I ran across this top 10 list, which is one person's ranking of the Pixar films to date. It's probably a good time to consider the films, since there are now an even 10 out in the marketplace, Up is kicking ass in the theatres, and I've been ODing on showings of Ratatouille and Wall-E on the movie channels lately.
I'll rank only 8, since I haven't yet seen Up, and for some reason, even though I own it on DVD, I've never gotten around to watching Monsters, Inc.
So, TNRLM Best Pixar Films, counting down:
8. A Bug's Life: Nothing against it, but it only scratched the surface of what Pixar could do visually and story wise.
7. Cars: Despite a fondness for Paul Newman and some impressive character design, it didn't quite have the depth and heart of the others.
6. Toy Story: What child didn't wonder if the toys "came to life" when they were out of sight?
5. Finding Nemo: Making everything work in an underwater environment was a miracle of animation.
4. Toy Story 2: In one of those rare "Empire Strikes Back/Aliens" moments, I actually prefer the sequel.
3. Wall-E: The first 40 or so minutes are a masterwork of storytelling, and still the finest moments Pixar has put on film.
2. Ratatouille: So impressive visually (the fur and food, things so difficult to get right, are both just perfect), it has heart and laughs from beginning to end.
1. The Incredibles: Maybe it's just my inner comic book nerd, but this gets my number one slot in a close call. When we speak about the "best comic book movies," The Dark Knight, Iron Man, X-Men 2 and Spider-Man 2 often get thrown around (and with good reason), but The Incredibles, despite not being based on an actual comic book property, deserves to be mentioned in the same breath.
What about y'all? Agree or disagree?
Showing posts with label The Canon. Show all posts
Showing posts with label The Canon. Show all posts
Monday, June 15, 2009
Thursday, January 1, 2009
TNRLM's Best of Television 2008
In many ways, 2008 was a down year for television, with the strike disrupting or derailing the continuity of the programming schedule, and "reality" TV continuing its plague-like spread across the airwaves. Yet amidst the chaos, several shows stood out above the rest, and here is the TNRLM Top 10:
(Quick note: two shows that appear on virtually every Top 10 list this year are The Shield and The Wire. For whatever reasons, I never got into either of them, and can't accurately assess their quality. Perhaps that will be a summer DVD Project).
Honorable Mention (in no particular order):
(Quick note: two shows that appear on virtually every Top 10 list this year are The Shield and The Wire. For whatever reasons, I never got into either of them, and can't accurately assess their quality. Perhaps that will be a summer DVD Project).
- Lost. Now that Team Darlton have a confirmed end in site, the show ratcheted up the pace and responded with a stellar season light on the filler and heavy on the drama. The "flash forwards" added a thought-provoking new dimension to the narrative, and the new characters (Faraday, Charlotte, Miles, Lapidus) were all fascinating, well acted and spot on. Plus, Lost gave us the single best hour of television this year with "The Constant."
- Battlestar Galactica. The sci-fi show for people who don't like sci-fi shows. This gritty, mesmerizing drama features the finest ensemble cast on the tube, and despite being set in a world with robots, spaceships and prophecies, always retains its focus on what matters: the characters.
- Mad Men. Season 2 refused to push the "action" forward at a breakneck
pace, instead languorously taking us through the existential crisis of adman Don Draper, and we were all the better for it. Like Lost and BSG, Mad Men offers a cast with depth and talent to burn, and the stories that didn't focus on Don (Peggy's growth, Pete's realizations, Duck's machinations, Roger's divorce) were just as fascinating. - The Middleman.
This (sadly) little watched gem on ABC Family pulled off the most difficult high-wire act of the year, straddling the line between cult and camp with a verve, wit and energy I can't recall seeing before. The laugh out loud scripts and wordplay were matched only by the precisely calibrated and endearing performances. "Mutual of Omaha!" "I’m as serious as a hefty bag full of rottweilers " when I say I will buy this baby on DVD the second it comes out. - Pushing Daisies. Thanks to my relocation, I missed the
boat on this one when it first started, but I quickly caught up and found this quirk-filled beauty a total delight. I was also in love with Bryan Fuller's other fantastical show, Wonderfalls, and Pushing Daisies upped the ante on that show in every conceivable way. The central premise is intriguing enough (a piemaker who can raise the dead, and solves crimes with his just resurrected longtime love and a caustically sarcastic PI), but you compound that with candy-acid set design and cinematography, Emmy-worthy performances, musical interludes and a rich mythos, and you have something truly unique. Despite their radically different settings and concepts, one thing the top 5 shows here all have in common is their uncompromising and brilliant scripting. 
Chuck. Once you get past the fact that everyone seems to be connected to some espionage organization, you can just sit back and enjoy the easy charms of this action-spy-comedy. The antics at the Buy More are just as entertaining as the main plots that drive the action, and the Chuck / Sara romance takes what could be a cliche and finds equal parts humor and pathos. Plus, any show that saves the world by getting high score on a Missile Command arcade machine is okay in my book.
In Treatment. HBO's novel experiment - a five night a week, 30 minute drama, with each episode being one session between a shrink and one of his patients -- delivered the goods with claustrophobic and searing performances. All of the sessions were involving and dramatic, but the ones with damaged gymnast Mia Wasikowska were riveting.- CBS Monday Comedy. Okay, I'm cheating here (and on the next
one) by combining two shows into one entry. But the one-two punch of How I Met Your Mother and The Big Bang Theory 
is a treat on a night crammed with eminently watchable TV. HIMYM continued being one of the best under the radar classic sitcoms ever, and the fractured narratives and pop culture concepts (like "the naked man") never fail to amuse. Season 2 of Big Bang sanded off some of the rough edges, and made all the characters engaging and involved. Now we can laugh with them, instead of at them. 
NBC Thursday Comedy. Despite an overreliance on guest stars, 30 Rock easily produces the highest laugh / minute ratio of any show on TV. Liz Lemon is a dysfunctional Mary Richards for the modern era, and Alec Baldw
in's Jack Donaghy is an inspired comic creation. The Office ventured away from some of the unbelievably stupid (like following a GPS into a lake) antics and found its groove again with Micheal's relationship with the dorktastic Holly.
Burn Notice. This burned spy caper show is an easygoing marvel of efficiency. The plots hum along, giving viewers lots of little "how to" insights into the world of spycraft, all while providing a healthy dose of sex appeal, action beats, humor, yogurt and geek deity Bruce Campbell.
Honorable Mention (in no particular order):
- Supernatural. I'm not sure why I didn't latch on to this show when it started, but I just spent the xmas break devouring the first 3 season on DVD, and catching up on TiVo'd season 4. A worthy successor to the Buffy/Angel/X-Files tradition of character-based drama, scares and laughs.
- Law & Order (original recipe). The new cast is the best since the glory years.
- House. House and Wilson are as great as ever, but I don't care about Cuddy's baby (showrunners: please stop adding kids to shows. I tune out. Thanks. TNRLM). And as hot as Olivia Wilde is, I don't care that much about Thirteen. Or Foreman.
- Life on Mars. Intriguing and entertaining. Worth watching for Michael Imperioli's mustache.
- Dexter. Micheal C. Hall is certainly Emmy-worthy (as always), Jimmy Smits was a live-wire foil for the year and Deb is still delightfully profane. But see House above: please stop adding babies.
- The Closer. A by the numbers procedural, anchored by an electric central performance and a talented supporting cast.
- Fringe. Could have easily made it into the Top 10 with a greater sample. Many don't like Anna Torv's Olivia, but I think her stoic performance is right in line with the character (plus, we got to see her lighter side late in the season when she was doing shots). Walter Bishop is the best new character on TV, and his son Peter is delightful snarky.
- Eli Stone. I want to dislike this because of the religiosity and consistently preachy lefty politics, but I can't. It's too well crafted.
- True Blood. It took a while to find its footing, but this deep south vampire show showed considerable promise.
- The Mentalist. TV's highest rated new drama was yet another procedural, but one with a charming and star-making performance from lead Simon Baker.
- Torchwood. Upped the body count this year, and just as kooky, sexy and entertaining as year one.
- Terminator: The Sarah Connor Chronicles. I'm getting a little tired of the terminator of the week being sent back in time, but the central mysteries, dramatic performances and character conflicts keep me coming back eagerly.
- Bones. A modern Moonlighting for the cadaver set, without the lead actor antipathy. Charisma to burn, and the addition of Sweets was a smart move (and goes a long way to make up for the Zack debacle).
Friday, March 28, 2008
The 50 Greatest Television Shows of All Time
Empire, the
Would not put Prison Break in the Top 50. Or Top 250.
Veronica's best episode is NOT the S2 finale. And I might put it higher on the list.
DS9's best ep would be "Far Beyond the Stars," Trials and Tribbilations" or "In the Pale Moonlight."
Nice to see Farscape love, too. I would put it higher than 45. I would have never believed I could take seriously a show that featured muppets as aliens, but damned if it didn't work, thanks to inventive scripting and downright sizzling performances by Ben Browder and Claudia Black.
Star Trek at 43? Kidding, right? Dammit, Jim, that's too low!
Band of Brothers. Cool. I hate the way I finally got around to watching this one, though.
For Star Trek: TNG, they rightly named "Best of Both Worlds (Parts I and II)" as the best ep, though I would put "Yesterday's
Alias that high? Above 3 Treks and Farscape? I liked Alias, but not that much.
Deadwood at 31. Ahhh, dearly departed Deadwood. I realize there was more to Deadwood's demise than the creation of the trippy, challenging and ultimately frustrating John From Cincinnati, but I would have easily forgone that for one more season with Al Swearingen. And an average of 1,000 "fucks" per 12 episode season? That's 83 "fucks" per episode. That's fucking awesome, fuckers.
Love that Dexter made the list.
Bender on Futurama is named after Judd Nelson's character in the Breakfast Club? Cool.
Nice choice with Angel at 21. Numfar does the dance of joy. And of course, I would have it higher.
Scrubs at 19? Wha? Huh? I mean, I liked Scrubs for a while, until it became all about kids, but 19?
Best. Sitcom. Ever. Arrested Development at 18. Sweet, but it should be even higher.
Heroes at 15? Has anyone watched season 2? Although I will agree with them about "Five Years Gone." I still have that ep saved on the TiVo, even after all this time.
Firefly at 14! Shiny! How do you pick a "best" episode here? "Out of Gas" is a very solid and obvious choice, though I'm also partial to the more existential "Objects in Space" (Jubal Early is a fantastic creation) and "Shindig" never fails to crack me up. And that's not even mentioning "Our Mrs. Reynolds" with the duplicitous and adorable YoSaffBridge.
Frak Yeah. BSG at 13. Too Low? So Say We All. And for my take on the best episode (and hell, ALL the episodes), check out this Very Special Edition of TNRLM's "The Canon"
Hard to argue with Seinfeld at 11, but I still put Arrested Development as the best sitcom ever, a c-hair ahead of this show and Cheers.
Now we're in the Top 10, with the X-Files at 9. Despite some hits and misses (mostly the unsatisfying wrap up and faltering under its own weight mythology), this still ranks as one of the best shows of all time. Best episode? They cite "Jose Chung," which might be worthy, but there are so many to consider, like "Clyde Bruckman's Final Repose," "Bad Blood" and many others, including "Home" (check out the Did You Know blurb at the bottom for the surprising origin of that story).
Never watched The Wire. Dunno. Just no interest.
24 at 6? I love watching Jack Bauer whoop some terrorist (or bystander) ass with the best of 'em, but as Gob Bluth would say...."Come On!"
Lost checks in at 5. Given my obsession with the show (I just received 2 "Dharma" and one "Oceanic Air" t-shirts I ordered last weekend), I can't argue with that one. Another show that's tough to pick a best episode. What about "Walkabout?" Or last season's finale, "Through The Looking Glass?" Or this season's "The Constant?"
You woke up this morning. Got yourself a gun. Mama always said you'd be the chosen one. Or at #3. "Long Term Parking" is indeed a fine episode, but "
I'm fond of The Simpsons, and it certainly has had a significant cultural impact and impressive staying power. That's their choice for number 1. However, speaking of "The Chosen One," my choice for number 1 would be Empire's choice for number 2. The answer, of course, is the television masterpiece Buffy The Vampire Slayer. If you are still scared by the silly title, you're really missing out (much like I assume some folks are by Battlestar Galactica) and owe it to yourself to go buy all seven seasons on DVD right now. Trust me, you won't regret it. Or, if you like, you can do a little sampling at hulu.com. And then you'll go buy all seven seasons on DVD. I'll even get you started right now:
As for the "best" episode of Buffy? You can check out this other Very Special Edition of TNRLM's "The Canon" right here.
As you can tell, I don't have that many quibbles with the list overall, despite the omission of some "classic" series (Twilight Zone, Magnum PI, Cheers, M*A*S*H, etc.). The only "new" series I would think merits inclusion is the compelling Mad Men.
What's missing? Agree or disagree? What are the best episodes? Whatcha think, TNRLM readers?
Sunday, December 16, 2007
The Canon: Best of Television 2007
With 2007 coming to an end and the supply of new episodes rapidly dwindling, it's time to do a quick review of the Best of 2007.
The Canon: TNRLM's Top 10 TV Shows of 2007
1. Battlestar Galactica
The season started with a bang (the flash forward to occupied New Caprica, capped by one of the most remarkable and stirring images ever to grace a television screen - Galactica dropping through the atmosphere to aid in the Exodus) and ended with a bang (Cylons revealed! Baltar not guilty! Starbuck returns! And All Along the Watchtower!). In between we had gut wrenching boxing matches, sacrifices, backstories, great character moments and some of the best writing, acting and directing TV has to offer. With only one real clunker ("The Woman King") and a captivating "extra" ("Razor"), BSG remains a hidden gem. If you don't like sci-fi in general or only remember the cheesy 70s show, you owe it to yourself to check out The Best Show on Television.
2. Mad Men
This instant classic came out of nowhere (AMC? Really?) to suddenly become one of the small screen's most intriguing tapestries. Set in the smoke and booze filled world of advertising in the 60s, Mad Men carves out a period of American history and explores the cultural mores of the time and fills it with fascinating characters. Former Sopranos producer Matthew Weiner has assembled a top notch ensemble to evocatively draw us into this world, anchored by Jon Hamm as complex adman Don Draper.
3. Big Love
Often overshadowed in HBO's stable of dramas by legends (The Sopranos) and spectacular flameouts (John From Cincinnati), Big Love only got better in its second season. While the audience may not always sympathize or agree with protagonist Bill Henrickson (Bill Paxton), it's the three sister wives played by Jeanne Tripplehorn, Chloe Sevigny and Ginnifer Goodwin that truly give the show heart and nuance. All three upped their games in this season and delivered outstanding performances that should be recognized at Emmy time.
4. House
Coming off an uneven third season (good riddance to the Tritter debacle), House rebounded in a spectacular way, upending the supporting cast dynamics with House's amusingly cruel game of professional "Survivor" as he selected three new associates to replace Chase, Cameron and Foreman (who stayed with the show, only on the periphery). The medical mystery of the week was still there, but the competition for staff positions was inspired, entertaining and gave TV's best asshole ample time to unleash an endless stream of bon mots. Plus, where else can you find Kumar and Cutthroat Bitch on a regular basis? Extra bonus: our first case of Lupus!
5. 30 Rock
While The Office got the awards previously, and rightfully inspired cultish fanaticism, 30 Rock did what few sitcoms do: deliver consistent laughs. A surprise winner for Best Comedy Emmy, Tina Fey and company skillfully walked the tightrope between high concept lunacy and workplace chuckles. While all the performances are top notch, it's Alec Baldwin's Jack Donaghy who is without question the funniest character on the small screen today. 30 Rock deftly weaves in pop culture references, political satire and flat out absurdity, all in one whip-smart package.
6. Lost
The less said about the opening "pod" of "cage episodes" (or Jack's tattoo story) the better, but once that meandering beginning was over, Lost kicked up the suspense, drama and mystery, all building to a mind-blowing finale. Elizabeth Mitchell was a fascinating addition as Juliet and no one on TV is as creepy as Michael Emerson's Benjamin Linus. Even though it divided fans, I found the Nicki and Paulo story funny, entertaining and delightfully morbid. Lost remains unlike anything else on TV, and the finale only ups the ante for the heights it can reach. I'm still firmly on the island.
7. The Sopranos
The television legend came to a close this year with an ending that will be debated for some time. What can't be debated, however, is the quality of the show (and the writing, acting, directing) that will go down in history as one of the all time greats.
8. The Closer
A simple set up (crime, investigation, Brenda gets a confession) yields far greater results than you would expect. Kyra Sedwick's central performance as Brenda Leigh Johnson (true southern quibbles with accents not withstanding) is a revelation, and she's surrounded by a taut, smart ensemble. Many times, it's not that hard to figure out "whodunnit," but the true joy of The Closer is watching Chief Johnson figure out how to get that "who" to admit it.
9. Bones
Another procedural, lifted from the ordinary by the effortless charm and palpable chemistry between leads David Boreanaz and Emily Deschanel. The show features the best "will they or won't they" since Mulder and Scully and has a great supporting cast of intelligent and richly drawn characters.
10. Torchwood
Speaking of Mulder and Scully, this BBC America import is an X-Files for a new generation. Originally positioned as a more "adult" Doctor Who spinoff, Torchwood really came into its own toward the end of its maiden season. The aliens and monsters of the week are fun and creepy, but the real drama of Torchwood lies in the toll these battles take on team fighting them. And John Barrowman's Captain Jack Harkness is a character for the ages (literally).
Caveats:
Due to the relocation issues and horrors of Comcast (and their Hal 9000 TiFaux), I wasn't able to watch Dexter, which almost assuredly would have been toward the top of this list. I hope to catch up on Season 2 shortly, through Showtime repeats or DVD. (Same with Weeds and Californication). I also understand Pushing Daisies to be quite good, and look forward to watching that from the beginning. Finally, my low tolerance for kids on my TV keeps me from watching Friday Night Lights, though I may check my prejudices at the door and give it a try during the strike (if I can convince non-geeks to give BSG a shot, it's only fair that I follow my own advice about preconceptions).
Honorable Mention:
Psych
Eureka
Burn Notice
Doctor Who
Chuck
The Office
How I Met Your Mother
For other year end wrap ups, check out my two favorite critics: TV Guide's Matt Roush and the Chicago Tribune's Maureen Ryan.
The Canon: TNRLM's Top 10 TV Shows of 2007
1. Battlestar Galactica
The season started with a bang (the flash forward to occupied New Caprica, capped by one of the most remarkable and stirring images ever to grace a television screen - Galactica dropping through the atmosphere to aid in the Exodus) and ended with a bang (Cylons revealed! Baltar not guilty! Starbuck returns! And All Along the Watchtower!). In between we had gut wrenching boxing matches, sacrifices, backstories, great character moments and some of the best writing, acting and directing TV has to offer. With only one real clunker ("The Woman King") and a captivating "extra" ("Razor"), BSG remains a hidden gem. If you don't like sci-fi in general or only remember the cheesy 70s show, you owe it to yourself to check out The Best Show on Television.
2. Mad Men
This instant classic came out of nowhere (AMC? Really?) to suddenly become one of the small screen's most intriguing tapestries. Set in the smoke and booze filled world of advertising in the 60s, Mad Men carves out a period of American history and explores the cultural mores of the time and fills it with fascinating characters. Former Sopranos producer Matthew Weiner has assembled a top notch ensemble to evocatively draw us into this world, anchored by Jon Hamm as complex adman Don Draper.
3. Big Love
Often overshadowed in HBO's stable of dramas by legends (The Sopranos) and spectacular flameouts (John From Cincinnati), Big Love only got better in its second season. While the audience may not always sympathize or agree with protagonist Bill Henrickson (Bill Paxton), it's the three sister wives played by Jeanne Tripplehorn, Chloe Sevigny and Ginnifer Goodwin that truly give the show heart and nuance. All three upped their games in this season and delivered outstanding performances that should be recognized at Emmy time.
4. House
Coming off an uneven third season (good riddance to the Tritter debacle), House rebounded in a spectacular way, upending the supporting cast dynamics with House's amusingly cruel game of professional "Survivor" as he selected three new associates to replace Chase, Cameron and Foreman (who stayed with the show, only on the periphery). The medical mystery of the week was still there, but the competition for staff positions was inspired, entertaining and gave TV's best asshole ample time to unleash an endless stream of bon mots. Plus, where else can you find Kumar and Cutthroat Bitch on a regular basis? Extra bonus: our first case of Lupus!
5. 30 Rock
While The Office got the awards previously, and rightfully inspired cultish fanaticism, 30 Rock did what few sitcoms do: deliver consistent laughs. A surprise winner for Best Comedy Emmy, Tina Fey and company skillfully walked the tightrope between high concept lunacy and workplace chuckles. While all the performances are top notch, it's Alec Baldwin's Jack Donaghy who is without question the funniest character on the small screen today. 30 Rock deftly weaves in pop culture references, political satire and flat out absurdity, all in one whip-smart package.
6. Lost
The less said about the opening "pod" of "cage episodes" (or Jack's tattoo story) the better, but once that meandering beginning was over, Lost kicked up the suspense, drama and mystery, all building to a mind-blowing finale. Elizabeth Mitchell was a fascinating addition as Juliet and no one on TV is as creepy as Michael Emerson's Benjamin Linus. Even though it divided fans, I found the Nicki and Paulo story funny, entertaining and delightfully morbid. Lost remains unlike anything else on TV, and the finale only ups the ante for the heights it can reach. I'm still firmly on the island.
7. The Sopranos
The television legend came to a close this year with an ending that will be debated for some time. What can't be debated, however, is the quality of the show (and the writing, acting, directing) that will go down in history as one of the all time greats.
8. The Closer
A simple set up (crime, investigation, Brenda gets a confession) yields far greater results than you would expect. Kyra Sedwick's central performance as Brenda Leigh Johnson (true southern quibbles with accents not withstanding) is a revelation, and she's surrounded by a taut, smart ensemble. Many times, it's not that hard to figure out "whodunnit," but the true joy of The Closer is watching Chief Johnson figure out how to get that "who" to admit it.
9. Bones
Another procedural, lifted from the ordinary by the effortless charm and palpable chemistry between leads David Boreanaz and Emily Deschanel. The show features the best "will they or won't they" since Mulder and Scully and has a great supporting cast of intelligent and richly drawn characters.
10. Torchwood
Speaking of Mulder and Scully, this BBC America import is an X-Files for a new generation. Originally positioned as a more "adult" Doctor Who spinoff, Torchwood really came into its own toward the end of its maiden season. The aliens and monsters of the week are fun and creepy, but the real drama of Torchwood lies in the toll these battles take on team fighting them. And John Barrowman's Captain Jack Harkness is a character for the ages (literally).
Caveats:
Due to the relocation issues and horrors of Comcast (and their Hal 9000 TiFaux), I wasn't able to watch Dexter, which almost assuredly would have been toward the top of this list. I hope to catch up on Season 2 shortly, through Showtime repeats or DVD. (Same with Weeds and Californication). I also understand Pushing Daisies to be quite good, and look forward to watching that from the beginning. Finally, my low tolerance for kids on my TV keeps me from watching Friday Night Lights, though I may check my prejudices at the door and give it a try during the strike (if I can convince non-geeks to give BSG a shot, it's only fair that I follow my own advice about preconceptions).
Honorable Mention:
Psych
Eureka
Burn Notice
Doctor Who
Chuck
The Office
How I Met Your Mother
For other year end wrap ups, check out my two favorite critics: TV Guide's Matt Roush and the Chicago Tribune's Maureen Ryan.
Sunday, August 19, 2007
The Canon: Best Modern Credit Sequences
Television opening credit sequences have come a long way since the days of our youth. "Back in the day" (excuse me while I check on the earlybird dinner special and line up my bingo and shuffleboard games) credits almost always followed the same formula: catchy jingle, expository lyrics and images, list of players.
Sitcoms were particularly adept at this. Think about it. Who couldn't still break off a barroom rendition of The Beverly Hillbillies? Or Green Acres? The Brady Bunch? The Jeffersons? Gilligan's Island? Everything we needed to set up the story was right there in the first minute. While not adhering as strictly to formula, dramas also used the opening moments to give you what you needed. Who didn't know exactly what to expect after getting revved up by the opening of Hawaii Five O? Or Magnum PI? Or Classic Star Trek? Or even a more obscure show, like The Wild, Wild West?
Nowadays, the playing field has changed somewhat. There are more commercials and less time for 1-2 minutes of catchy theme music to play each week. There's the pressure to "hook" potential channel flippers, so the "cold open" has gathered steam as a marketing tool and storytelling device to capture your attention right off the bat. Full credits aren't actually contained within the "theme song" and many shows just show them on a crawl during the first act.
So before we get to the actual list, a few caveats.
Got it?
Okay, here we go.
1. Battlestar Galactica
It's all right there. The set up. The premise. Gorgeous imagery. Emotion, drama, conflict -- all perfectly set to the music. Plus, the unusual tactic of split second images from the episode to follow.
2. Dexter
Beautiful. Disturbing images of seemingly innocuous everyday activities, highlighted by frequent splashes of blood and underscored by a whimsical to the point of creepy theme. What better way to kick off a show about a "good guy" moonlighting as a serial killer?
3. Monk
Randy Newman's sprightly ditty is one for the ages, perfectly capturing the essence of Adrian Monk.
4. Mad Men
The score here is terrific and the imagery even better. Evocative of the classic work by Saul Bass, the falling adman sets up the personal, professional and existential conflict of primary character Don Draper.
5. Rescue Me
Set to a driving uptempo rave by the Von Bondies, Rescue Me's credits also give you everything you need to know aurally and visually right away. The "smoking" player credits are a great touch.
6. Bones
This is from season 2, which improved on season 1 by synchronizing the actor names with their appearance onscreen. The music, by The Crystal Method, rhythmically suggests the creepy nature of the cases while the jittery visuals remind viewers of Se7en and set the tone of the show while never losing the focus on the two primary characters.
7. CSI
It's been around a while, and been "exported" thematically to sister shows New York and Miami, but the original is still the best. Combining the high energy music of The Who and lyrically on point in the search for the criminal, CSI is a great blend of song and image that sets up the "scientific" nature of the crime lab without sacrificing any of the drama.
8. Psych
Another perfect marriage of lyrical storytelling that suggests the premise while conveying the fun and farcical nature of the show, all in 20 seconds.
Sitcoms were particularly adept at this. Think about it. Who couldn't still break off a barroom rendition of The Beverly Hillbillies? Or Green Acres? The Brady Bunch? The Jeffersons? Gilligan's Island? Everything we needed to set up the story was right there in the first minute. While not adhering as strictly to formula, dramas also used the opening moments to give you what you needed. Who didn't know exactly what to expect after getting revved up by the opening of Hawaii Five O? Or Magnum PI? Or Classic Star Trek? Or even a more obscure show, like The Wild, Wild West?
Nowadays, the playing field has changed somewhat. There are more commercials and less time for 1-2 minutes of catchy theme music to play each week. There's the pressure to "hook" potential channel flippers, so the "cold open" has gathered steam as a marketing tool and storytelling device to capture your attention right off the bat. Full credits aren't actually contained within the "theme song" and many shows just show them on a crawl during the first act.
So before we get to the actual list, a few caveats.
- I'm only including current shows. So we won't be seeing the iconic images of Tony Soprano and the fabulous strains of "Woke up this morning, got yourself a gun." Or the first season of dearly departed Veronica Mars. Or Firefly. Or the late (lamented?) John From Cincinnati. Or the pitch perfect Buffy the Vampire Slayer opening.
- I'm only considering shows I watch with some regularity (i.e. "good" shows. That use a script). So I don't care if Beethoven and Prince collaborated on the opening credits of America's Next Top Model with Orson Welles and Martin Scorcese, you won't be seeing that here.
- The list also includes shows with actual "credit sequences." So while I love Lost's moody spinning logo and strange music, and The Closer's blues line interspersed with the opening of act one, those are not necessarily a credit sequence.
Got it?
Okay, here we go.
1. Battlestar Galactica
It's all right there. The set up. The premise. Gorgeous imagery. Emotion, drama, conflict -- all perfectly set to the music. Plus, the unusual tactic of split second images from the episode to follow.
2. Dexter
Beautiful. Disturbing images of seemingly innocuous everyday activities, highlighted by frequent splashes of blood and underscored by a whimsical to the point of creepy theme. What better way to kick off a show about a "good guy" moonlighting as a serial killer?
3. Monk
Randy Newman's sprightly ditty is one for the ages, perfectly capturing the essence of Adrian Monk.
4. Mad Men
The score here is terrific and the imagery even better. Evocative of the classic work by Saul Bass, the falling adman sets up the personal, professional and existential conflict of primary character Don Draper.
5. Rescue Me
Set to a driving uptempo rave by the Von Bondies, Rescue Me's credits also give you everything you need to know aurally and visually right away. The "smoking" player credits are a great touch.
6. Bones
This is from season 2, which improved on season 1 by synchronizing the actor names with their appearance onscreen. The music, by The Crystal Method, rhythmically suggests the creepy nature of the cases while the jittery visuals remind viewers of Se7en and set the tone of the show while never losing the focus on the two primary characters.
7. CSI
It's been around a while, and been "exported" thematically to sister shows New York and Miami, but the original is still the best. Combining the high energy music of The Who and lyrically on point in the search for the criminal, CSI is a great blend of song and image that sets up the "scientific" nature of the crime lab without sacrificing any of the drama.
8. Psych
Another perfect marriage of lyrical storytelling that suggests the premise while conveying the fun and farcical nature of the show, all in 20 seconds.
Sunday, April 29, 2007
The Canon: BSG Episode Rating-Palooza
Just like I did last week with Buffy, I'm offering up an episode ranking of TV's best current show, Battlestar Galactica. I used the same methodology and spreadsheets, so if you want to know more about that, revisit the Buffy post.
This is difficult, seeing as how I haven't seen the BSG eps nearly as many times as I have the Buffy eps, and don't yet have them on DVD (hey, birthday coming up. Hint, hint). And the series hasn't ended yet (thank the gods) so I'm sure at some point after the series is wrapped up, and I've seen them all mulitple times on a rewatch, I'll revisit these ratings and rankings.
A few notes:
Okay, on with the rankings.
Top 10 Episodes of Battlestar Galactica:
Due to ties, there are actually 11 here. First number is season/ep number, second number is my rating, third number is the ranking.
Seven of the eps are components two-parters. Not surprising, given the marvelous serialized storytelling. Three eps from S1, six from S2 and two from S3. The last one from S3, "Unfinished Business" is a controversial choice, as fans either loved or hated the episode centered around a shipboard boxing tournament, with plenty of angst devoted to the Starbuck/Apollo relationship. I wasn't a huge fan of that relationship either, but loved how that ep, despite its contrivances, examined the characters.
Just "missing the cut" rated with 9.5s were "Water," "You Can't Go Home Again," "Exodus Part 2" and "Crossroads Part 1."
Bottom 10 Episodes of Battlestar Galactica:
The bottom three should come as no surprise. "Black Market" is notable for it's incoherent "noir" plot involving Lee, who has an out of frakkin' nowhere "relationship" with a hooker named Shevon. And it wastes good performances by Jamie Bamber, Bill Duke and Richard Hatch. I was seriously worried about the direction of Season 3 after watching the back to back misfires of "The Woman King" and "A Day in the Life," but fortunately, the series rebounded in a major way to close strong. The eps above these in the ranking are not really "bad" per se (how is an 8.anything "bad?"), but simply not as strong as others in the series. With the exceptions of "Scattered" and "Fragged" the lower rated eps have typically come in the middle of S2 and S3, when the writers seemed to struggle telling stories after starting strong, and before planning to wrap up the season.
Season 1 is notable for its consistent quality, having produced only 13 episodes. Still, I'd rather suffer through the occasional "Black Market" and get 20 episodes in a season, rather than have less of this Emmy worthy (and Peabody winning) show to brighten (and darken) my world.
As always, if anyone wants to see the entire list or use the spreadsheets for their own evaluations, let me know.
This is difficult, seeing as how I haven't seen the BSG eps nearly as many times as I have the Buffy eps, and don't yet have them on DVD (hey, birthday coming up. Hint, hint). And the series hasn't ended yet (thank the gods) so I'm sure at some point after the series is wrapped up, and I've seen them all mulitple times on a rewatch, I'll revisit these ratings and rankings.
A few notes:
- Out of 54 produced eps (counting the miniseries as one), I've ranked 36 as a 9.0 or higher.
- There are only three -- three! -- that I would call "clunkers" and rated below 8.0. Faithful BSG watchers probably know before reading any further exactly which ones those are. As I've said before, I would rather watch "Black Market" over and over again for the rest of my life before subjecting myself to one hour of Trading Spouses: Meet Your New Mommy or October Road.
- When there are only 54 episodes produced, the "bottom" rankings are kind of silly, especially considering the fact that there are only three I would consider subpar. And even in those, there is much to love.
Okay, on with the rankings.
Top 10 Episodes of Battlestar Galactica:
Due to ties, there are actually 11 here. First number is season/ep number, second number is my rating, third number is the ranking.
| 1.1 | 33 | 10.0 | 1 |
| 2.10 | Pegasus | 10.0 | 1 |
| 2.11 | Resurrection Ship, Part 1 | 10.0 | 1 |
| 2.20 | Lay Down Your Burdens, Part 2 | 9.9 | 4 |
| 1.13 | Kobol's Last Gleaming, Part 2 | 9.8 | 5 |
| 3.20 | Crossroads, Part 2 | 9.7 | 6 |
| 1.12 | Kobol's Last Gleaming, Part 1 | 9.6 | 7 |
| 2.7 | Home, Part 2 | 9.6 | 7 |
| 2.12 | Resurrection Ship, Part 2 | 9.6 | 7 |
| 2.18 | Downloaded | 9.6 | 7 |
| 3.9 | Unfinished Business | 9.6 | 7 |
Seven of the eps are components two-parters. Not surprising, given the marvelous serialized storytelling. Three eps from S1, six from S2 and two from S3. The last one from S3, "Unfinished Business" is a controversial choice, as fans either loved or hated the episode centered around a shipboard boxing tournament, with plenty of angst devoted to the Starbuck/Apollo relationship. I wasn't a huge fan of that relationship either, but loved how that ep, despite its contrivances, examined the characters.
Just "missing the cut" rated with 9.5s were "Water," "You Can't Go Home Again," "Exodus Part 2" and "Crossroads Part 1."
Bottom 10 Episodes of Battlestar Galactica:
| 2.3 | Fragged | 8.6 | 45 |
| 2.1 | Scattered | 8.5 | 46 |
| 2.16 | Sacrifice | 8.5 | 46 |
| 3.10 | The Passage | 8.5 | 46 |
| 3.16 | Dirty Hands | 8.4 | 49 |
| 2.13 | Epiphanies | 8.3 | 50 |
| 3.8 | Hero | 8.2 | 51 |
| 3.14 | The Woman King | 6.2 | 52 |
| 3.15 | A Day in the Life | 6.1 | 53 |
| 2.14 | Black Market | 6.0 | 54 |
The bottom three should come as no surprise. "Black Market" is notable for it's incoherent "noir" plot involving Lee, who has an out of frakkin' nowhere "relationship" with a hooker named Shevon. And it wastes good performances by Jamie Bamber, Bill Duke and Richard Hatch. I was seriously worried about the direction of Season 3 after watching the back to back misfires of "The Woman King" and "A Day in the Life," but fortunately, the series rebounded in a major way to close strong. The eps above these in the ranking are not really "bad" per se (how is an 8.anything "bad?"), but simply not as strong as others in the series. With the exceptions of "Scattered" and "Fragged" the lower rated eps have typically come in the middle of S2 and S3, when the writers seemed to struggle telling stories after starting strong, and before planning to wrap up the season.
Season 1 is notable for its consistent quality, having produced only 13 episodes. Still, I'd rather suffer through the occasional "Black Market" and get 20 episodes in a season, rather than have less of this Emmy worthy (and Peabody winning) show to brighten (and darken) my world.
As always, if anyone wants to see the entire list or use the spreadsheets for their own evaluations, let me know.
Sunday, April 22, 2007
The Canon: Buffy Episode Rating-Palooza
An ongoing series of lists that provides the definitive order of things in the universe.
Of course I've watched every episode of Buffy, The Vampire Slayer (multiple times). Of course, I own every episode. And I frequently got in discussions with other fans over "which episode is best?" or "which season is best?" But I had never put any serious thought into it until a couple of years ago, at least from a statistical perspective. I was introducing some folks who had never seen the show to all seven seasons on DVD, and decided to start "grading" each episode as we went through the rewatch in order. I used a 10 point scale (with one decimal point), and then put the results into a spreadsheet, and some of the results shocked me when I looked at them in totality.
Top 10 Episodes of BTVS:
Okay, this isn't actually a "Top 10." Depending on how you look at it, it's actually a "Top 14" or "Top 7." Because of the numerical grades and the ranks, some are tied.
The numbers to the left are the "episode numbers" in order of airing. The second number is the rating I gave them on the 10 point scale. The the last number on the right is the "rank" they were given in the statistical summary of episodes.
Episodes just missing the cut include: Becoming, Part 1, Something Blue, Two to Go and Conversations with Dead People. (all scored 9.3 in my book).
As you can see, the top three, and perfect scores of 10.0 are not really surprising. Most fans put these eps at the top as perfectly crafted hours of TV excellence.
By season, there are no eps from S1, 4 from S2, 0 from S3, 3 from S4, 4 from S5, 2 from S6 and 1 from S7. While seasons 2 and 3 are typically lauded as the most "critically acclaimed" I was astounded that I had no "top 10s" from S3 and a whopping 4 from S5. And while I'm a huge fan of Glorificus, I've always thought that The Mayor is my favorite season long "big bad," so it was interesting to see that no individual eps from that arc cracked my top individual episodes.
Bottom 10 Episodes of BTVS:
Actually, the numbers here worked out to be 10 exactly.
Not surprising that 80% of the "bad" episodes were in the first two seasons, when the writing staff and actors were still trying to find their footing and the tone of the show. 3 from S1, 5 from S2, and 2 from S4. What was startling to me was that I didn't have any eps ranked in the bottom from seasons 6 and 7, when a lot of fans complained about the influence of Marti Noxon, the "magic is crack" heavy handed storylines or the generally dark tone of the show. (Though Doublemeat Palace, along with Witch, Gingerbread and Killed by Death, just missed the cut).
It should also be noted that I scored these according to the show compared against itself. I'd much rather watch Beer Bad on a continuous loop than one minute of The Bachelor or According to Jim.
Best Seasons of BTVS:
Next, I took all the individual episode rankings, totaled them, and divided by the number of eps in the season to get an average episode ranking for that season. Granted, this is a wee bit misleading, as it doesn't take into account the overall narrative flow of the season, and a few really poorly scored individual episodes can drag down the average for the whole season.
You can see that S2 scores poorly in this regard. Actually, S2 is a fantastic season and contains a lot of the mythology that will drive the show through its conclusion, but a number of "bad" episodes (see above -- 4 in the "bottom 10") bring down the average significantly. Also interesting, as I noted above regarding S3, is that even though none of the eps cracked the Top 7/14, this season consistently delivered the goods, episode after episode, for quality. I was also shocked by the showing of seasons 7, 6 and 4, since many fans though the show declined after the move to UPN in the last two years, and didn't like Riley Finn nor the "Initiative" storyline (I'm one of those rare fans who didn't hate "Captain America" and the government getting into the demon business).
When you start using this methodology, it definitely opens your eyes. Until I looked at the data, I would have said S2, S3 and S5 would have been ranked most highly.
So, there you have it. Obviously, your mileage may vary. Agree or disagree?
(And if you'd like to undertake this little exercise on your own and use my spreadsheets -- or just see the entirety of the rankings, e-mail me and I'll be glad to share).
Sometime over the next few months, I'll do the same thing for other cult shows (and personal favorites) like Battlestar Galactica, Angel and Star Trek: TNG.
Of course I've watched every episode of Buffy, The Vampire Slayer (multiple times). Of course, I own every episode. And I frequently got in discussions with other fans over "which episode is best?" or "which season is best?" But I had never put any serious thought into it until a couple of years ago, at least from a statistical perspective. I was introducing some folks who had never seen the show to all seven seasons on DVD, and decided to start "grading" each episode as we went through the rewatch in order. I used a 10 point scale (with one decimal point), and then put the results into a spreadsheet, and some of the results shocked me when I looked at them in totality.
Top 10 Episodes of BTVS:
Okay, this isn't actually a "Top 10." Depending on how you look at it, it's actually a "Top 14" or "Top 7." Because of the numerical grades and the ranks, some are tied.
| 66: Hush | 10.0 | 1 |
| 100: The Gift | 10.0 | 1 |
| 107: Once More, With Feeling | 10.0 | 1 |
| 94: The Body | 9.7 | 4 |
| 108: Tabula Rasa | 9.6 | 5 |
| 144: Chosen | 9.5 | 6 |
| 25: Surprise (1) | 9.4 | 7 |
| 26: Innocence (2) | 9.4 | 7 |
| 29: Passion | 9.4 | 7 |
| 34: Becoming, Part 2 (2) | 9.4 | 7 |
| 71: This Year's Girl (1) | 9.4 | 7 |
| 72: Who Are You? (2) | 9.4 | 7 |
| 85: Fool For Love | 9.4 | 7 |
| 92: Crush | 9.4 | 7 |
The numbers to the left are the "episode numbers" in order of airing. The second number is the rating I gave them on the 10 point scale. The the last number on the right is the "rank" they were given in the statistical summary of episodes.
Episodes just missing the cut include: Becoming, Part 1, Something Blue, Two to Go and Conversations with Dead People. (all scored 9.3 in my book).
As you can see, the top three, and perfect scores of 10.0 are not really surprising. Most fans put these eps at the top as perfectly crafted hours of TV excellence.
By season, there are no eps from S1, 4 from S2, 0 from S3, 3 from S4, 4 from S5, 2 from S6 and 1 from S7. While seasons 2 and 3 are typically lauded as the most "critically acclaimed" I was astounded that I had no "top 10s" from S3 and a whopping 4 from S5. And while I'm a huge fan of Glorificus, I've always thought that The Mayor is my favorite season long "big bad," so it was interesting to see that no individual eps from that arc cracked my top individual episodes.
Bottom 10 Episodes of BTVS:
Actually, the numbers here worked out to be 10 exactly.
| 32: Go Fish | 6.9 | 135 |
| 61: Beer Bad | 6.9 | 135 |
| 17: Reptile Boy | 6.8 | 137 |
| 4: Teacher's Pet | 6.5 | 138 |
| 14: Some Assembly Required | 6.5 | 138 |
| 16: Inca Mummy Girl | 6.5 | 138 |
| 24: Bad Eggs | 6.5 | 138 |
| 5: Never Kill a Boy on the First Date | 6.0 | 142 |
| 74: Where the Wild Things Are | 6.0 | 142 |
| 6: The Pack | 5.9 | 144 |
Not surprising that 80% of the "bad" episodes were in the first two seasons, when the writing staff and actors were still trying to find their footing and the tone of the show. 3 from S1, 5 from S2, and 2 from S4. What was startling to me was that I didn't have any eps ranked in the bottom from seasons 6 and 7, when a lot of fans complained about the influence of Marti Noxon, the "magic is crack" heavy handed storylines or the generally dark tone of the show. (Though Doublemeat Palace, along with Witch, Gingerbread and Killed by Death, just missed the cut).
It should also be noted that I scored these according to the show compared against itself. I'd much rather watch Beer Bad on a continuous loop than one minute of The Bachelor or According to Jim.
Best Seasons of BTVS:
Next, I took all the individual episode rankings, totaled them, and divided by the number of eps in the season to get an average episode ranking for that season. Granted, this is a wee bit misleading, as it doesn't take into account the overall narrative flow of the season, and a few really poorly scored individual episodes can drag down the average for the whole season.
| Season 3 Average | 8.58 |
| Season 7 Average | 8.35 |
| Season 6 Average | 8.32 |
| Season 4 Average | 8.25 |
| Season 5 Average | 8.21 |
| Season 2 Average | 8.07 |
| Season 1 Average | 7.51 |
You can see that S2 scores poorly in this regard. Actually, S2 is a fantastic season and contains a lot of the mythology that will drive the show through its conclusion, but a number of "bad" episodes (see above -- 4 in the "bottom 10") bring down the average significantly. Also interesting, as I noted above regarding S3, is that even though none of the eps cracked the Top 7/14, this season consistently delivered the goods, episode after episode, for quality. I was also shocked by the showing of seasons 7, 6 and 4, since many fans though the show declined after the move to UPN in the last two years, and didn't like Riley Finn nor the "Initiative" storyline (I'm one of those rare fans who didn't hate "Captain America" and the government getting into the demon business).
When you start using this methodology, it definitely opens your eyes. Until I looked at the data, I would have said S2, S3 and S5 would have been ranked most highly.
So, there you have it. Obviously, your mileage may vary. Agree or disagree?
(And if you'd like to undertake this little exercise on your own and use my spreadsheets -- or just see the entirety of the rankings, e-mail me and I'll be glad to share).
Sometime over the next few months, I'll do the same thing for other cult shows (and personal favorites) like Battlestar Galactica, Angel and Star Trek: TNG.
Sunday, March 4, 2007
The Canon: Star Trek Doctors
An ongoing series of lists that provides the definitive order of things in the universe.
When you have 726 episodes and 10 films in your history, there's certainly a lot of room for debate about what worked and what didn't. It's not easy to compare things across the various generations and incarnations of Trek, either, given the changes to the very nature of television storytelling from the first time "Space...the final frontier" graced our screens. For example, back in the days of TOS the nature of "serialized" plots that continue for years was almost unheard of. Almost everything was wrapped up with a joke at the end of the hour, and little attention was paid to character development that occurred in the previous seasons. Compare that to arcs that lasted for years on DS9, the ambitious (but not quite always successful) season long story in S3 of Enterprise. Backstory and character development often occurred in one or two spotlight episodes for characters that weren't "Captain," or through sheer force of the portrayer's talent and charisma in delivering the lines and requisite technobabble for the week.
Speaking of "the big chair," you could probably devote hours of debate to the captains (Kirk, Picard, Sisko, Janeway, Archer), given the importance they had driving each of the shows and the attention paid to the roles. And it's difficult to compare apples to apples in many of the other roles from show to show (e.g. did every show have a clear cut science officer? who was the true "number 1" on each show? etc.). But one thing each incarnation had is a doctor, and I've found (yes, after watching each of the 726 episodes and 10 movies. Multiple times. Yep. I'm a geek. But don't worry, I don't own any prosthetic ears nor live in my parents basement, Shatner never told me to "get a life" and I do get laid) that the doctors were actually a consistent strength of each show.
While having a doctor was a necessity of the plot mechanics, each of the doctors brought something unique to the party.
TOS: Leonard McCoy
"Bones," the "old country doctor," whose cranky, humanistic approach was a perfect counterbalance to Spock's alien logic. Responsible for two of TV's best catchphrases: "He's dead, Jim," and of course, "Dammit, Jim, I'm a doctor, not a......" (Note: it sounds better with the "dammit, Jim," but just like Rick Blaine never said "Play it again, Sam," McCoy never actually started one of those on the show with the "dammit, Jim.") One of the rare flattering portrayals of a southerner, that didn't involve redneck and unenlightened stereotypes. Most involved in the central plots of the show (though latter seasons of DS9 and Voyager did give some good time to Bashir and The Doctor also).
TNG: Beverly Crusher
Passionate embodiment of TNG's more advanced take on medicine, widow of Jack Crusher and mother of Wesley (I was one of the many who held that against her, but if you ever get a moment, check out Wil Wheaton's hysterical TNG recaps. He fully realizes what an ass young Wesley was and how hated he was by the fans. Makes you see the writers and actors in a new light.). Excellent romantic tension with Picard (handled well in many episodes, particularly "Attached" and in a potential future way, in "All good things..."). Occasionally funny and almost always sympathetic. Note: we won't even address the horrific Dr. Pulaski who subbed in in S2, trying to be a distaff version of McCoy. Awful.
DS9: Julian Bashir
Initially introduced as a preening, green and playboy know-it-all, Bashir had one of the more gripping character evolutions on Trek. From this initial characterization, Bashir developed a realistic and wonderful friendship with O'Brien and dealt with the repercussions of discovering he was genetically engineered as a child. Served as an entry point into many of DS9's fascinating moral debates about the grey areas between "right" and "wrong" with not only medical issues, but also issues of state and government (such as Section 31).
Voyager: The Doctor
While the "holodeck" got quite a workout as Trek progressed, moving into annoying plot device after a while, the holographic doctor was a novel and revolutionary take on the technology. His snarky attitude and less than pleasant beside manner, all the while grappling with the questions of "what makes a sentient being," was clearly one of the high points and strongest aspects of Voyager. Easily the funniest character on Voyager, and surprisingly, one of the most insightful and empathetic.
Enterpise: Phlox
On a show known for uneven (or non-existent) characterizations, Phlox did a wonderful job with what he was given. Warm, friendly, curious and possessing a deadpan wit, Phlox represented one of the first alien members of a Starfleet crew. He would also fit in well with the Henricksons on Big Love.
It's hard to "rank" these characters as "best" or "most effective," since they were all uniformly well acted and a consistent bright spot across all the Trek incarnations. In this case, I'll use "best" simply to represent which ones I enjoyed more.
Best Star Trek Doctors:
When you have 726 episodes and 10 films in your history, there's certainly a lot of room for debate about what worked and what didn't. It's not easy to compare things across the various generations and incarnations of Trek, either, given the changes to the very nature of television storytelling from the first time "Space...the final frontier" graced our screens. For example, back in the days of TOS the nature of "serialized" plots that continue for years was almost unheard of. Almost everything was wrapped up with a joke at the end of the hour, and little attention was paid to character development that occurred in the previous seasons. Compare that to arcs that lasted for years on DS9, the ambitious (but not quite always successful) season long story in S3 of Enterprise. Backstory and character development often occurred in one or two spotlight episodes for characters that weren't "Captain," or through sheer force of the portrayer's talent and charisma in delivering the lines and requisite technobabble for the week.
Speaking of "the big chair," you could probably devote hours of debate to the captains (Kirk, Picard, Sisko, Janeway, Archer), given the importance they had driving each of the shows and the attention paid to the roles. And it's difficult to compare apples to apples in many of the other roles from show to show (e.g. did every show have a clear cut science officer? who was the true "number 1" on each show? etc.). But one thing each incarnation had is a doctor, and I've found (yes, after watching each of the 726 episodes and 10 movies. Multiple times. Yep. I'm a geek. But don't worry, I don't own any prosthetic ears nor live in my parents basement, Shatner never told me to "get a life" and I do get laid) that the doctors were actually a consistent strength of each show.
While having a doctor was a necessity of the plot mechanics, each of the doctors brought something unique to the party.
TOS: Leonard McCoy
"Bones," the "old country doctor," whose cranky, humanistic approach was a perfect counterbalance to Spock's alien logic. Responsible for two of TV's best catchphrases: "He's dead, Jim," and of course, "Dammit, Jim, I'm a doctor, not a......" (Note: it sounds better with the "dammit, Jim," but just like Rick Blaine never said "Play it again, Sam," McCoy never actually started one of those on the show with the "dammit, Jim.") One of the rare flattering portrayals of a southerner, that didn't involve redneck and unenlightened stereotypes. Most involved in the central plots of the show (though latter seasons of DS9 and Voyager did give some good time to Bashir and The Doctor also).
TNG: Beverly Crusher
Passionate embodiment of TNG's more advanced take on medicine, widow of Jack Crusher and mother of Wesley (I was one of the many who held that against her, but if you ever get a moment, check out Wil Wheaton's hysterical TNG recaps. He fully realizes what an ass young Wesley was and how hated he was by the fans. Makes you see the writers and actors in a new light.). Excellent romantic tension with Picard (handled well in many episodes, particularly "Attached" and in a potential future way, in "All good things..."). Occasionally funny and almost always sympathetic. Note: we won't even address the horrific Dr. Pulaski who subbed in in S2, trying to be a distaff version of McCoy. Awful.
DS9: Julian Bashir
Initially introduced as a preening, green and playboy know-it-all, Bashir had one of the more gripping character evolutions on Trek. From this initial characterization, Bashir developed a realistic and wonderful friendship with O'Brien and dealt with the repercussions of discovering he was genetically engineered as a child. Served as an entry point into many of DS9's fascinating moral debates about the grey areas between "right" and "wrong" with not only medical issues, but also issues of state and government (such as Section 31).
Voyager: The Doctor
While the "holodeck" got quite a workout as Trek progressed, moving into annoying plot device after a while, the holographic doctor was a novel and revolutionary take on the technology. His snarky attitude and less than pleasant beside manner, all the while grappling with the questions of "what makes a sentient being," was clearly one of the high points and strongest aspects of Voyager. Easily the funniest character on Voyager, and surprisingly, one of the most insightful and empathetic.
Enterpise: Phlox
On a show known for uneven (or non-existent) characterizations, Phlox did a wonderful job with what he was given. Warm, friendly, curious and possessing a deadpan wit, Phlox represented one of the first alien members of a Starfleet crew. He would also fit in well with the Henricksons on Big Love.
It's hard to "rank" these characters as "best" or "most effective," since they were all uniformly well acted and a consistent bright spot across all the Trek incarnations. In this case, I'll use "best" simply to represent which ones I enjoyed more.
Best Star Trek Doctors:
- Leonard McCoy
- The Doctor
- Julian Bashir
- Phlox
- Beverly Crusher
Sunday, February 18, 2007
The Canon: Law and Order ADAs
An ongoing series of lists that provides the definitive order of things in the universe.
For Law and Order junkies, sorting through the revolving door of characters can sometimes be a challenging thing.
Some debates are easy. Lenny is almost universally the favorite cop, if not the favorite character. And I can't think of anyone who prefers Ben Stone to Jack McCoy.
It gets a wee bit complicated when you get to the DAs. Most fans love the exasperated and deadpan Adam Schiff, though I'm in a probably small minority who likes Fred Dalton Thompson's slightly obnoxious, and conservative, Arthur Branch (granted, he's pretty much played the same character in just about everything, including Hunt for Red October and his actual duties in congress -- but hey, I like him). Lewin stunk, no arguments there.
The ADAs, however, inspire the most discussion. You had the more strident and humorless Robinette, who basically got lost in the shuffle because LandO was such a sausage-fest to start out with. (But Richard Brooks had an awesome turn as psychotic and strangely funny bounty hunter Jubal Early on Firefly). You had the feminist and agnostic (yay!) Kincaid who wound up having a fling with McCoy, only to die in a car wreck and deprive us of her perfect bob and beauty mark. Next came Ross (short hair!) with her manipulative and shitty ex-husband and liberal idealism, who eventually became a judge. She was followed by Abby "Hang 'em High" Carmichael, with her Texas drawl and voice like whiskey filtered through a 4 pack a day habit. Next up was Serena Southerlyn, known for perpetrating on viewers one of the biggest "what the fucks?" in TV history: "Is this because I'm a lesbian?" What would pop culture be without that line? I can't figure this one out, because she was decent enough on Angel, but on LandO I've seen driftwood give more eloquent and passionate line readings. Gorgeous eyes and the rare LandO blonde should count for something, but not even the lesbian undertones (oh wait. There weren't any until the last 3 seconds of her final appearance) could save the awful emoting. She gave way to the earthy and more conservative Borgia, who wound up dying in a trunk. Finally, we have Rubirosa, who seems to be more balanced politically and portrayed by a seemingly talented actress, though we haven't yet learned that much about her.
So how do they stack up in my book?
Best Law and Order ADAs:
For Law and Order junkies, sorting through the revolving door of characters can sometimes be a challenging thing.
Some debates are easy. Lenny is almost universally the favorite cop, if not the favorite character. And I can't think of anyone who prefers Ben Stone to Jack McCoy.
It gets a wee bit complicated when you get to the DAs. Most fans love the exasperated and deadpan Adam Schiff, though I'm in a probably small minority who likes Fred Dalton Thompson's slightly obnoxious, and conservative, Arthur Branch (granted, he's pretty much played the same character in just about everything, including Hunt for Red October and his actual duties in congress -- but hey, I like him). Lewin stunk, no arguments there.
The ADAs, however, inspire the most discussion. You had the more strident and humorless Robinette, who basically got lost in the shuffle because LandO was such a sausage-fest to start out with. (But Richard Brooks had an awesome turn as psychotic and strangely funny bounty hunter Jubal Early on Firefly). You had the feminist and agnostic (yay!) Kincaid who wound up having a fling with McCoy, only to die in a car wreck and deprive us of her perfect bob and beauty mark. Next came Ross (short hair!) with her manipulative and shitty ex-husband and liberal idealism, who eventually became a judge. She was followed by Abby "Hang 'em High" Carmichael, with her Texas drawl and voice like whiskey filtered through a 4 pack a day habit. Next up was Serena Southerlyn, known for perpetrating on viewers one of the biggest "what the fucks?" in TV history: "Is this because I'm a lesbian?" What would pop culture be without that line? I can't figure this one out, because she was decent enough on Angel, but on LandO I've seen driftwood give more eloquent and passionate line readings. Gorgeous eyes and the rare LandO blonde should count for something, but not even the lesbian undertones (oh wait. There weren't any until the last 3 seconds of her final appearance) could save the awful emoting. She gave way to the earthy and more conservative Borgia, who wound up dying in a trunk. Finally, we have Rubirosa, who seems to be more balanced politically and portrayed by a seemingly talented actress, though we haven't yet learned that much about her.
So how do they stack up in my book?
Best Law and Order ADAs:
- Abbie Carmichael
- Claire Kincaid
- Connie Rubirosa
- Jaimie Ross
- Alexandra Borgia
- Paul Robinette
- Serena Southerlyn
Wednesday, February 14, 2007
The Canon: Top Aborted Shows
An ongoing series of lists that provides the definitive order of things in the universe.
There's almost nothing worse (except maybe living in a world where Florida has national championships in the two major collegiate sports) that becoming addicted to a new TV show and having it canceled right in front of your eyes.
"Choosing" new shows to follow each year has long been a pasttime in the Clarke household. When I was a kid, we'd eagerly wait to get the TV Guide Fall Preview and then individually highlight the shows each of us wanted to watch. Since this was in the days before Tivo (Dark Ages! Healing with leeches!), we then negotiated who had "rights" to the big TV and who would be relegated to the bedroom or upstairs tube in the case of scheduling conflicts on the "big 3" networks. With Tivo and 1,623 channels and pretty much year round programming, it's much easier to "sample" new shows and discard them if they fail to live up to their potential. Plus, having so many quality shows scattered across the multiple networks makes the loss of one easier to live with than back in day.
That said, in the last few years there have been a number of shows that have been killed long before their time. For the purposes of this exercise, I'll consider shows debuting since 2000 that didn't make it past one year (Arrested Development was obviously exterminated way too soon, but at least we got 3 seasons out of it).
The Top 8 Aborted Shows
There's almost nothing worse (except maybe living in a world where Florida has national championships in the two major collegiate sports) that becoming addicted to a new TV show and having it canceled right in front of your eyes.
"Choosing" new shows to follow each year has long been a pasttime in the Clarke household. When I was a kid, we'd eagerly wait to get the TV Guide Fall Preview and then individually highlight the shows each of us wanted to watch. Since this was in the days before Tivo (Dark Ages! Healing with leeches!), we then negotiated who had "rights" to the big TV and who would be relegated to the bedroom or upstairs tube in the case of scheduling conflicts on the "big 3" networks. With Tivo and 1,623 channels and pretty much year round programming, it's much easier to "sample" new shows and discard them if they fail to live up to their potential. Plus, having so many quality shows scattered across the multiple networks makes the loss of one easier to live with than back in day.
That said, in the last few years there have been a number of shows that have been killed long before their time. For the purposes of this exercise, I'll consider shows debuting since 2000 that didn't make it past one year (Arrested Development was obviously exterminated way too soon, but at least we got 3 seasons out of it).
The Top 8 Aborted Shows
- Firefly
- Wonderfalls
- Karen Sisco
- The Tick
- Eyes
- The Inside
- Lucky
- Touching Evil
Monday, February 5, 2007
The Canon: Super Bowl Commercials
An ongoing series of lists that provides the definitive order of things in the universe.
Overall, a very, very lackluster crop of Super Bowl ads last night. Only a few really stood out, entertained or made me chuckle.
Here's what USA Today's annual round up of ad rankings had to say.
I'm not completely in tune with how America rated them (go figure) with regard to the best ads. After all, one of my favorites -- the Garmin GPS ad that featured a note-perfect take on a cheesy "Ultra Man" like hero fighting the "paper map monster" -- ranked in the bottom. I guess there weren't too many fans of Ultra Man watching last night. That's a shame, because that shit was hysterical.
My take?
Best Super Bowl Ads:
And though it wasn't a true commercial for a product, special kudos to David Letterman and Oprah watching the game.
Overall, a very, very lackluster crop of Super Bowl ads last night. Only a few really stood out, entertained or made me chuckle.
Here's what USA Today's annual round up of ad rankings had to say.
I'm not completely in tune with how America rated them (go figure) with regard to the best ads. After all, one of my favorites -- the Garmin GPS ad that featured a note-perfect take on a cheesy "Ultra Man" like hero fighting the "paper map monster" -- ranked in the bottom. I guess there weren't too many fans of Ultra Man watching last night. That's a shame, because that shit was hysterical.
My take?
Best Super Bowl Ads:
- Bud Light Rock, Paper, Scissors
- Budweiser Clydesdales and "dirty" dog as dalmatian
- Garmin "Ultra Man" spoof
- GM "sad robot"
- Bud Light scary hitchhiker
- Emerald Nuts Robert Goulet as office gremlin
And though it wasn't a true commercial for a product, special kudos to David Letterman and Oprah watching the game.
Thursday, February 1, 2007
The Canon: Underrated Sitcoms
An ongoing series of lists that provides the definitive order of things in the universe.
Lots of sitcoms get their due. There are the generally recognized groundbreakers and classics from the most recent "golden age" of TV comedy like M*A*S*H, All in the Family, Mary Tyler Moore, Bob Newhart, Sanford and Son and The Odd Couple.
Then there are "modern classics" like Seinfeld, Friends, Arrested Development (yes, it got the praise, just not enough viewers, dammit), Cosby, Cheers, Frasier and Roseanne.
But then there are some that always lived in the shadow of other, more popular or critically praised shows. Or got moved around too much. Or canceled. Or never generated enough watercooler "buzz." However, there are still great sitcoms that had a talented cast, sustaining premise, richly drawn characters, solid writing and most of all, consistently delivered laughs that didn't necessarily win truckloads of Emmys or always get mentioned top of mind among the Hall of Famers.
So, the Top 6 Underrated Sitcoms of All Time:
Lots of sitcoms get their due. There are the generally recognized groundbreakers and classics from the most recent "golden age" of TV comedy like M*A*S*H, All in the Family, Mary Tyler Moore, Bob Newhart, Sanford and Son and The Odd Couple.
Then there are "modern classics" like Seinfeld, Friends, Arrested Development (yes, it got the praise, just not enough viewers, dammit), Cosby, Cheers, Frasier and Roseanne.
But then there are some that always lived in the shadow of other, more popular or critically praised shows. Or got moved around too much. Or canceled. Or never generated enough watercooler "buzz." However, there are still great sitcoms that had a talented cast, sustaining premise, richly drawn characters, solid writing and most of all, consistently delivered laughs that didn't necessarily win truckloads of Emmys or always get mentioned top of mind among the Hall of Famers.
So, the Top 6 Underrated Sitcoms of All Time:
- SportsNight
- SOAP
- NewsRadio
- Wings
- Get Smart
- WKRP in Cinncinnati
Sunday, January 28, 2007
Shan's Canon: NFL Unis
First in an ongoing series of lists that provides the definitive order of things in the universe.
Best NFL Uniforms:
Worst NFL Uniforms:
I can't even list the Bengals. They're so gaudy and god awful they almost make a complete loop back around from ugly, to so hideous you can't stop looking at them. And they DO pay off the mascot and identity. Also, I want to turn off my television any time a team (looking at you, rocket laser arm boy) wears all white, no matter how iconic the uni.
Best NFL Uniforms:
- San Diego Chargers (powder blues only)
- Oakland Raiders
- NY Giants
- Chicago Bears
- New Orleans Saints (not all black, though)
Worst NFL Uniforms:
- Cleveland Browns
- Miami Dolphins
- Buffalo Bills
- Denver Broncos
- Washington Redskins
I can't even list the Bengals. They're so gaudy and god awful they almost make a complete loop back around from ugly, to so hideous you can't stop looking at them. And they DO pay off the mascot and identity. Also, I want to turn off my television any time a team (looking at you, rocket laser arm boy) wears all white, no matter how iconic the uni.
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