Beyond the characters, the writing, the plotting, the direction and the acting, there are many reasons why you might love a television show. Little stylistic choices, or "conventions" if you will, that help establish the mood and tenor of a program. For example, the ticking clock (both visually and aurally) on 24. Episodes titles for Friends that are always "The One With...." The "chung chung" sound on Law & Order.
Here are a few from current shows that I love:
The character-identifying chyron titles on Burn Notice, where the text flies in and freeze frames someone as "Michael's Worst Nightmare" or "Arms Dealer with a Grudge."
The 3D floating location identifiers on Fringe.
When the crew on Leverage pulls a con, toward the end of the episode, we usually get a quick black and white flashback to show how they did it.
The different sounds used to indicate a flashback, flashforward or flashsideways on Lost.
The "to the camera" confessionals on The Office and Parks & Recreation.
The choral "soundtrack" and musical stingers on Glee.
The faux Veridian Dynamics commercials that usually run during an episode of Better Off Ted.
The way the credits to The Closer typically unfold, with a full opening scene playing out, interspersed with stark text on black background credits, all underscored with a bluesy guitar.
The episode naming conventions for The Big Bang Theory and Community, which suggest (respectively) scientific theorems ("The Lizard-Spock Expansion") or college classes ("Comparative Religion").
Belle's in character (but out of story) asides to the camera/audience in Secret Diary of a Call Girl.
The "fake FBI Agent" names (usually classic rock inspired) the Winchester brothers always give in Supernatural ("Agent Plant and Agent Page").
The beautifully done depiction of Zoe Graystone, the "personality" trapped inside the Cylon robot, in Caprica, which cuts back and forth from the CGI'd gleaming metal monstrosity to actress Alessandra Torresani.
What about you? What conventions or stylistic quirks from your favorite shows make you love them that much more?
Showing posts with label The Closer. Show all posts
Showing posts with label The Closer. Show all posts
Saturday, February 20, 2010
Saturday, August 29, 2009
Summer TV Report Card
Thanks to cable, summer is no longer the desolate television wasteland, comprised of repeats, intelligence and dignity sapping reality shows and dumped pilots. (Network television, however, still continues this time honored taking out of the trash).
So how did summer viewing stack up, quality-wise? Let's take a look. Here are my grades for various summer season shows (some of which are still in progress):
Burn Notice: A-
Very solid season, filled with everything we like (how-to voiceovers, CGI-free action, colorful cover identities, lots of Sam Axe) and only a little of what we don't (meandering master plot and too many scenarios where the bad guys tidily take each other out). The only serious misstep was with the character (and casting) of Detective Paxson.
Royal Pains: C-
This freshman show seems to have caught on in the ratings and performed well even after losing the superior Burn Notice as a lead in. I stuck with it through to the finale, but I'm not sure that I'll keep it on the season pass list when it returns next summer. Other than Campbell Scott's mysterious Boris, all the characters are black holes of charisma or downright annoying (I'm looking at you, Evan). The nifty "solutions" to medical problems lack the brilliance of House and aren't as fun as similar improvisations on Burn Notice. And I don't give a damn about any of the relationships here.
In Plain Sight: B-
Credit where credit is due for successfully centering a show on a prickly, borderline unlikable character. Mary McCormack's Marshal Mary Shannon is competent and caustic, and her interplay with the show's best character, Fred Weller's bone-dry Marshal Marshall Mann, is the reason to keep coming back. The show also made some effort to adjust the supporting cast, making Stan more passionate and less buffoonish, and pushing Mary's aggravating family to the background. The creator and showrunner has left the series, so we'll see how things shake out next year.
Law & Order: Criminal Intent: B+
This warhorse keeps chugging along, offering "ripped from the headlines" crimes to be solved by two of TV's quirkiest and most watchable performers, Vincent D'Onfrio and Jeff Goldblum. The supporting cast is also sublime. I really like the work done by Eric Bogosian, Kathryn Erbe and Julianne Nicholson.
Saving Grace: D
On the surface, I should love this show. It features characters from "flyover country" that are taken seriously, blends procedural crime-solving with a dollop of the supernatural and has talented actors giving real and naturalistic performances across the board. There's no question that Holly Hunter's bravura scenery chewing is a thing to behold. Yet every single episode I watch feels like there are three or four scenes cut out that would help it hang together more coherently. And the overall arc shambles aimlessly along, confusing "divine mystery" with "exasperatingly nonsensical." A nice effort, but definitely far less than the sum of its parts.
The Closer: B
I've long stopped pulling my hair out over Kyra's dinner theatre Georgia accent (now that Saving Grace is shutting down, perhaps Holly Hunter can give her some dialect coaching?) and just enjoyed this show for what it is. It features a great supporting cast (any reason for more JK Simmons on my TV is a reason to cheer) and a bluesy score (the opening scenes / credits roll out sequences are among the best on TV). Though the "revelation in Brenda's personal life triggers an 'a-ha moment' about the case" device can be a little trite, the show just works.
Leverage: B
More fun than it ought to be, this lightweight summer diversion is eminently watchable, thanks mainly to the performances. Timothy Hutton grounds the team with his actorly chops, and the rest of the Leverage group orbits around him giving us everything from geektastic riffing (Aldis Hodge's Hardison) to inexplicably adorable face-scrunching (Beth Riesgraf's Parker). The con mechanics don't always hold up under close scrutiny, but this show is as refreshing as a lemonade on a summer day.
Weeds: D
I gave up on this show for a while, but came back this season to see what's going on and can't believe I made it through the entire thing (one more episode, the season finale, airs Monday). Mary Louise Parker is sexy as hell and gives her all to a role that just doesn't do anything for me. Nancy Botwin isn't particularly likable, competent, moral, funny or engaging. (In Plain Sight's central character is similar prickly, but is at least good at what she does). The side plots, whether they feature the kids, Doug and Dean or Celia, feel beamed in from another show and I can't believe anyone gives a shit about Esteban or his career. Really, the only redeeming features this season have been Justin Kirk's nimble gift for comedy and pathos, and Alanis Morrisette's surprisingly winning guest shot. A mess.
Nurse Jackie: B+
A meandering examination of an addicted ER Nurse and her personal and professional travails, this show won me over on the strength of the acting, particularly a ferocious and vanity-free performance from the incomparable Edie Falco and Merritt Wever's lovable, loopy Zoey. With the exception of Anna Deavere Smith's slapsticky administrator (I fault the character and writing more than the actress, who ably tries to work with the tone deaf material she's given) the whole ensemble turns in great work.
Entourage: D+
Another show, like Weeds, than appears on my TiVo more out of habit than any sort of passion. It was never blessed with sharp writing or performances (save early, pre-sushi Piven) in the first place, and it's only gotten shaggier in its later years. This year, the show's least compelling character, Eric, winds up with most of "dramatic" heavy lifting, and he's simply not up to the challenge (and what's with the annoying stick figure neighbor? Ye gods). It takes a special kind of ineptness to waste Gary Cole.
Hung: B
This one seems to be really hit or miss for a lot of folks. Not quite funny enough to be laugh out loud hysterical, yet not as sharply dramatic as something like Nurse Jackie can be, Hung is content to drift along on the charms of its cast and wacky premise. Your mileage may vary, depending on how much you enjoy Thomas Jane and Jane Adams. Personally, I think Jane is an underrated actor who filters some of his character's jockish obliviousness with a hangdog earnestness, and I've long had a crush on the delightful quirky and compelling Adams.
True Blood: A-
While this isn't a deep, thought-provoking meditation on the human condition (such as other HBO efforts like The Sopranos or Deadwood), there's hardly anything on TV now that offers this much outlandish, over the top fun. Though I could do without some of the characters (like Eggs), Michelle Forbes has been a gleefully demented big bad and the relationship between the shy, sweet Hoyt and the vampire virgin Jessica is funny, compelling and fascinating to watch. Almost all the eccentrics in Bon Tomps have something to do this season (welcome back, sassy Lafayette!), and the show has found a nice tone that effectively straddles gut-busting camp and operatic melodrama.
Virtuality: A-
Though this was a failed pilot aired as a burn-off TV movie, it's really a shame Virtuality didn't get more of a shot. It was well cast, well written and had an abundance of ideas to explore.
Being Human: B
What a delightful little surprise this BBCA import has been. It's the story of three flatmates (as they say across the pond) - a vampire, a werewolf and a ghost. Though I frequently watch with the closed-captioning on in order to catch some of the mumbled English slang, and some of the foundational "rules" about how these supernatural creatures operate aren't exactly clear, I admire the winning performances of the three lead actors and appreciate the fact that the plot isn't afraid to go to some very dark places.
Rescue Me: B+
This has been a very successful comeback for a show that seemed to be running out of gas during its last go round. Most all of the central characters have gotten a plotline to wrap their arms around, and you can never go wrong when you give the crew of the 62 Truck more scenes to hang around and shoot the shit about women, pop culture, politics or life in general. Sometimes, the focus on Tommy's magical love life can be wearying, but it helps when you have an actress as good as Callie Thorne to play balls-out crazy, or one as talented and sexy as Maura Tierney to play a mysterious new interloper. Few shows can vacillate between pathos and comedy as well as Rescue Me, and one of the things I've admired this season has been a concerted effort to feature longer, unbroken set pieces that mine the depths of both.
Eureka: B-
Though I'm a little pissed that Friday's episode was a glorified clip show masquerading as a new episode, Eureka does what it always does: provide an amiable, well-acted and engaging summer diversion that coasts effectively on its high concept trappings and likable cast. Jamie Ray Newman has added some life, too, as a flame-haired, lispy romantic foil for the comically gifted Colin Ferguson.
Warehouse 13: A-
This freshman series, a delightful melange of The X-Files and TNT's Librarian series, with a dash of Bones thrown in, charmed from the start, though it isn't without a few growing pains. It is winningly cast, with leads Eddie McClintock and Joanne Kelly as "Secret Service" agents tasked with procuring magical and sci-fi "artifacts" for the mysterious Warehouse, which is overseen by reliable veteran actor Saul Rubinek. Recently, Allison Scagliotti joined the cast as a young hacker genius to add some depth (and winsome attitude) to the team. McClintock and Kelly have chemistry to burn, and the whole concept is fun and breezy, and a great way to spend an hour. The artifacts themselves have been inconsistent in nature, ranging from historically clever to poorly conceived, and some of the episode wrap ups have been a wee bit trite. It's all but impossible for new shows to find their tone and footing right out of the box, but with the addition of more backstory and a recurring nemesis (Roger Rees), Warehouse 13 is quickly getting into an addictive groove.
Psych and Monk: (Incomplete)
We're too early into their summer runs to offer a complete evaluation for these returing USA favorites, but I will say that Monk seems to have stepped up a bit in its swan song from a lackluster prior season. The ratings show that Psych suffers some viewer drop off from its lead in, and I can't understand why, as this show continues to make me giggle with its endless pop culture riffs and the easy chemistry between leads James Roday and Dule Hill.
All in all, if, like me, you find reality drivel one of the horsemen of the apocalypse and needed some scripted viewing this summer it really was a pretty good time to be plopped on the couch in front of the tube.
So how did summer viewing stack up, quality-wise? Let's take a look. Here are my grades for various summer season shows (some of which are still in progress):
Burn Notice: A-
Very solid season, filled with everything we like (how-to voiceovers, CGI-free action, colorful cover identities, lots of Sam Axe) and only a little of what we don't (meandering master plot and too many scenarios where the bad guys tidily take each other out). The only serious misstep was with the character (and casting) of Detective Paxson.
Royal Pains: C-
This freshman show seems to have caught on in the ratings and performed well even after losing the superior Burn Notice as a lead in. I stuck with it through to the finale, but I'm not sure that I'll keep it on the season pass list when it returns next summer. Other than Campbell Scott's mysterious Boris, all the characters are black holes of charisma or downright annoying (I'm looking at you, Evan). The nifty "solutions" to medical problems lack the brilliance of House and aren't as fun as similar improvisations on Burn Notice. And I don't give a damn about any of the relationships here.
In Plain Sight: B-
Credit where credit is due for successfully centering a show on a prickly, borderline unlikable character. Mary McCormack's Marshal Mary Shannon is competent and caustic, and her interplay with the show's best character, Fred Weller's bone-dry Marshal Marshall Mann, is the reason to keep coming back. The show also made some effort to adjust the supporting cast, making Stan more passionate and less buffoonish, and pushing Mary's aggravating family to the background. The creator and showrunner has left the series, so we'll see how things shake out next year.
Law & Order: Criminal Intent: B+
This warhorse keeps chugging along, offering "ripped from the headlines" crimes to be solved by two of TV's quirkiest and most watchable performers, Vincent D'Onfrio and Jeff Goldblum. The supporting cast is also sublime. I really like the work done by Eric Bogosian, Kathryn Erbe and Julianne Nicholson.
Saving Grace: D
On the surface, I should love this show. It features characters from "flyover country" that are taken seriously, blends procedural crime-solving with a dollop of the supernatural and has talented actors giving real and naturalistic performances across the board. There's no question that Holly Hunter's bravura scenery chewing is a thing to behold. Yet every single episode I watch feels like there are three or four scenes cut out that would help it hang together more coherently. And the overall arc shambles aimlessly along, confusing "divine mystery" with "exasperatingly nonsensical." A nice effort, but definitely far less than the sum of its parts.
The Closer: B
I've long stopped pulling my hair out over Kyra's dinner theatre Georgia accent (now that Saving Grace is shutting down, perhaps Holly Hunter can give her some dialect coaching?) and just enjoyed this show for what it is. It features a great supporting cast (any reason for more JK Simmons on my TV is a reason to cheer) and a bluesy score (the opening scenes / credits roll out sequences are among the best on TV). Though the "revelation in Brenda's personal life triggers an 'a-ha moment' about the case" device can be a little trite, the show just works.
Leverage: B
More fun than it ought to be, this lightweight summer diversion is eminently watchable, thanks mainly to the performances. Timothy Hutton grounds the team with his actorly chops, and the rest of the Leverage group orbits around him giving us everything from geektastic riffing (Aldis Hodge's Hardison) to inexplicably adorable face-scrunching (Beth Riesgraf's Parker). The con mechanics don't always hold up under close scrutiny, but this show is as refreshing as a lemonade on a summer day.
Weeds: D
I gave up on this show for a while, but came back this season to see what's going on and can't believe I made it through the entire thing (one more episode, the season finale, airs Monday). Mary Louise Parker is sexy as hell and gives her all to a role that just doesn't do anything for me. Nancy Botwin isn't particularly likable, competent, moral, funny or engaging. (In Plain Sight's central character is similar prickly, but is at least good at what she does). The side plots, whether they feature the kids, Doug and Dean or Celia, feel beamed in from another show and I can't believe anyone gives a shit about Esteban or his career. Really, the only redeeming features this season have been Justin Kirk's nimble gift for comedy and pathos, and Alanis Morrisette's surprisingly winning guest shot. A mess.
Nurse Jackie: B+
A meandering examination of an addicted ER Nurse and her personal and professional travails, this show won me over on the strength of the acting, particularly a ferocious and vanity-free performance from the incomparable Edie Falco and Merritt Wever's lovable, loopy Zoey. With the exception of Anna Deavere Smith's slapsticky administrator (I fault the character and writing more than the actress, who ably tries to work with the tone deaf material she's given) the whole ensemble turns in great work.
Entourage: D+
Another show, like Weeds, than appears on my TiVo more out of habit than any sort of passion. It was never blessed with sharp writing or performances (save early, pre-sushi Piven) in the first place, and it's only gotten shaggier in its later years. This year, the show's least compelling character, Eric, winds up with most of "dramatic" heavy lifting, and he's simply not up to the challenge (and what's with the annoying stick figure neighbor? Ye gods). It takes a special kind of ineptness to waste Gary Cole.
Hung: B
This one seems to be really hit or miss for a lot of folks. Not quite funny enough to be laugh out loud hysterical, yet not as sharply dramatic as something like Nurse Jackie can be, Hung is content to drift along on the charms of its cast and wacky premise. Your mileage may vary, depending on how much you enjoy Thomas Jane and Jane Adams. Personally, I think Jane is an underrated actor who filters some of his character's jockish obliviousness with a hangdog earnestness, and I've long had a crush on the delightful quirky and compelling Adams.
True Blood: A-
While this isn't a deep, thought-provoking meditation on the human condition (such as other HBO efforts like The Sopranos or Deadwood), there's hardly anything on TV now that offers this much outlandish, over the top fun. Though I could do without some of the characters (like Eggs), Michelle Forbes has been a gleefully demented big bad and the relationship between the shy, sweet Hoyt and the vampire virgin Jessica is funny, compelling and fascinating to watch. Almost all the eccentrics in Bon Tomps have something to do this season (welcome back, sassy Lafayette!), and the show has found a nice tone that effectively straddles gut-busting camp and operatic melodrama.
Virtuality: A-
Though this was a failed pilot aired as a burn-off TV movie, it's really a shame Virtuality didn't get more of a shot. It was well cast, well written and had an abundance of ideas to explore.
Being Human: B
What a delightful little surprise this BBCA import has been. It's the story of three flatmates (as they say across the pond) - a vampire, a werewolf and a ghost. Though I frequently watch with the closed-captioning on in order to catch some of the mumbled English slang, and some of the foundational "rules" about how these supernatural creatures operate aren't exactly clear, I admire the winning performances of the three lead actors and appreciate the fact that the plot isn't afraid to go to some very dark places.
Rescue Me: B+
This has been a very successful comeback for a show that seemed to be running out of gas during its last go round. Most all of the central characters have gotten a plotline to wrap their arms around, and you can never go wrong when you give the crew of the 62 Truck more scenes to hang around and shoot the shit about women, pop culture, politics or life in general. Sometimes, the focus on Tommy's magical love life can be wearying, but it helps when you have an actress as good as Callie Thorne to play balls-out crazy, or one as talented and sexy as Maura Tierney to play a mysterious new interloper. Few shows can vacillate between pathos and comedy as well as Rescue Me, and one of the things I've admired this season has been a concerted effort to feature longer, unbroken set pieces that mine the depths of both.
Eureka: B-
Though I'm a little pissed that Friday's episode was a glorified clip show masquerading as a new episode, Eureka does what it always does: provide an amiable, well-acted and engaging summer diversion that coasts effectively on its high concept trappings and likable cast. Jamie Ray Newman has added some life, too, as a flame-haired, lispy romantic foil for the comically gifted Colin Ferguson.
Warehouse 13: A-
This freshman series, a delightful melange of The X-Files and TNT's Librarian series, with a dash of Bones thrown in, charmed from the start, though it isn't without a few growing pains. It is winningly cast, with leads Eddie McClintock and Joanne Kelly as "Secret Service" agents tasked with procuring magical and sci-fi "artifacts" for the mysterious Warehouse, which is overseen by reliable veteran actor Saul Rubinek. Recently, Allison Scagliotti joined the cast as a young hacker genius to add some depth (and winsome attitude) to the team. McClintock and Kelly have chemistry to burn, and the whole concept is fun and breezy, and a great way to spend an hour. The artifacts themselves have been inconsistent in nature, ranging from historically clever to poorly conceived, and some of the episode wrap ups have been a wee bit trite. It's all but impossible for new shows to find their tone and footing right out of the box, but with the addition of more backstory and a recurring nemesis (Roger Rees), Warehouse 13 is quickly getting into an addictive groove.
Psych and Monk: (Incomplete)
We're too early into their summer runs to offer a complete evaluation for these returing USA favorites, but I will say that Monk seems to have stepped up a bit in its swan song from a lackluster prior season. The ratings show that Psych suffers some viewer drop off from its lead in, and I can't understand why, as this show continues to make me giggle with its endless pop culture riffs and the easy chemistry between leads James Roday and Dule Hill.
All in all, if, like me, you find reality drivel one of the horsemen of the apocalypse and needed some scripted viewing this summer it really was a pretty good time to be plopped on the couch in front of the tube.
Friday, September 19, 2008
Passing out grades for the summer TV season
The fall television season is upon us, so it's time to take a quick look back at the boys of summer, television-style.
First and foremost, I'm sure you're probably sick of reading about my undying love affair with The Middleman. Unless, of course, you're a fellow fan of the Middledude and Dub-Dub. I watch a LOT of TV, and this was by far the most inventive, original and entertaining show I've seen in ages. Though not a clone of a Whedon program, it still has the same sensibility, in that it wholly creates its own universe, style and patter, and completely immerses you. It wasn't a perfect fit for ABC Family, and didn't pull the ratings it could (and should) have, so who knows if we'll be treated to another season of one of the most brilliant concoctions to grace the boob tube. If you've ever trusted my recommendations, please treat yourself to a viewing of The Middleman. A+
In Plain Sight was okay. In a summer without much going on, it made for a passable procedural with an intriguing concept, a solid lead performance and a star character in the making (Marshall!). I was bored with the family drama, though the whole "box of letters" bit at the end was a bit heartwarming. And for some bizarre reason, I was mesmerized by Mary's dimwitted, skank of a sister. (Evidently, I just have a soft spot for that type). On a related note, said sister will soon be showing up on Bones as a love interest for Angela. B-
Despite the interesting premise and setting, I still have all the eppies of Swingtown TiVod. Unwatched. Incomplete.
Secret Diary of a Call Girl coasted by entirely on the charms of star Billie Piper. If you're a fan of her Rose Tyler, it made for a mildly diverting 20 minutes. It wasn't sexy enough to be erotic, funny enough to make you laugh or dramatic enough to move you. But if you like saucy chicks with an overbite who once rode in the Tardis, it'll do. C
I'm still halfway through the latest season of Weeds. I enjoy this show when I watch it, yet I don't rush home to fire up the TiVo to make sure I catch the latest ep. Maybe my TiVo is telling me something. Incomplete.
At this stage of the game, I really don't expect that much from Monk. I smile at the fully realized central character, and enjoy his "here's what happened" as much as Columbo's "one more question." However, I think the summer season showed an uptick in the quality of the show, despite the mysteries being even easier to figure out. I was dreading the "Monk is hypnotized into thinking he's a child" finale, which actually surprised me by making me laugh out loud. And the 100th episode, where they revisited his 100 cases solved via a tabloid TV show conceit was particularly inspired. B
Psych strayed from the formula a bit this season, offering more insight into Shawn's background and childhood, and actually became a richer show while still offering the requisite silliness and pop culture riffs. Juliet is an underrated hottie and my only complaint was the lack of screen time for Lassiter. B+
I haven't yet watched the season finale of Burn Notice, so I'm not sure exactly how they wrapped up the season long arc with Six, er Carla, and her machinations of Michael. But the second season built on everything that we liked about the show in the first place (action, droll voice-overs, spycraft 101, deadpan humor, plenty of Bruce Campbell's Sam Axe) and delivered an even better showing. A
Law & Order: CI had an uneven summer. Some of the plot twists were patently ridiculous and it was clear that the departing Chris Noth was phoning it in. D'onfrio is always interesting, however, and I welcomed the return of the eminently adorable Megan Wheeler as Logan's partner. Next season, she'll be paired with Jeff Goldblum (of the underwatched and underappreciated Raines) who should bring an extra level of quirk to the show. I like the acerbic Eric Bogosian as the captain, and the season finale, featuring the return of Bobby's brilliant mentor and his longtime nemesis Nicole Wallace, was spectacular. B
Eureka, thus far, has been hit and miss. Many have objected to the blatant product placement from Degree, but working in the marketing field, I certainly understand the advantages of having some extra cabbage to support the show, and it doesn't bother me. I adore Ever Carradine, but don't really see what she adds to the show and I've found the whole "corporate conspiracy" with Eva a bit tedious. They also said goodbye to one of my favorite Eureka characters (and his dry, withering wit) Nathan Stark. Still, Colin Ferguson's anchoring performance keeps me tuned in, but I was hoping for more. C+
I gave up on Saving Grace. I appreciate the skill, fearlessness and ferocity of Holly Hunter's performance, but the whole show just kind of loses me. A bunch of rednecks getting drunk and solving crimes, infused with a bit of the supernatural? Damn, it sounds good, but it just doesn't work for me. D
We're still in the middle of Mad Men's run, but Holy Shit! is this show good. Easily among the top five shows on television, Mad Men continues to be a hallmark of stellar and subtle acting, writing, storytelling, directing and production values. A trenchant commentary on social mores, gender relations and commerce, Mad Men is a classic for the ages and absolutely must watch television every single week. A+
The Closer was all over the map this season, and in a good way. (Yes, as a southerner, I'm still bugged by Brenda Leigh's accent). We've had harrowing, heart-wrenching episodes and frothy, funny episodes (like the one with Provenza being hired as an undercover hit man) and they all pretty much delivered a solid, well-crafted hour of procedural entertainment. The ensemble is among TV's best, and I can never get enough JK Simmons on my tube. A
I've always watched the Stargate shows, though I've never been as passionate about them as I am with other genre fare, like Firefly, Trek, BSG, Farscape and the like. Still, it saddened me a little when Stargate Atlantis got cancelled, even though I understand the economics behind it. For an hour of sci-fi escape, you could do worse (Painkiller Jane, anyone? Or Flash Gordon? Arrrrggh). McKay (especially), Keller, Zelenka, Beckett, Ronin and the newly added Woolsey are all entertaining characters, even if Sheppard's hair bugs me (could Footloose's Ren have been in the military? Don't think so. Get thee to an interstellar Flowbee). But the replicator-redux storylines, along with the totally boring villains (how could you make "space-vampires" less interesting?) made this less than appointment viewing. C+
First and foremost, I'm sure you're probably sick of reading about my undying love affair with The Middleman. Unless, of course, you're a fellow fan of the Middledude and Dub-Dub. I watch a LOT of TV, and this was by far the most inventive, original and entertaining show I've seen in ages. Though not a clone of a Whedon program, it still has the same sensibility, in that it wholly creates its own universe, style and patter, and completely immerses you. It wasn't a perfect fit for ABC Family, and didn't pull the ratings it could (and should) have, so who knows if we'll be treated to another season of one of the most brilliant concoctions to grace the boob tube. If you've ever trusted my recommendations, please treat yourself to a viewing of The Middleman. A+
In Plain Sight was okay. In a summer without much going on, it made for a passable procedural with an intriguing concept, a solid lead performance and a star character in the making (Marshall!). I was bored with the family drama, though the whole "box of letters" bit at the end was a bit heartwarming. And for some bizarre reason, I was mesmerized by Mary's dimwitted, skank of a sister. (Evidently, I just have a soft spot for that type). On a related note, said sister will soon be showing up on Bones as a love interest for Angela. B-
Despite the interesting premise and setting, I still have all the eppies of Swingtown TiVod. Unwatched. Incomplete.
Secret Diary of a Call Girl coasted by entirely on the charms of star Billie Piper. If you're a fan of her Rose Tyler, it made for a mildly diverting 20 minutes. It wasn't sexy enough to be erotic, funny enough to make you laugh or dramatic enough to move you. But if you like saucy chicks with an overbite who once rode in the Tardis, it'll do. C
I'm still halfway through the latest season of Weeds. I enjoy this show when I watch it, yet I don't rush home to fire up the TiVo to make sure I catch the latest ep. Maybe my TiVo is telling me something. Incomplete.
At this stage of the game, I really don't expect that much from Monk. I smile at the fully realized central character, and enjoy his "here's what happened" as much as Columbo's "one more question." However, I think the summer season showed an uptick in the quality of the show, despite the mysteries being even easier to figure out. I was dreading the "Monk is hypnotized into thinking he's a child" finale, which actually surprised me by making me laugh out loud. And the 100th episode, where they revisited his 100 cases solved via a tabloid TV show conceit was particularly inspired. B
Psych strayed from the formula a bit this season, offering more insight into Shawn's background and childhood, and actually became a richer show while still offering the requisite silliness and pop culture riffs. Juliet is an underrated hottie and my only complaint was the lack of screen time for Lassiter. B+
I haven't yet watched the season finale of Burn Notice, so I'm not sure exactly how they wrapped up the season long arc with Six, er Carla, and her machinations of Michael. But the second season built on everything that we liked about the show in the first place (action, droll voice-overs, spycraft 101, deadpan humor, plenty of Bruce Campbell's Sam Axe) and delivered an even better showing. A
Law & Order: CI had an uneven summer. Some of the plot twists were patently ridiculous and it was clear that the departing Chris Noth was phoning it in. D'onfrio is always interesting, however, and I welcomed the return of the eminently adorable Megan Wheeler as Logan's partner. Next season, she'll be paired with Jeff Goldblum (of the underwatched and underappreciated Raines) who should bring an extra level of quirk to the show. I like the acerbic Eric Bogosian as the captain, and the season finale, featuring the return of Bobby's brilliant mentor and his longtime nemesis Nicole Wallace, was spectacular. B
Eureka, thus far, has been hit and miss. Many have objected to the blatant product placement from Degree, but working in the marketing field, I certainly understand the advantages of having some extra cabbage to support the show, and it doesn't bother me. I adore Ever Carradine, but don't really see what she adds to the show and I've found the whole "corporate conspiracy" with Eva a bit tedious. They also said goodbye to one of my favorite Eureka characters (and his dry, withering wit) Nathan Stark. Still, Colin Ferguson's anchoring performance keeps me tuned in, but I was hoping for more. C+
I gave up on Saving Grace. I appreciate the skill, fearlessness and ferocity of Holly Hunter's performance, but the whole show just kind of loses me. A bunch of rednecks getting drunk and solving crimes, infused with a bit of the supernatural? Damn, it sounds good, but it just doesn't work for me. D
We're still in the middle of Mad Men's run, but Holy Shit! is this show good. Easily among the top five shows on television, Mad Men continues to be a hallmark of stellar and subtle acting, writing, storytelling, directing and production values. A trenchant commentary on social mores, gender relations and commerce, Mad Men is a classic for the ages and absolutely must watch television every single week. A+
The Closer was all over the map this season, and in a good way. (Yes, as a southerner, I'm still bugged by Brenda Leigh's accent). We've had harrowing, heart-wrenching episodes and frothy, funny episodes (like the one with Provenza being hired as an undercover hit man) and they all pretty much delivered a solid, well-crafted hour of procedural entertainment. The ensemble is among TV's best, and I can never get enough JK Simmons on my tube. A
I've always watched the Stargate shows, though I've never been as passionate about them as I am with other genre fare, like Firefly, Trek, BSG, Farscape and the like. Still, it saddened me a little when Stargate Atlantis got cancelled, even though I understand the economics behind it. For an hour of sci-fi escape, you could do worse (Painkiller Jane, anyone? Or Flash Gordon? Arrrrggh). McKay (especially), Keller, Zelenka, Beckett, Ronin and the newly added Woolsey are all entertaining characters, even if Sheppard's hair bugs me (could Footloose's Ren have been in the military? Don't think so. Get thee to an interstellar Flowbee). But the replicator-redux storylines, along with the totally boring villains (how could you make "space-vampires" less interesting?) made this less than appointment viewing. C+
Sunday, August 3, 2008
Who wants some leftovers?
A few things I didn't get to in Saturday's potpourri post:
Has anyone taken a gander at Boston.com's list of the "Top 50 Sci-Fi" shows of all time? Boston may have a stranglehold on professional sports championships, but they obviously don't know quality geek TV worth a damn. When you compile a list like that, you should probably have a good working definition of what "sci-fi" really is. Do you include "supernatural" shows? They did, but inexplicably had Buffy ranked at 27 (you mean there are 26 better "sci-fi" shows? You've got to be fucking kidding me!) and Angel not ranked at all. And Firefly at 17? Lost is ranked 11, which seems low, all things considered. But then you click the "next" button and see that they have Sliders at 10? Sliders? Ahead of Lost? And ahead of Buffy, Angel and Firefly? Holy shit. At least their top 4 is respectable and somewhat defensible: X-Files at 4, Star Trek: The Next Generation at 3, (new) BSG at 2 and Star Trek (Original Recipe) at 1. Feel free to peruse the list and gnash your teeth.
Nice article on crime shows, from someone who is not particularly a fan of the genre, singling out The Closer, Burn Notice and In Plain Sight. Last Monday's Closer was the best of the season, and one of the best of the series. Burn Notice also gave Sam a chance to participate in some gleeful interrogation, and against my better judgment, I'm actually starting to like Mary's trampy sister on IPS (though I could still watch an entire hour of Marshal Marshall's droll line readings).
Video interview with Rebecca Mader, Lost's Charlotte. No real spoilers, of course. I didn't find her particularly alluring on that lawyer show with Spy Daddy, but when she uses her true English accent, she's all kinds of adorable. (I wonder if focusing so hard on maintaining the "American" accent drains all the charisma? For example, Michelle Ryan was dreadful on Bionic Woman, except for the one ep where she played an English exchange student, and got to speak in her own voice).
Another day, another trip down toy memory lane. Yep, my family built models of all kinds (cars, planes, tanks...you name it) and we did have a NCC-1701.
Anyone else looking forward to Chuck returning? Here's some kinda crappy video of the extended 6 minute preview shown at Comic-Con.
Has anyone taken a gander at Boston.com's list of the "Top 50 Sci-Fi" shows of all time? Boston may have a stranglehold on professional sports championships, but they obviously don't know quality geek TV worth a damn. When you compile a list like that, you should probably have a good working definition of what "sci-fi" really is. Do you include "supernatural" shows? They did, but inexplicably had Buffy ranked at 27 (you mean there are 26 better "sci-fi" shows? You've got to be fucking kidding me!) and Angel not ranked at all. And Firefly at 17? Lost is ranked 11, which seems low, all things considered. But then you click the "next" button and see that they have Sliders at 10? Sliders? Ahead of Lost? And ahead of Buffy, Angel and Firefly? Holy shit. At least their top 4 is respectable and somewhat defensible: X-Files at 4, Star Trek: The Next Generation at 3, (new) BSG at 2 and Star Trek (Original Recipe) at 1. Feel free to peruse the list and gnash your teeth.
Nice article on crime shows, from someone who is not particularly a fan of the genre, singling out The Closer, Burn Notice and In Plain Sight. Last Monday's Closer was the best of the season, and one of the best of the series. Burn Notice also gave Sam a chance to participate in some gleeful interrogation, and against my better judgment, I'm actually starting to like Mary's trampy sister on IPS (though I could still watch an entire hour of Marshal Marshall's droll line readings).
Video interview with Rebecca Mader, Lost's Charlotte. No real spoilers, of course. I didn't find her particularly alluring on that lawyer show with Spy Daddy, but when she uses her true English accent, she's all kinds of adorable. (I wonder if focusing so hard on maintaining the "American" accent drains all the charisma? For example, Michelle Ryan was dreadful on Bionic Woman, except for the one ep where she played an English exchange student, and got to speak in her own voice).
Another day, another trip down toy memory lane. Yep, my family built models of all kinds (cars, planes, tanks...you name it) and we did have a NCC-1701.
Anyone else looking forward to Chuck returning? Here's some kinda crappy video of the extended 6 minute preview shown at Comic-Con.
Friday, June 6, 2008
Summer Lovin' Part One
"Summer lovin' had me a blast,Seems like just yesterday the fall TV season ended. Oh wait. That's almost true. I'm still getting over the strange adventures of Jeremy Bentham, and some shows, like BSG and Doctor Who are continuing their first pod of episodes for the year. But it's time for the Summer Season to start, and here is TNRLM's handy guide to the shows you should make out under the dock and get friendly down in the sand with.
Summer lovin' happened so fast"
Returning Shows
There's USA's stable of quirky detectives: Monk, Psych, Burn Notice and Law and Order: Criminal Intent.
At this stage of the game, Monk is what it is. Most of the plots have a "been there, done that" feel to them, and the real reason to tune in is for the chemistry of the characters, which thankfully, still amuse and entertain me. I will be curious to see how the show handles the sad passing of noted character actor Stanley Kamel, who played Monk's long suffering shrink Dr. Kroger. Plus, Traylor Howard is cute as a button.
Psych seems for some to be a love or hate proposition. Personally, I think it's good frothy fun and the relationship between the two two main characters, Shawn and Gus, keeps me watching. I like the supporting characters, too, and now that they've dialed down the "fake psychic" histrionics, I no longer roll my eyes once an episode. And with the passing of Gilmore Girls last year, few shows have the obscure pop-culture reference/minute ratio that Psych does.
Burn Notice was a pleasant surprise last year. I had enjoyed Jeffrey Donovan's take on a fucked up detective in the US remake of Touching Evil (also on USA, but canceled after a year), and think he brings the right amount of wry bemusement, secret agent cool and general bad-assery to the role. Fi's accent was all over the place for the first few eps (until the former IRAer decide to "go natural" with an American accent), but any show with Bruce Campbell as a shifty "sidekick" is okay in my book. Plus, Six (Tricia Helfer, from BSG) will be joining the show for an extended arc this year as a connection to Michael's Burn Notice.
And finally, L&O: CI gears up for another season. This has always been the stepchild of the L&O machine, as more people would rather watch the ham-fisted, Emmy reel scenery chewing over on SVU, but I like the brilliant-but-damaged scenery chewing of D'Onofrio on this version of the show better. Plus, Mr. Big's red headed partners are hot.
Eureka. Occasionally, the wrap ups can be a bit too tidy, but the show doesn't take itself too seriously that often, and Colin Ferguson as the "normal" sheriff is a terrific comic actor. It's a fun premise and the rest of the show is filled out with a likable ensemble.
Mad Men. Off the top of my head, if I had to name the best shows on television, I would say Dexter, Lost, Battlestar Galactica and Mad Men (with a few others, including House and Big Love, right behind). This show came out of nowhere last year to quickly establish a presence as one of the best written, best acted, best directed hours on TV, on any channel. An unflinching and dramatic look at the life of an advertising agency in the late 60s, Man Men is essentially the story of lead character Don Draper, a mysterious and smooth operator with a portfolio of personal problems and a knack for reinvention. The show was created by Matthew Weiner, a former writer and producer for The Sopranos, and the pedigree is readily apparent. There are twists and turns in the plot to be sure, but the real joy in this show is peeling back the layers of the characters, all of whom are superbly portrayed. Besides, where else can you find chain-smoking on TV?
Due to the big move and the problems getting Showtime, I missed out on Dexter, Weeds and Californication last summer. However, thanks the power fo the almighty TiVo, I'm currently getting up to speed. I think Dex won't be back until the fall, but I believe everyone's favorite pot-peddling MILF will be back this summer. Not much to tease here from me, as I'm only a couple of eps into the previous season. Same with Mulder's new show about an oversexed and narcissistic writer.
One of the better procedurals on TV is Kyra Sedgwick's The Closer (unless you've watched any of the NBA playoffs on TNT, and refuse to watch the show because of the incessant and annoying commercials and screen hogging snipes). Yes, as a native Georgian, her accent is over the top and not entirely accurate nor consistent, but the power of the performance the subtle depths she brings to the character give you more than enough reason to appreciate this strong, female lead character. The rest of the cast is great, too, including the perpetually entertaining J.K. Simmons as her boss (and one time lover).
I can't say too much about the other chick detective show on TNT, Saving Grace. I adore Holly Hunter (who I should note, in comparison to Sedgwick, has a perfect Georgia accent. Since she is from Georgia. However, I don't think she's actually playing one here). If the spirituality was played differently, I might be intrigued. But it's all a bit heavy handed, despite the presence of Deadwood's Leon Rippy as an actual angel. I'll tune in occasionally, if nothing else is on, but it's not one I'll actively make time for. If anyone else is passionate about this show, let me know. I tuned out after 4 or 5 eps last year, so it might have found a suitable tone and become more entertaining.
Stargate Atlantis also resumes this summer, with a couple of interesting cast changes for geeks. Star Trek: Voyager's best actor, Robert Picardo, comes aboard as the new head of the Atlantis expedition, replacing the sexy, humble and awesomely appealing Amanda Tapping (who will be heading up another supernatural show on Skiffy later in the year). Everyone's favorite dirty mechanic from Firefly, Jewel Staite, will become a series regular as Dr. Keller. I look at the Stargate franchise like comfort food. It's entertaining and winningly acted sci-fi, much like many episodes of the Trek franchise, without the achingly good ambition and emotional wallop of BSG or Farscape. There are worse ways to spend an hour.
And if you're eagerly anticipating the next season of MTV's The Hills, I hope you're wearing bangs to cover the lobotomy scars.
A few summer staples, like Big Love and Entourage, were put off schedule by the writers' strike, and will return in the fall.
There you have it. Command your TiVos accordinly. I'll be back later this weekend, with Part Deux, looking at summer's new television offerings.
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.
Thursday, July 26, 2007
Quickies
I've been trolling liquor stores lately (just for the free moving boxes, y'all. Really) and haven't had much time to post, but here are a few items just to tide my loyal six readers over:
I still don't have a clue what's going on with John From Cincinnati. But I still keep watching.
Psych had been tighter and funnier this year than last.
Sunday's episode of The 4400, "The Marked," was about an abductee with the "special power" to uncover conspiracies and then turn them into D-level, Ed Wood esque horrible movies. The movies within the show were funny as hell. If you didn't catch this, look for the reruns. It's definitely worth your time. Also, the filmmaker character from the episode, Curtis Peck, has his own myspace page. It features a scene from his Kennedy assassination masterpiece, Dead - Completely Dead.
I gave Saving Grace a try. Too early to call on this one. While I like Leon Rippy's tobacco chewing angel, and Holly Hunter looks great and acts her ass off, there's a fine line between X-Files supernatural intrigue and more literal biblical explanations. I'll watch again, but I'm not sure it will be added to the prestigious Season Pass list.
Speaking of TNT, The Closer has been better than ever. It seems like they've been ping-ponging back and forth between heavy, serious episodes and light hearted farce. Which has been great. Last Monday's episode, with an ornery Brenda Leigh, the team in hazmat suits and the dumbest criminals ever (rivaling Ruthless People's "this could very well be the stupidest man on the face of the earth") was laugh out loud funny.
I guess I won't be appearing in a Disney movie anytime soon. Nor will Mickey be lighting up the post-coital Marlboro after a night with Minnie. Which reminds me of one of my favorite jokes: Mickey Mouse and Minnie Mouse are in Divorce Court. The judge says to Mickey, "Let me get this straight. You say you want to divorce Minnie on the grounds of 'insanity?'" Mickey looks at the judge and says, "No, I didn't say she was insane. I said she was fucking Goofy."
Lindsay Lohan is a wet, hot disturbing mess. You'd almost think she was from Columbus, GA, except that she's earned her childhood money standing up.
ESPN gets a lot of shit around the blogosphere (and with good reason. That "Who's Now" excrement is an affront to broadcasting and all measures of intelligence), but their town hall meeting about Barry Bonds last night was very well done. I could have watched that for another hour. It was balanced, interesting and represented several different viewpoints.
Casting is coming in for the adaptation of the greatest "comic book" (and I use that term lightly. More like "illustrated literature") ever, Watchmen. Can't wait for this one.
Lost news: "Waaaaaaaaaaaaaallllllllllt!"
Great casting for the new Trek movie.
For the past year or so, I've gotten into the habit of watching some middle of the road procedural on the Tivo when I go to bed. I used to watch SportsCenter, but between the "boo-yahs," endless/mindless self-promotion and "Who's Now" I just couldn't stomach it. At first I tried Without a Trace. I liked Anthony LaPaglia and Poppy Montgomery is smoking hot, but the overall tone was just too dour and humorless, and too many of the missing subjects were kids. And I hate kids on my TV. So next I tried CSI: Miami. Now, I'm a fan of CSI: Original Recipe, but never really watched any of the others. Here's what I've discovered about CSI: Miami. I have a crush on Emily Proctor. (Hot blonde with a real southern accent? Wow). And this show is much better when viewed as a comedy. I mean, David Caruso is hysterical! In his honor, enjoy this oldie but goodie: Caruso's CSI: Miami one liners. Once it starts, you just can't stop watching. Just for fun, here's Jim Carrey's homage. And finally, I think Caruso's sunglasses deserve an Emmy for best supporting actor.
I still don't have a clue what's going on with John From Cincinnati. But I still keep watching.
Psych had been tighter and funnier this year than last.
Sunday's episode of The 4400, "The Marked," was about an abductee with the "special power" to uncover conspiracies and then turn them into D-level, Ed Wood esque horrible movies. The movies within the show were funny as hell. If you didn't catch this, look for the reruns. It's definitely worth your time. Also, the filmmaker character from the episode, Curtis Peck, has his own myspace page. It features a scene from his Kennedy assassination masterpiece, Dead - Completely Dead.
I gave Saving Grace a try. Too early to call on this one. While I like Leon Rippy's tobacco chewing angel, and Holly Hunter looks great and acts her ass off, there's a fine line between X-Files supernatural intrigue and more literal biblical explanations. I'll watch again, but I'm not sure it will be added to the prestigious Season Pass list.
Speaking of TNT, The Closer has been better than ever. It seems like they've been ping-ponging back and forth between heavy, serious episodes and light hearted farce. Which has been great. Last Monday's episode, with an ornery Brenda Leigh, the team in hazmat suits and the dumbest criminals ever (rivaling Ruthless People's "this could very well be the stupidest man on the face of the earth") was laugh out loud funny.
I guess I won't be appearing in a Disney movie anytime soon. Nor will Mickey be lighting up the post-coital Marlboro after a night with Minnie. Which reminds me of one of my favorite jokes: Mickey Mouse and Minnie Mouse are in Divorce Court. The judge says to Mickey, "Let me get this straight. You say you want to divorce Minnie on the grounds of 'insanity?'" Mickey looks at the judge and says, "No, I didn't say she was insane. I said she was fucking Goofy."
Lindsay Lohan is a wet, hot disturbing mess. You'd almost think she was from Columbus, GA, except that she's earned her childhood money standing up.
ESPN gets a lot of shit around the blogosphere (and with good reason. That "Who's Now" excrement is an affront to broadcasting and all measures of intelligence), but their town hall meeting about Barry Bonds last night was very well done. I could have watched that for another hour. It was balanced, interesting and represented several different viewpoints.
Casting is coming in for the adaptation of the greatest "comic book" (and I use that term lightly. More like "illustrated literature") ever, Watchmen. Can't wait for this one.
Lost news: "Waaaaaaaaaaaaaallllllllllt!"
Great casting for the new Trek movie.
For the past year or so, I've gotten into the habit of watching some middle of the road procedural on the Tivo when I go to bed. I used to watch SportsCenter, but between the "boo-yahs," endless/mindless self-promotion and "Who's Now" I just couldn't stomach it. At first I tried Without a Trace. I liked Anthony LaPaglia and Poppy Montgomery is smoking hot, but the overall tone was just too dour and humorless, and too many of the missing subjects were kids. And I hate kids on my TV. So next I tried CSI: Miami. Now, I'm a fan of CSI: Original Recipe, but never really watched any of the others. Here's what I've discovered about CSI: Miami. I have a crush on Emily Proctor. (Hot blonde with a real southern accent? Wow). And this show is much better when viewed as a comedy. I mean, David Caruso is hysterical! In his honor, enjoy this oldie but goodie: Caruso's CSI: Miami one liners. Once it starts, you just can't stop watching. Just for fun, here's Jim Carrey's homage. And finally, I think Caruso's sunglasses deserve an Emmy for best supporting actor.
Wednesday, July 18, 2007
Whodat: The Closer
Monday's Closer ("The Round File") had several familiar faces:
French Stewart was Gary, the third-person speaking real estate agent who claimed to never lie. He's best known as Harry on Third Rock from the Sun.
Kathryn Joosten was the desk manager at the old folks home that killed off their unprofitable patients. Among many other things, she was Mrs. McCluskey (my husband is a popsicle!) on Desperate Housewives and Mrs. Landingham on The West Wing.
Classic game show raconteur Orson Bean played the guy who confessed to multiple killings just to the get police's attention (it worked).
Jonathon Del Arco recurred as the irritable coroner. He had a prominent role as Sofia Lopez on Nip/Tuck, and was the "disconnected" Borg "Hugh" on some thought provoking episodes of Start Trek:TNG.
French Stewart was Gary, the third-person speaking real estate agent who claimed to never lie. He's best known as Harry on Third Rock from the Sun.
Kathryn Joosten was the desk manager at the old folks home that killed off their unprofitable patients. Among many other things, she was Mrs. McCluskey (my husband is a popsicle!) on Desperate Housewives and Mrs. Landingham on The West Wing.
Classic game show raconteur Orson Bean played the guy who confessed to multiple killings just to the get police's attention (it worked).
Jonathon Del Arco recurred as the irritable coroner. He had a prominent role as Sofia Lopez on Nip/Tuck, and was the "disconnected" Borg "Hugh" on some thought provoking episodes of Start Trek:TNG.
Saturday, July 14, 2007
But it's REAL, y'all! And when is 70 minutes not enough?
I was reviewing some of the comments about Monday's night's exceptionally powerful and well done episode of The Closer, "Ruby," on TWOP. There were the usual insightful observations and analysis from the TWOPers, about Gabriel's motivation, Taylor's problem solving, Brenda's dedication to the case, Provenza's "cover up" and the outstanding performance from the actor playing the degenerate perp.
But I also noticed a few comments related to the promos for a new TNT series, called Saving Grace, starring Holly Hunter. This came up because of the unusual timing of "Ruby." For TV aficionados, it was quite apparent that this episode was going to run 10 minutes over the hour. TNT announced it in their ads for the episode. It was noted on all the major TV websites, and I even saw it in the mainstream "printed" press. In addition, my Tivo, smart best friend that it is, had already added the extra 10 minutes to the recording time. So all was well, right? Blergh. I timeshifted, as I always do, and watched this compelling 70 minutes of television. At the "end," Brenda Leigh got her confession and we weren't quite sure what would would become of Gabriel after his questionable tactics in extracting the location of the little girl. I put quotes around "end" because there were a lot of fans who weren't quite sure exactly "when" and "how" this episode ended. At what I thought was the end, TNT did their usual cross promotion. Typically, it's been for the Treat Williams vehicle Heartland, but this time, the voice over asked us to "stay tuned for a special preview of Saving Grace." More on that, and Holly Hunter, in a moment.
Okay, when the network tells us to stick around for a preview, that means the current show is over, right? I mean, almost every show tells us to "stick around for more of (insert show here)." And then you wait around (or fast forward) and all that remains of the current show is the credits. Or maybe, just a tiny "tag" scene. But TNT made NO MENTION of "more Closer" coming after the Saving Grace preview. And we were already at the 1 hour and 10 minute mark. So any reasonable viewer would assume that The Closer was over. Done. Complete. Uh, not so. Apparently, outside of the 70 minute mark that we'd all been warned about and taken into account, and AFTER the Saving Grace preview, there was more Closer, and it was damned important. Brenda suspended Gabriel for his actions with the suspect, and put a note about the use of "excessive force" in his file. Gabriel told Brenda that he wasn't sure he wouldn't act the same way again, under similar circumstances. He laid his badge and gun on the desk. The perp killed himself in the jail. And wrote a suicide note on his right hand. And the hand is important, because we had clearly seen in previous scenes that the perp was right handed. I offer all this information about the end of The Closer not from memory, or having seen it, but from recounts provided by helpful TWOPers, because these critical closing scenes came AFTER the Saving Grace preview, and AFTER the much publicized "extra" 10 minutes. All I can say is What. The. Fuck? I've tried to find this final scene via TNT or the youtubes, but to no avail. Fuck you, TNT.
Okay, that brings me rather long windedly to Holly Hunter. On the boards, several of the posters expressed the following sentiment: "I don't care how many times they try to shove that Holly Hunter promo down my throat. I'm not watching because I can't stand her ridiculous accent."
Keep in mind that this was expressed in a forum for The Closer. And posted by fans of The Closer. Which stars Kyra Sedgwick, who was born in New York. And went to USC (in California, not the home of the fighting poultry). And now lives in Manhattan. Who stars as Georgian Brenda Leigh Johnson, a tough southern belle, with a thick southern accent who is a fish out of water in SoCal. Look, I love Kyra's performance and consider it nuanced, powerful and definitely Emmy worthy. I would also suggest that she's doing some of the finest work on TV, on par with female performances from Edie Falco and Mary McDonnell. But y'all? Her accent is FAKE. And as much as I love the show, it took me a good 3 or 4 episodes to get past the fact that her accent is too over the top and not as natural as it could be. I mean, it's not Dick Van Dyke in Mary Poppins bad. Or Bianca Lawson in Buffy bad. Or Kevin Costner in Robin Hood (or Thirteen Days, or anything, for that matter) bad. But it's obviously not real, and any true southerner, and especially Georgian, can spot that a mile away. So someone who is a fan of The Closer objects to Holly Hunter's accent? You have got to be kidding me. That's about as REAL as it comes. Holly is from Conyers, Georgia. And despite her immense acting talent, I'm sure holding back her thick accent has cost her some mainstream roles where her character did not have a background from the south. The irony of that just makes my eyes roll back in my head and my stomach turn in knots. So you like The Closer, but don't want to watch Saving Grace, because Holly's accent bugs you? Hopefully, a door-to-door "Clue Salesman" will soon visit your home, so you can get one. Argh.
As for Saving Grace itself, I'm torn. On one hand, I do really like Hunter. And I like the somewhat "supernatural" nature of the show, featuring Deadwood alum Leon Rippy as an "angel" giving Holly's self destructive detective another chance at life. However, my feelings on all this theological poppycock are well known, and I really don't want to waste an hour of my life (and believe me, I waste those with reckless abandon) getting some treacly lecture. If it's Touched by an Angel in Oklahoma, or Michael Landon with a badge, then count me out. But given the talent involved, I'll give it an ep or two to win me over.
But seriously? You like The Closer, but Holly's accent bugs you? I'm think I'm going to go have a seizure.
But I also noticed a few comments related to the promos for a new TNT series, called Saving Grace, starring Holly Hunter. This came up because of the unusual timing of "Ruby." For TV aficionados, it was quite apparent that this episode was going to run 10 minutes over the hour. TNT announced it in their ads for the episode. It was noted on all the major TV websites, and I even saw it in the mainstream "printed" press. In addition, my Tivo, smart best friend that it is, had already added the extra 10 minutes to the recording time. So all was well, right? Blergh. I timeshifted, as I always do, and watched this compelling 70 minutes of television. At the "end," Brenda Leigh got her confession and we weren't quite sure what would would become of Gabriel after his questionable tactics in extracting the location of the little girl. I put quotes around "end" because there were a lot of fans who weren't quite sure exactly "when" and "how" this episode ended. At what I thought was the end, TNT did their usual cross promotion. Typically, it's been for the Treat Williams vehicle Heartland, but this time, the voice over asked us to "stay tuned for a special preview of Saving Grace." More on that, and Holly Hunter, in a moment.
Okay, when the network tells us to stick around for a preview, that means the current show is over, right? I mean, almost every show tells us to "stick around for more of (insert show here)." And then you wait around (or fast forward) and all that remains of the current show is the credits. Or maybe, just a tiny "tag" scene. But TNT made NO MENTION of "more Closer" coming after the Saving Grace preview. And we were already at the 1 hour and 10 minute mark. So any reasonable viewer would assume that The Closer was over. Done. Complete. Uh, not so. Apparently, outside of the 70 minute mark that we'd all been warned about and taken into account, and AFTER the Saving Grace preview, there was more Closer, and it was damned important. Brenda suspended Gabriel for his actions with the suspect, and put a note about the use of "excessive force" in his file. Gabriel told Brenda that he wasn't sure he wouldn't act the same way again, under similar circumstances. He laid his badge and gun on the desk. The perp killed himself in the jail. And wrote a suicide note on his right hand. And the hand is important, because we had clearly seen in previous scenes that the perp was right handed. I offer all this information about the end of The Closer not from memory, or having seen it, but from recounts provided by helpful TWOPers, because these critical closing scenes came AFTER the Saving Grace preview, and AFTER the much publicized "extra" 10 minutes. All I can say is What. The. Fuck? I've tried to find this final scene via TNT or the youtubes, but to no avail. Fuck you, TNT.
Okay, that brings me rather long windedly to Holly Hunter. On the boards, several of the posters expressed the following sentiment: "I don't care how many times they try to shove that Holly Hunter promo down my throat. I'm not watching because I can't stand her ridiculous accent."
Keep in mind that this was expressed in a forum for The Closer. And posted by fans of The Closer. Which stars Kyra Sedgwick, who was born in New York. And went to USC (in California, not the home of the fighting poultry). And now lives in Manhattan. Who stars as Georgian Brenda Leigh Johnson, a tough southern belle, with a thick southern accent who is a fish out of water in SoCal. Look, I love Kyra's performance and consider it nuanced, powerful and definitely Emmy worthy. I would also suggest that she's doing some of the finest work on TV, on par with female performances from Edie Falco and Mary McDonnell. But y'all? Her accent is FAKE. And as much as I love the show, it took me a good 3 or 4 episodes to get past the fact that her accent is too over the top and not as natural as it could be. I mean, it's not Dick Van Dyke in Mary Poppins bad. Or Bianca Lawson in Buffy bad. Or Kevin Costner in Robin Hood (or Thirteen Days, or anything, for that matter) bad. But it's obviously not real, and any true southerner, and especially Georgian, can spot that a mile away. So someone who is a fan of The Closer objects to Holly Hunter's accent? You have got to be kidding me. That's about as REAL as it comes. Holly is from Conyers, Georgia. And despite her immense acting talent, I'm sure holding back her thick accent has cost her some mainstream roles where her character did not have a background from the south. The irony of that just makes my eyes roll back in my head and my stomach turn in knots. So you like The Closer, but don't want to watch Saving Grace, because Holly's accent bugs you? Hopefully, a door-to-door "Clue Salesman" will soon visit your home, so you can get one. Argh.
As for Saving Grace itself, I'm torn. On one hand, I do really like Hunter. And I like the somewhat "supernatural" nature of the show, featuring Deadwood alum Leon Rippy as an "angel" giving Holly's self destructive detective another chance at life. However, my feelings on all this theological poppycock are well known, and I really don't want to waste an hour of my life (and believe me, I waste those with reckless abandon) getting some treacly lecture. If it's Touched by an Angel in Oklahoma, or Michael Landon with a badge, then count me out. But given the talent involved, I'll give it an ep or two to win me over.
But seriously? You like The Closer, but Holly's accent bugs you? I'm think I'm going to go have a seizure.
Wednesday, July 4, 2007
Whodat?
On Monday's "action" packed episode of Big Love (which is getting really, really good in its second season), several familiar faces popped up. The perky social worker attempting to liberate the scheming Rhonda from her polygamous lifestyle, and impending child bridehood, was played by Margaret Easley. You may recall that I've mentioned her previously, as she is the chick from the ubiquitous DirectWay commercials. Jim Beaver, the much put upon Ellsworth from the tragically aborted Deadwood, is the owner of the videogame company who wants to sell out.
David Zayas has shown up several places. Zayas is Angel in Dexter regularly, but he's had guest spots recently on The Closer as the ballistics expert that even Tao thought was geeky, and in the fabulous new show Burn Notice as Weston's first "client." Speaking of Burn Notice, this is a great addition to USA's line up. Jeffrey Donovan was the lead in the American remake of Touching Evil, which USA inexplicably killed before it had a chance for a second season, and is fantastic in this. And cult god Bruce Campbell as his boozy, womanizing friend? Perfect!
On Monday's much funnier than usual ep of The Closer, Robert Picardo (ST: Voyager's Doctor, SG-1's Woolsy) played the funeral director with digestive issues.
David Zayas has shown up several places. Zayas is Angel in Dexter regularly, but he's had guest spots recently on The Closer as the ballistics expert that even Tao thought was geeky, and in the fabulous new show Burn Notice as Weston's first "client." Speaking of Burn Notice, this is a great addition to USA's line up. Jeffrey Donovan was the lead in the American remake of Touching Evil, which USA inexplicably killed before it had a chance for a second season, and is fantastic in this. And cult god Bruce Campbell as his boozy, womanizing friend? Perfect!
On Monday's much funnier than usual ep of The Closer, Robert Picardo (ST: Voyager's Doctor, SG-1's Woolsy) played the funeral director with digestive issues.
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