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.
Monday, December 27, 2010
Monday, December 20, 2010
The Nominees Are...
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.
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.
Wednesday, November 10, 2010
Man, I'm taking a lot of time between postings
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
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
Wednesday, October 27, 2010
Better Late than Never
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.
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.
Thursday, October 21, 2010
What we talk about when we talk about sex
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.
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.
Wednesday, October 6, 2010
Lost Post Number 1
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.
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.
Sunday, September 26, 2010
Miss Me?
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
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
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