Lindelof eventually worked out a plan for the course of the series, but by May 2007, the ratings were little more of half of what they were.

Even mythology series considered successful only worked on a limited basis. Joss Whedon's Buffy the Vampire Slayer and Angel were big successes --- for the WB, a network whose average ratings were so low, it doesn't exist anymore. Future efforts for Fox such as Firefly and Dollhouse had ratings that by normal network standards were low, but would have been at least passable on say, the CW. Like all of Whedon's shows, it had a devoted internet fanbase, but that did not translate into the necessary audience.

Perhaps this reaches the foundation of a mythology series. Every major show has had a certain devoted fanbase that will stick with the show through thick and thin. The X-Files started average about 8 to 9 million viewers an episode, and that's roughly where it was when the series came to a conclusion. Lost's ratings have basically stuck around the same level for the past four years--- roughly 9-10 million viewers a week. They are extremely devoted fans, but the nature of the show's structure has stopped the show from ever earning new viewers each seasons, and even a slight drop each season after the early flurry of interest.

The roots of these problems with these mythology shows may fall back to all of these programs ancestors--- Twin Peaks. Recently commemorated in the media for it's twentieth anniversary, one can't help but wonder if the people at ABC really learned their lessons with this show's meteoric rise and fall. Debuting to some of the most extraordinary praise, it's ratings for it's initial eight episode run were excellent even by the higher standards of the early nineties and receiving fifteen Emmy nominations. But the buzz began to collapse after the awards, where they won only two trophies for technical awards. The reviews and ratings of the show never recovered, even after the show's central mystery---- who or what killed Laura Palmer--- was resolved. ABC would make a series of questionable programming decisions in the early nineties, but cutting a show that critics had started to openly mock seemed an easy one.

The main reason X-Files managed to avoid Twin Peaks fate was the explosion of the Internet as a place where fans of TV shows could gather. Hundreds of websites would spring up devoted to the show, and continue to flourish over eight years since the series was cancelled. In those early days, Fox was not kind to these sites, shutting many down for copyright infringement. By contrast, Lost creators would openly woo and encourage the development of similar sites, with creators Cuse and Lindelof often going online willing to discuss and enflame further mysteries of the shows with the devoted followers. Other shows creators (particularly Joss Whedon) would do the same, but with nowhere near the success that they have anywhere else.

But perhaps the real reason that mythology shows haven't succeeded as well because they expect the opposite of what conventional wisdom should work. The main reason that police procedurals like the CSI or Law & Order franchises work is because they have a formula of resolving everything in sixty minutes or less. The There is an audience out there for complicated shows with ambitious capabilities for telling a story over a period of months or even years, but historically, they've never been as large as those of more conventional shows. Why else would CSI and Grey's Anatomy have more than triple the ratings of Fringe, a dramatically superior but far more convoluted program? Critics may say these kinds of programs have inferior narratives and no direction, but maybe the answer is a lot simpler than any mystery these shows produce. The average viewer wants simpler. Successes like Lost are aberrations, not the norm, and the odds a similar success ever being developed are, well, like figuring out what is up with that island in the Pacific.

Getting Closure where we can Get it

2010-05-04T22:32:00.000-07:00

Life is not like television, where things are often shown in black and white. So those of us who watch TV to the extent that it is a large part of their life expect more out of series that they watch. We grow to like certain characters, and we become invested in their successes and their failures. And on those occasions when a beloved character dies---- something that has begun to happen more often in series produced in this century--- it can be like a death in the family, no matter how little we actually knew them. So perhaps its not unusual that when a long running series reaches its end, we hope for that rarest of things in life--- closure.

As I write this, Lost is coming to its conclusion. Millions of words have been written online and on paper trying to figure out the mysteries of this series during its six-year run. I won't deny that there are some questions about this show that I desperately would like to see answered, but there are other things I care about more. Will Desmond and Penelope live happily ever after? Will Jack finally work through the mass of complexes that have burdened him almost since the day he was born? Will Ben finally pay for the endless series of crimes he has participated in for nearly as long? Sure, I want to know what the island does and why, but after 100 plus episode, I care about these characters resolutions more than the islands.

24 is coming to an end this season as well. I have less hope that this series will be able to wrap up all of the myriad storylines it has started spinning over the last few years, and not only because each season amounts to just one day in a life. This series has generated nerve-jangling suspense and bone crunching action, but it's very concept does not lend itself to resolving the stories in the same way other series do. Characters die by the boatload on this series, but as a great playwright once penned: "Death ends a life, but it does not end a relationship." Killing a character, even when it's done well (as this show proved over and over) doesn't end the issues or fill the space that character did. That may be the real reason so many people were upset about the ending of The Sopranos. There was an awful lot of killing, but there wasn't much resolution involving Tony or either of his families.

Some long-running series provide closure in other ways. In its final season ER spent less time wrapping up the lives of the current cast, and more episodes dealing with the original cast--- I cared more that Ross and Hathaway managed to live happily ever after than I did about Neela and Ray. In that way, it modeled NBC's other great hospital drama, St. Elsewhere, which spent the last few episodes wrapping up the lives of the characters who'd been there the longest (Even if the whole series existed just in the mind of an autistic child).

And some shows can only provide closure by telling you that nothing ever really ends. At the end of Hill Street Blues, NYPD Blue and Homicide, they wrapped things up by making it clear that crime never stops, even though the people who solve it keep leaving. The Wire did it perhaps even better in its final episode, when it demonstrates that even though the players in both the crime and law change, 'the game' never ends.

I have mainly dealt with dramas in this article, but a good comic series can resolve things better. This year, Ugly Betty manage to resolve things satisfactory not only for its plucky heroine, but even for her greatest rivals at Mode (and with pleasant endings that didn't feel pat). Frasier and Friends wrapped up long runs by carefully spending a season handling all of their characters arcs. And even if their hadn't been a movie franchise, I'd say that Sex and the City managed to wrap things up for all the major characters according to each of their behaviors. That's the real reason Seinfeld's finale was such a disappointment. The show may have been about nothing, but they tried to make something out of it, and, well, we all saw the results.

No one wants to end a successful series any earlier than they have to. This can lead to endless problems in providing proper conclusions. I fear that we will never get proper resolutions for most of the characters on Grey's Anatomy. Franchises like Law & Order and CSI care little for character development by their nature. And even after some series are cancelled (mostly animated) they can find themselves revived a few years later, so resolution makes little sense. Still, I can only hope that when it's time for Gregory House to solve his last medical case, or to say goodbye to our friends at Dunder Mifflin in Scranton, that the creators of these shows realize we've come to care about these people we've let into our living rooms for a period of years, and give them to chance to leave with the same dignity they arrived.

Been awhile, so

2010-04-29T21:25:00.000-07:00

Am going to post another article some time in the next few days, so I decided I'd spend the next post putting up another of my top 50. I believe I had 20 to go.

The Sopranos --- The Pine Barrens

Okay, this is the most overrated show of all time. You can say what you want about its supposed brillaince, but it even acknowledged in its last episodes that we were basically following the activities of a sociopath and his family. Yes, there were some flashes of genius, but for the most part David Chase and his crew glorified violence and bloodshed and called it entertainment. This hour, when Paulie and Christopher routine collection of a Russian's debt goes horribly wrong, was probably it's finest hour in both comic and dramatic possibilities. But all of the joy that comes out of great television is absent with this episode. And it doesn't change the fact that none of the story possibilities opened are ever even touched on again. So why pick this (or any Sopranos episode) in the first place? Because when I saw it, I thought it was genius (I didn't really start to detest the show until Ralphie lost his head.) and there are moments that shine.But this episode is like The Sopranos as a whole, it glories in the moment, but when it's over, you're a little ashamed you watched.

Dexter --- The Getaway
Now this is how you write a brilliant series about a sociopath! Michael C. Hall always astonished me in this series, but in the season 4 finale, he deomonstrates why he is one of the best actors in Hollywood. His confrontation with the Trinity Killer (John Lithgow, who's never played a psychopath quite like this) is memorable, particularly in the final scene where Dexter seems to come to grips with who he is. His relationship with Debra seems barely shaken from the thunderous revelation about who her brother really is. But it's the final scene, where Dexter, finally seems capable of getting the happy ending we actually think that he's earned--- and then comes home to see his newborn son in the blood spatter of Rita makes us realize that he will never emerge whole. I don't know where they're going to take this series in Season 5, but this may be it's crowning achievement.

Arrested Development --- Mr. F

Oh, I loved this show so much. Why did it seem that the only people who ever watched it were me, Emmy voters, and all the TV critics. Every aspect of the show, writing,acting and narration were so brilliant , it's hard to pick a favorite. But this episode stands out in my mind not just for all these reasons--- or Charlize Theron's gem of a performance as Rita, but how it takes the most blatant of taboo of all, and turns in it to a hysterical joke. ANyone else who watched or witnessed it would think that it was offensive; I found it comic gem. I personally don't care if they ever do an movie of this show--- just the memories of it are enough even now.

Star Trek: The Next Generation ---- The Best of Both Worlds (I)

The best incarnation of the series, this is probably the best single hour that we ever saw of any of the Star Trek franchise (and it's airtime just makes the deadline) It's good to see the Borg back when they still seemed this all-encompassing threat rather than just another big monster that the writers pulled out of their hat every season. And it was a real blow to see Picard taken prisoner, leaving Riker to make the most shocking decision in the show's history. And even when he sees his former captain decked out in Borg armor, he doesn't hesitate for a moment. "Mr. Worf. Fire." Best last line of a season ever,'

NYPD Blue --- A Death in the Family

I never thought that this police drama was as good as it could be --- all of the characters talked like they were characters in a cop show, instead of actual cops. But that doesn't change the fact that, at it's peak, it was nearly perfect when it dealt with emotions. Seeing Andy Sipowicz deal with the first (of far too many) losses was one of the most painful episodes of TV i'VE seen. Even though we don't know Andy Jr, that well, the fact that everybody did, and what he was seems to cause real pain. And watching Dennis Franz going down the path that we know will eventually lead him into the bottle --- of the four Emmy's he won, this is the one he really desreved.

And now for something completely different...

2010-04-19T21:13:00.000-07:00

Going to interrupt my musings on TV for a bit. Sort of

Mad For This Kind of Action

I've always been an action figure fan. Where most people sort of manage pass the habit off by the end of their adolescence, my fascination with them lasted well into my senior year of high school. I had long since forgotten the series or games they were connected with, and used them mainly as proxies for other games that I was playing. But eventually my 'maturity' kicked in, and I left them behind.

I got out way too soon.

Action figures have never gone out of style. DC Comics, Japanese anime, fairly recent video games--- these have always been good sources for action figures. But despite the fact that television has mostly left behind the animated series market where most action figures came from, a lot of recent TV has formed the inspiration for new series.

The most prominent example of this have been series such as Buffy the Vampire Slayer, Doctor Who, and the various entries in the Star Trek franchise. But over the past few years, other series that have been more on the fringe have been appearing, and according to websites like Entertainment Earth, selling out. The new version of Battlestar Galactica is perhaps not a huge surprise; sci-fi series particularly seem to sell well. Similarly, Lost and Heroes--- shows that straddle the border between sci-fi and fantasy --- seem to have a certain market, particularly with the new versions that have come out in the last few months. But what of Dexter, which now has a complete set of Bobblehead dolls for almost every cast member? Showtime's series about America's favorite serial killer doesn't fit the "heroic" model that traditionally goes with it.

But the news that maybe the most border shattering of all came just a couple of weeks ago, when Mattel announced that Barbie will be producing four dolls from the Emmy winning series Mad Men this July.

First of all, to any man reading the article: it's time we admit an inconvenient truth. Action figures are dolls for guys. We have all this equipment and guns and weapons for them, but they're accessories in the same way that the Dream House was. We're playing with dolls, here. Deal with it.

Second, this is uncharted territory for a series that has received as many awards as Mad Men. Have any other 'traditional' drama series ever tried this kind of marketing? The Sopranos never did. West Wing never did. ER, Six Feet Under, anything David E. Kelley created? No to all three.

Considering how desperate TV bosses are to squeeze as much revenue as they can out of their franchise show, this seems to me an idea whose time is well overdue? And if a show on AMC, a network which has been lurking in the shadows on basic cable, can inspire this kind of artistic frission between television and products, why can't the networks jump on this?

Consider the possibilities. Grey's Anatomy has enough popularity that I'm sure there enough women who want their own McDreamy doll. (I hear that there's a Patrick Dempsey figure inspired from the Disney film enchanted that's already been a big seller.) CSI and Law & Order have inspired computer games, and have had enough actors on their shows to keep manufacturing companies in business for years. (And that's without going into either of the two spinoffs each show has inspired.) The sitcom market is less inventive, but considering the success of The Office series of bobbleheads, this might be just the thing that helps comedies like Modern Family enter the mainstream. (It's cast is certainly large enough.)

This could also be useful for fringe shows that haven't quite found Nielsen Glory yet. AMC could market it's other critically acclaimed series, Breaking Bad. A high-school teacher action figure with his own (sold separately) meth lab could strike the right chord in certain markets. United States of Tara from Showtime could inspire a whole series of action figures based on all of the personalities that Toni Collette has to play. (Further inspiration for her expanding her repertoire.)

Some people might consider this "selling out" But there is something about this kind of product that appeals to the kid in me. I know that when the representatives of Sterling Cooper Advertising Agency come out in a few months time, I will be the first on my block to have some.
Even if I am still playing with dolls.

Next 5 --- Last for a bit

2010-04-12T21:14:00.000-07:00

Six Feet Under --- Everyone's Waiting
This is another of those shows which I think where the sum of its parts was far smaller than the whole. The acting was fabulous, the characters erractic. That said, the series finale is probably the benchmark of how series should end. Having seen everything the Fishers have gone through for these five seasons, showing them at the end of their lives, and (for the most part) finally having the peace that they deserved, created a final five minutes that were truly haunting. Seen independent of everything the series did, it still puts chills down my spine.

Joan of Arcadia --- Pilot
This series never got its due. It premiered with the odds stacked against it--- a teenager who talks with God?-- and CBS never marketed right. I'm amazed it managed to last two seasons. But Amber Tamblyn proved herself with the right amount of wit and verve for the subject, and made the journey through high school--- an ordeal in itself--- engaging and entertaining. By combining the show with a far more interesting police procedural than half of the shows that ended up on CBS, they utilized Joe Mantegna far better than he got on criminal minds, and a family unit that was probably the least dysfunctional on TV. I only wish we learned what it was God really wanted of Joan.

Alias --- Phase One
One of the most undervalued shows ever. Sydney Bristow was the most kick-ass female on TV since Buffy (we're getting to her) and this episode used her to the best of her abilities. But more than that, this episode demonstrated what a game changer J.J. Abrams was. ANy other writer would wrap up the action laid out in the Pilot and have a scheduled endgame. The fact that he did so halfway through Season 2--- aired right after the Super Bowl, no less!--- showed what a rule breaker he was going to be. And even if he did eventually come back to the pot a bit too often with this show, it doesn't change the fact that the last two minutes prove that he was ready to play for keeps.

Seinfeld --- The Opposite
I've already admitted I've never been wild about this show, but after years in syndication, certain episodes have begun to appeal to me. And I've got to admit that this particular episode where sad sack George finally starts to enjoy success in life by going completely against his better instincts and judgment is hysterical to watch. And his monologue where he chews out George Steinbrenner in a fashion that must have been every Yankees fans fantasy is a high point. And watching poor Elaine immediately suffer horrible reversals because of Jujyfruits to become George, well that was priceless in its own way too.

Big Love --- Come, Ye Saints
Is it possible to really like a series even when you completely disagree with the main character's motivations? I've always felt that Bill Hendrickson walked too fine a line when trying to balance his plural marriages, and this episode shows the family absolutely reeling because of the implosion of his fourth marriage. The family continues to go through a horrible breakdown that shows Paxton, Jeanne Trippelhorn, Chloe Sevigny, and the shows secret weapon Amanda Seyfried giving some of the best performances they ever gave on a show dealing with them. The last few minutes where Sarah suffers a miscarriage (perhaps because of the strain of what's happening) are absolutely devestating. And yet none of the actors or writers got an Emmy nomination for one of the best moment of that series. That's highway robbery

Next 5

2010-04-08T20:50:00.001-07:00

I'm not going to number these anymore. Realized that I was creating the kind of listing I'd started on this project to avoid.

Gilmore Girls --- Raincoats and Recipes
How do you pick the best episode in a series that (as long as the Palladino's were in charge) never seemed to miss a step? Lorelai and Rory's fast talking, hysterically, and (let's not forget) coffee fueled relationship proved that you could have a mother daughter relationship who cared about each other. This episode, at the exact midpoint of the series, may have been it's finest hour. The Dragonfly Inn opens, Emily and Richard have a breach, and Luke and Lorelai finally acknowledge what we've known since the Pilot --- they're perfect for each other. But critical was Lorelai's decision to sleep with a married Dean, the episode that would have the girls first real breach, and show that, for all their fast talking, these women were human.

The Office (American version) --- Casino Night
It took me a little while to understand this shows appeal but it's really growing on me now. And it's not just that this is the episode where Jim and Pam relationship finally solidifies that I picked it. I want things to work out for Michael personally. Yes, he's an inept boss, and it's amazing the Scranton Branch of Dunder Mifflin is still standing. But that is his charm. And in this episode where he fails to successfully juggle his two romantic entanglements, we begin to wonder if he can get any happiness out of life. Then again, maybe Dwight is his sole mate after all. God knows he's the only to treat him seriously.

Damages --- Trust Me
Though I'll never convince my mother, this is one of the most inventive and daring shows on TV. And though some people said the second season was weaker than the first, I think this one may have been the best I've seen so far. Patty Hewes is ruthless, but in the last couple of episodes of this season, she loses just about everything she has. And though the flashbacks made it hard to see how it was possible, she still manages to come out ahead in her war against UNR. And the confrontation between Ellen and Patty at the end was astonishing (without the expected buildup) that it mesmerized. Here's hoping that DirectTV picks it up for a fourth season cause this is one show I'd gladly follow all the way to the end.

How I Met Your Mother --- Swarley
There are any number of good episodes to pick for this series, but I like this episode not just because it puts supercouple Lily and Marshall back together, but because it gets under the suited veneer that is Barney Smithson. Watching him reel in reaction everytime someone mentions this nickname he got at a coffeehouse was even funnier than a Robin Sparkles video. (I especially liked the bit at the end where McLaren's suddenly becomes Cheers.) Oh Neil Patrick Harris, is there anything you can't do? There doesn't seem to be any evidence to the contrary.

ER --- The Ambush
I hold that this was one of the most overrated series in history, but that doesn't change the fact that when it was good, it could be brilliant. Ignore the gimmick that it was 'live', and you get to see for the first time the underpinnings of the staff of County General. Doug and Carol still being flighty about their relationship, Carter readjusting to his new status at the ER after leaving his surigical reisdence, Benton snubbing his student while worrying about his premature son, and Mark Greene, the heart of the show, still reeling from a brutal attack a few weeks earlier. All trying to do their jobs while there's a camera in their face. Almost as a throwaway, William H. Macy's Dr. Morgenstern, the chief of staff, suffers a heart attack. I always felt his leadership was critcal to the show. His gradual fade out was a blow that this show had trouble recovering from.

Next 5

2010-04-04T21:02:00.001-07:00

I'm trying to be fair and include some comedies

35. Murphy Brown --- Uh Oh, Part 2 and 3
Yes, I know that this shows topicality caused it to date very quickly, but that doesn't change the fact that for the first five years of it's run , it was one of the funniest comedies I've ever seen. And never did Candice Bergen and her cast demonstrate their rapid fire wit better than when Murphy first realized that she was pregnant and had to tell everybody. Grant Shaud's reaction while in a drugstore was so brilliantly sustained that he should have won an Emmy for that episode alone. And Eldin's joyous reaction was so wonderful, it reminded me why I loved that character. His premature death was a loss I feel deeply. So what did Dan Quayle know?

34. Friends --- The One With the Prom Video
Even though they would beat the Ross and Rachel thing to death on this show, it doesn't change the fact that the episode where they finally hooked up was a pure gem. Phoeber's description of them as lobsters, Chandler's dismay at getting a cheesy bracelet from Joey -- small gems. But that video where we first see just how fat Monica was before she became--- well, Courtney Cox--- and Chandler asks just how many cameras are on her--- that one just makes me ROTFL every time I see it

33. House, MD --- Broken
Because I believe that this is a better show when it puts the focus more on Hugh Laurie then on the team, this two-parter--- which cuts House away from everything that he has held familiar as he desperately tries to get off his Vicodin addiction--- may have been the show's high point. Watching this strong personality finally come to the realization that he was faliable--- that was stronger than almost every other diagnosis --- even the one he makes in the second part. Plus any series that gives us a chance to see two of the greatest actors today--- Laurie and Andre Braugher--- in the same room, that's a faceoff for the ages.

32. South Park --- The Passion of the Jew
Hysterically funny but very erratic, now that The Simpsons is in decline, it's been the strongest cartoon on the air this past decade. And this episode--- where the children all react to Mel Gibson's Passion of the Christ in hysterically different ways--- I find even funnier then their more infamous episodes involving Scientology and Family Guy. Whether it's Cartman leading the inspired fans of the show in goosesteps down main street or an insane Mel Gibson's chasing Kyle and Kenny down Road Warrior style demanding his $18 back, this is an episode that is simply, well, holy.

31. Law & Order --- Indifference
It's easy to forget--- drowning in spinoffs and networks that seem to air it 24/7--- how truly brilliant this show could be, particularly in its first few seasons. And this very early episode in the shows inagural season showed how brilliant it could be. A reconstruction of the David Steinberg-Hedda Nussbaum case so accurate that it needed a long disclaimer, this episode about the death of a child still haunts nearly two decades later. Every regular seems so angry at the senselessness of Deedee Lowenstein's death, and that helps us feel the pain more than the dozens of similar cases that have followed. And the final act, where the normally stoic ADA Ben Stone (Michael Moriarty) practically spits out accusations, while circling him like a bird of prey, is one of the most wrenching courtroom sequences in television history. This one will haunt you, even as the final line of dialogue echoes.

Keeping this Up ---- Next 5

2010-03-29T21:38:00.000-07:00

40. Party of Five ---- The Wedding Day
Probably the most undervalued show in the 90's was this teen drama. The Salinger's suffered a lot of blows during the series six year run, but watching Charlie and Kirstin's wedding implode has always made my heart ache (even though eventually they would make it to the altar). Matthew Fox for the first time demonstrated that he would become an acting force unseen in my lifetime. I hope this finds syndication somewhere so a new generation can discover it.

39. Scrubs ---- His Story
Yes, Zach Braff is a comedic genius who made Scrubs work for eight years. But the real force of nature on this show was John C. McGinley as Perry Cox, and getting a chance to look inside his head for the first time, and seeing the mixture of anger and endless, gleeful sarcasm to find that there is a heart there. The factor he never even saw a nomination from the Emmy's over the shows eight year run in reason 784 I can't take them seriously.

38. The Shield --- Family Meeting
Next to The Wire, this was the most riveting police drama on TV, and the last episode was perhaps the most brilliant capper of any series. While I'll never forget the pentultimate episode where Vic Mackey finally confessed his sins (and I'll never forget that long pause he took as he prepared to give his confession to the government that just hired him), this episode may have been better. Some may have thought Vic never received thorough punishment, but I think his fate--- all of his former friends and colleagues either dead or in prison, his family out of his reach, taken off the streets he spent so much time cleaning up--- might have been the perfect punishment. Death by bureauacracy was fitting punishment, even if Shawn Ryan and company never intended it.

37. Glee --- Pilot
There's no reason that this show should work so well. Teenagers who burst into song in a high-school hierarchy. Never in a million years. But like the club itself, this show defies the odds. This is one of the most wonderful casts I've ever seen, and it mixes comedy, drama and music in ways that Broadway should do so well. And the last five minutes where the cast Journey's Small Town Girl away from The Sopranos and makes it their own--- that is magic. I see a lot of Emmys in this shows future, even if they don't win regionals.

36. Deadwood --- A Two Headed Beast
This was that rarest of things --- an underrated HBO program. Get past the fact that cowboys and miners were using ten and twelve letter obscentities, and what you had was a show that rewrote the idea of what a western could be. There were many superlative moments in this shows (too brief) run, but this episode may have been the best. Featuring a brutal five-minute fight sequence between Al Swearengen's Dan Dority and George Hearst's Captain Turner that did what the people on Buffy wished they could do, this show featured Ian MacShane doing what he did best --- drinking and engaging in a dialogue with a dead Indian's head. How I wish David Milich could've found a way to end this series properly.

First Ten ---- Part 2

2010-03-28T22:23:00.000-07:00

45. Curb Your Enthusiasm ---- Opening Night
All right, I never liked Seinfeld. But this show has a tart acidicness that show missed. Watching Larry David make endless faux pas could be very entertaing, and they didn't have the seasons last too long. So it was interesting to see him acquit himself in The Producers. Until he can't. And then makes it work for him. Funny enough--- until we see Mel Brooks scheming with Anne Bancroft before they learn that Larry can even screw up screwing up. (And the scene where they play Zero Mostel and Gene Wilder? TV dynamite.)

44. Battlestar Galactica --- Kobol's Last Gleaming, Part II
Yes, 'Blood on the Scales' was gutwrenching, but I prefer the first mutiny that took place on the Galactica A wrenching episode that literally placed President against military leaders, soldier against commander, son against father. The fleet appears to shatter, and you can't see how they'll ever rebuild. And we watch Boomer, who has struggled against her Cylon nature all season, finally seem to choose humanity --- until she doesn't, and commits one of the biggest surprises in TV history

43. Chicago Hope --- The Quarantine
I'm definitely in the minority here, but I thought Chicago Hope's first season was better than ER's, and often muse if Kelley and Mandy Patinkin had stayed with it, could it have acheived greatness? This episode was the clearest sign that it could've, as the tensions that have brewed between these doctors and nurses for ten episodes boil over--- leading to some of the most brilliant monologues I've ever heard out of any hospital drama. Chicago Hope was all about the characters, and this demonstrated why it deserves to be remembered. Hint, hint Paramount DVDs? Anyone?

42. OZ --- Escape From Oz
Beneath the copious male nudity and mindless slaughter, there were some truly great moments on this series. Season finales would become almost mindlessly violent, but for this the brutality is positively muted. The Beecher-Keller love story has it's first major twist (lieterally) Alvarez finally gives into pressure, Ryan O'Reilly finds himself in a situation he can't outmaneuver, and Kareem Said is in the same room with Governor Devlin, who despite the fact we were surrounded my murderers, rapists and pedophiles always seemed scummier than all of them. Everything that was right about this show clicked here. Shame they couldn't maintain it all the way.

41. Brotherhood --- Matthew 22:10
I may have been the only person watching this series, so I'll probably get called out for it, but that doesn't change the fact that this series proved, after years in the wilderness, that Showtime could created Brilliant TV. Watching the Caffee brothers attend a wedding where marriages will be wrecked, frailities will be revealed, and a good cop, crippled by his conscience will litrerally beat a mans brains out--- this show reached levels that The Sopranos never dreamed off. I'm just sorry it died in obscurity. It deserved far better. (And no, I don't know what the title refers to.)

Still there? First Ten

2010-03-28T21:42:00.000-07:00

50. Sports Night----- The Quality of Mercy at 29K
I've never truly forgiven ABC for canceling this brilliant show in 2000, even after it's ratings went up despite a killer time slot. Almost every episode was filled with Aaron Sorkin's personal energy, but few had the wit and majesty that this episode did. The romance between Natalie and Jeremy finally starts firing sparks after just a few episodes, Dana's efforts to get tickets to The Lion King and her awe and wonder when she sees it, Dan's desire to try and figure out what to be charitable --- all gems. But the two minutes, when three major storylines converge--- that was done in a way that I've rarely seen any show match. Priceless.

49. Angel--- Reunion
My personal candidate for best spinoff ever starts with this show, which started as Buffy wannabe, and then in season 2 kicked into high. After episodes trying to get the recently human Darla out of his head, Angel has to watch as his own vampire child Drusilla revamped her. The chance to see Julie Benz and Juliet Landau at the top of their game is worth watching this episode, but it becomes a masterpiece when Wolfram & Hart, the evil law firm responsible finds itself at the mercy of these two vampiric legends. Angel returns, and just when we think he's going to save them--- he locks them in with his evil children. The show would go to some truly dark places, but few were as majestic as the ones we saw here.

48. Twin Peaks --- Episode 3 (Cooper's Dreams)
I'm in the minority in thinking this series actually made a certain amount of sense all the way through. Don't get me wrong, the Pilot was one of the best first episodes of a series ever created. But I've always felt that this episode (curse Lynch and Frost for not titling them) had one of the most astonishing five minute wrap up ever. The dream sequence will haunt your nightmares, and believe it or not, all of the dialogue we got in it did help make sense of the mystery.We may not have learned who killed Laura Palmer, but it did tell us that maybe knowing wouldn't give us all the answers.

47. The Practice--- Betrayal
Before David E. Kelley lost his mind during the Bush Administration (I loved Boston Legal, but despite the rantings, not because of them) he had a gift for creating mesmerizing villain and corkscrew plots. The Practice was a little seen show in 1997, but this episode demonstrated that there was gold in these hills. Featuring an Emmy winning performance by John Laroquette as Joey Herric as a man who manages to manipulate the legal system to get out of committing a murder, this show was dark, witty and mesmerizing. When it ended, I knew this was a show with a future.

46. Grey's Anatomy --- The End of the World/ As We Know It
My love affair with this show didn't last very long, but there was a period where I thought Shonda Rhimes was a genius. With the overwhelming sex drives sublimated (but not gone) it was hard not to be impressed by the professionalism of the 'code black' that seized Seattle Grace. Featuring some of Chandra Wilson, Ellen Pompeo and T.R. Knight's best work on the series, as well as the always reliable Christina Ricci and Kyle Chandle in memorable guest turns -- this show made you think that this was a worthy successor to ER and St. Elsewhere. Then Izzy fell in love with Denny. Oh well.

The Best Television I've Ever Seen

2010-03-28T21:30:00.000-07:00

Earlier this year, TV Guide posted the second edition of their list of the 100 greatest episodes of television history. As someone who remembers pretty clearly their first edition June of 1997, it seemed that they rejected some of the true great moments in TV for some newer models, while still ignoring some of the great moments I've seen. This makes some sense (there've been some truly remakable television in the past decade) but does a disservice to some of the older ones.

I've watched a lot of TV over the last fifteen years,, and have seen some truly remarkable shows, which makes me as qualified as some to post on what I think are some of the most remarkable things I've seen on TV. Plus I feel that creating debate is what these blogs are for.

So here are some of my choices for the fifty greatest episodes of the last two decades. (I've seen a lot of great television from the eighties recently, but for the most part I will refrain from commenting on those, because they may not be my greatest judgment) I'm not going to try and rank them until I've finished listing them, mainly because I don't believe in that sort of thing. Besides, do you really want to try and argue over whether something is 43rd rather than 36th. Even I'm not that anal retentive

Before I continue---

2010-03-04T22:13:00.000-08:00

Is it me or has Ben's behavior so far in Season 6 strike you as someone whose been completely castrated? For years, he's thought that he was this horrible villain, master manipulator, but as soon as he realizes that he's been used by by something even greater, and that all of his actions to protect the island may have just led to it's destruction, he just sort of went pfff! Now he's letting Ilana lead him around because he's finally been defeated, and when it's eventually revealed that he killed Jacob (what'll you bet that unLocke is the one who tells on him) I'm betting Ilana will shoot him fast? There would be a certain irony in that, to--- the king being taken out by a pawn.

The Dark Tower and it's connection to Lost

2010-02-28T21:48:00.000-08:00

I tried posting this on the website several weeks ago and for some reason, it didn't come through. So I'm going to try this again, and see if I make any progress here. It's probably going to take several postings to get all the information down, and my internet connections the last few days has been spotty, but I'm going to try anyway.

Added note: Nikki, feel free to use any information on this if you read. I'm pretty sure that this isn't all in my head. So here we go:

As I tried to say before, Damon/ Carlton have said on more than one occasion said that they basically took 'The Stand' and put it on an island. I have seen the argument and the comparison, and while there Are some oblique connections, for the most part I don't see it.. I don't buy Locke as Glen Bateman/Trashcan Man, Rose is not Mother Abagail, and I've seen the Man in Black, and though he may be the epitome of evil, he is not Randall Flagg. (Yeah, I saw what the monster did to Jacob's guardians; Flagg tore a man apart with his teeth.)

However, I do see a link between a work of King's fiction, and there is a good chance thatthe Stand has a more direct connection with it. That would be the epic work that served as the link between almost everything King published between 1978 and 2004 --- The Dark Tower series.

In actuality I remember thinking that there was a link between the universes as early as Season 3. Remember that book club Juliet is hosting before Oceanic 815 does it little bisection in the air. From the way I saw it, the book they were talking about was The Dark Tower, the seventh and climactic book in the series. I thought it likely because the book was released to the public around September 22, 2004. (Yeah, I know they might have difficulty getting a hold of a copy hat soon, but how on earth did they get a couple dozen copies of Carrie? I've got a feeling that's one mystery that's never going to be answered.)

I know that Nikki's undergone some awesome reads for us during the course of the shows five seasons.Our Mutual Friend and Ulysses must have driven her to distraction, many, many times. But trying to get through this series (or even suggesting that there is a link between the two) would no doubt cause her a migraine the size of Portland. Not because it's that difficult to get through (eight hundred pages of King still goes faster than two hundred pages of Dostoyevsky) but because there's so much of it. There are seven books in the series, and each one becomes progressively longer. I'm pretty sure it clocks out to roughly 3600 pages altogether.

To attempt to do justice to this series would take a book in itself, and indeed several booklength compendiums have been written on the Dark Tower Series. In addition, a huge amount of King's other novels are referenced through the series in some way. (Indeed, the references got so widespread that by the turn of the century, King's publisher would show the listings of King's publicatiions in a special font in order to show which ones were connected to the Dark Tower.) So what I will attempt to do is try and summarize the books one after the other, pointing out whatever similarities I can find connecting Lost to this series. (And as Season 6 progresses, I'm beginning to find there are more connections every week.)

The first and by far the shortest of these books is The Gunslinger, which was originally released in 1978. Originally published as five interlocking short stories (King originally plotted out the series to be 25 interlocking short stories spread over five different books), twenty years later, he would eventually re-edit the stories so that there were more links to the following novels. (Supposedly, if you look at Ben's bookshelf in 'The Man from Tallahassee', you can see the book there, but I've never been able to find it). The first sentence alone may be enough to prove there is a link between the two: "The Man in Black fled across the desert, and the Gunslinger followed."

This is clearly going to take awhile, so I'm going to stop for now. If anyone thinks that I'm out of mind for suggesting this link feel free, but I am convinced that it is there, and intend to follow through on it. I'll try and be as succinct as I can, but trying to quickly summarize this series is like explaining quantum physics to a preschool class.