Look out, Itchy! He's Irish!

Okay, so if you haven't watched the season three mid-season finale of Burn Notice yet, I'd suggest you turn back now because this post is going to be pretty damn spoilerific. It's been a good few weeks, so I assume we're all on the same page (the same awesomely awesome page, that is).

This season of Burn Notice has been a little hit and miss for me. Mostly hit, but with a few elements of "hmmm..." thrown in here and there. While I liked the idea of the Miami police finally taking a look into the car chases, explosions, kidnappings, gun-running, sniping, escapades etc. in which Michael and his crew invariably find themselves, the Detective Paxson story arc started off a little rocky for me. I liked seeing the threat that Management made at the end of season 2 take on some real weight (what with all the protections in place that kept Michael off everyone's radar being completely removed), but I didn't think Moon Bloodgood's approach to the role (and to large extent the writers' conception of Det. Paxson) was as successful as it could have been.

Having just come off the constant flirty/threatening ways of Carla, I had hoped that Paxson would be all business, but even at her most annoyed with Michael and his antics, she was practically purring like a kitten whilst threatening to ruin his life. [Don't get me wrong, any right-minded, sane, red-blooded person would simply melt at his feet, but still...] Her portrayal was a little too coquettish to be truly threatening to Michael's operation and I just didn't see the legal walls coming down around Michael as I would have expected with the police finally taking a vested interest in his operations. That said, the story arc was by no means entirely unsuccessful, and although it didn't strike quite the right chord, it was fun enough and helped set up a season where all bets are off and Michael, Fiona, and Sam are going to have to do things a little differently from now on. Heretofore, they could do whatever they wanted with relative impunity, but now, a lot of organizations, whether legitimate, criminal, or... um... other, have their eyes on Westen and company. This development led to Michael and his cohorts being the client rather than helping a client more and more often throughout the season.

Getting rid of Management was a definite game-changer for the series. Not only does this mean that all protections are off and there's no one keeping Michael's exploits off the books, but it also spurs a necessary alteration in Michael's goals and agendas. His raison d’être for the past two seasons was to find out who burned him and why, with the desire to get his old life back a distant, seemingly unattainable fantasy. Now that Michael knows the who and the why, and for the time being, is ostensibly free of them, where does he go from there?

In spite of Fiona's hope that Michael would give up on his desire to get his old job back, with the burn notice out of the way, it's forefront in his mind. Many fans of the show have given Fi a hard time for pressing him on this issue, but I have to admit, I totally side with her on this one. Michael got screwed over on several very real, often life-threatening levels and the thought of just going back to life as he knew it seems kind of ridiculous to me. Aside from the logistical conundrum that presents, the first two seasons of the show spent considerable time developing Michael's emotional and psychological development and it's hard to imagine him turning his back on the people he cares about. The dichotomy between Michael's old life and current life really started to come into focus with the first half season 3 and I'll be very interested to see how it plays out if the second half. I can understand where he's torn on this (even if he tries to be definitive) and for someone who is accustomed to unequivocal decision-making, this must be especially difficult. He has come to appreciate the people in his life and genuinely cares about them, but at the same time, his life was a lot more straight-forward before they really came into the picture in this way. Michael claims that he wants to return to his old life for the safety of those he cares about, and on some level I believe him, but I think deep down, he's a lot better at the unemotional, disconnected, compartmentalized stuff than he is at having a real life, and he wants that certainty back.

Enter Strickler, stage left. Up till this point, even with the burn notice unraveled, the actual prospect of getting his old job back was still an intangible goal. Along comes Strickler, and all of a sudden, it seems to be a very real possibility. The change in Michael's perspective and priorities was unsettling to his colleagues, and to large extent, the audience as well. Unlike the seeming moral certainty of the previous seasons, Michael's actions while trying to "get back in" were suspect from the first minute he teamed up with Strickler and neither Michael nor anyone else really knew how to resolve that.

As it would turn out, the mid-season finale came to terms with the Strickler situation with two bullets to the chest.

The term "fightin' Irish" just doesn't quite do the finale justice... The episode highlights the veritable "open-season" on Glennannes, but manages to intersect with Strickler in a pretty kick-ass, and fairly surprising manner. As with most of season 3, the finale had me wondering just how (or even if) everything was going work itself out...

In a season where the standard client-of-the-week formula has fallen by the wayside more and more often, it should have come as no surprise that Fi found herself in hot water for the finale. It was quite satisfying to get some backstory on Fi and even more awesome to see her rebellious, IRA badass self find its way to the surface alongside her equally hot-headed brother. And what would a pair of Irish rogues be without an Irish foe gunning for them? Turns out, pretty much all of Ireland wants Fiona dead--a fact which kinda, sorta derails her plans to finally throw in the towel with the Michael situation and go home.

Speaking of which, I was unduly pleased to see Fi finally take a stand with Michael using more than just bravado. She's absolutely correct in saying that if Michael didn't see this coming, he wasn't paying attention. The second he gets a shot at getting back in with the government types, he mortgages his moral compass and aims to leave his friends and family behind. Real nice, Mike. Real nice. I think the writers did a very nice job setting Michael up in such a way that he would consider doing whatever it takes to get what he wants. In essence, Michael has always kind of been the client, and for season 3, it's more salient than ever. Somewhere deep down (or not so deep), Michael has his own best interests at heart. The prospects offered by Strickler put him in a situation where he had to do a lot of things he really didn't want to do, but most importantly, he actually did them. It made the audience wonder just how far he would go... That is, right up to the point where Strickler sold Fi out.

Michael is willing to go pretty far, but not that far. In one of the most surprising, and un-Burn Notice-y turns of events, Michael shoots Strickler twice in the chest. For a show that generally has a very low body count, it came as a pretty awesome shock. The look on his face when Strickler told him to forget the past (read: his gun-smuggling, bomb-making paramour) was classic and the immediate turn around blew me (and Strickler) away. Awesome. Not only was I glad to see Strickler go, but his death illuminates some truths about Michael's relationship with Fi and also sets up the rest of the season in the most uncertain, dangerous, and precarious of possible ways. We all knew Strickler was bad news, but as the mid-season finale came to a close and we got a glimpse of just how bad, I found myself more than a little irked that the show won't be back till January.

It was nice to see Michael reset his priorities in one crucial instant. He always knew his dealings with Strickler were dodgy, but that one major jolt was necessary to make him reevaluate and change tactics. No matter how much he wants his old life back, he can't forget or ignore the past two years and in that moment, I think he realized that the way he does things will never be exactly the way it was. He has a lot more to consider now than just himself and the mission at hand, and while that's been the case for over two years, I don't think he ever really accepted that as a reality till now. His defiant I'm-about-to-shoot-you parting words to Strickler may have been, "Fiona is not a part of my past," but I think that encompasses a whole lot more than just Fi. It'll be interesting to see how his new focus affects his work and relationships in the second half.

As mentioned, the finale ends on less of an edge-of-your-seat cliffhanger than on a deep undercurrent of a cliffhanger that had me wondering what was going to happen in the years to come, not just the minutes to come. No one's life is hanging in the balance, there is no gun to anyone's head, but Michael has just had the rug pulled out from under him and the big bad looming on the horizon is looking to be as bad, if not worse, than all his previous foes. Just when I thought the body count wouldn't get any higher, someone goes and throws Diego out of a window. I honestly wasn't all that fond of him, and don't mind that he's been written out of the show, but what his death means to Michael and the series and important enough to make up for any apathy toward Diego himself. Essentially, Michael's dream of getting his old job back flew right out the window along with Diego. We don't know who Strickler really was, what influence he had, or what his death will mean, but I for one can't wait to find out.

I wasn't too sure where the show would head once the mystery behind the burn notice was revealed, but I'm glad to see the writers have managed to jump Michael out of the pan and into the fire. I appreciate a show that asks and answers its mysteries in due course and can't wait to see what crazy shit they have planned for the future. From what I'm hearing, not only will the baddies get badder and the action get, uh, action-y-er, but Michael's moral compass is still spinning and in a way that makes Sam refuse to help Michael with a mission...

Dun, dun, DUN!

Count. Me. IN.

The Soup Presents: College!

Comedies have kind of been letting me down lately (save for Better Off Ted), so when I saw that the promotional materials for NBC's new comedy Community actually looked promising, it was a very nice, rather funny change of pace. I just saw the full pilot the other day and am pleased to announce that it totally lived up to expectations--yet another nice change of pace for this particular industry...
My standards for half-hour comedies have diminished of late, but that should in no way devalue my appreciation for Community. Even though my disillusionment with The Office and disappointment with Parks and Recreation may have tempered me on the genre as a whole, I think my review of Community manages to be mostly unbiased.

Don't hate me, but The Office has lost a lot of its luster. The last several episodes of last season helped redeem the show to an extent, but there's still a lot of love lost between me and the show. I'm not going to beat a dead horse here, but I think it's pretty much accepted that the show just isn't as funny or fresh as it once was. I think a lot of the problem boils down to perspective and tone. The show kind of took a detour in terms of its goals and that made it fall a little flatter than it should. The banality of working in an office took a backseat to uber-wackiness and that's just not where the soul of the show started out. It's still enjoyable, and the last few episodes of last season were certainly an improvement, but even the most dead-pan and intentionally ordinary of characters have become caricatures. Anyway, long story short, and after the dead horse has been more than a little tenderized, I still enjoy the show, but it's not appointment TV for me anymore. I'm also less than thrilled with the prospect of Jim and Pam getting married and fairly mortified by the prospect of them having a baby. Blah. I've said it before and I'll say it again, babies ruin everything. Words to live by.

In related disappointment news, although I could appreciate that Parks and Recreation was funny, I just couldn't really get into it. I think there are a few fundamental flaws with the premise that make it a difficult series to write for and keep things moving along. I found myself bored with the park storyline after the second episode, but was faced with a season-long arc in that regard. I have heard that the writers are going to make a conscious effort to fix what was wrong and improve the show, so I'm hopeful season two works out better.

Until those shows prove themselves worthy of my approval again, my half-hour comedy yen might just be filled by Community. While not the most spectacularly funny show I've seen, it has a solid premise, a great cast, and a lot of potential for longevity.

With The Soup's Joel McHale at the helm, I was immediately ready to give the show a shot when I saw the first promos. What can I say? The Soup eases the pain after a long, painful week. Nothing soothes a weary soul quite like some chicken tetrazzini. :) Anyway, I've always found McHale to be entertaining and after seeing his brief acting appearances over the years, I was fairly confident he could pull this off. McHale plays a slick lawyer whose law degree isn't valid, landing him at a community college. Accustomed to not actually doing any work, ever, his character's approach to academia (and life, really) is to lie and cheat your way to the top. More words to live by.

School is an astoundingly common backdrop for shows, but with good reason. It's the kind of setting that everyone can relate to in one way or another and offers countless scenarios to be explored. Even with the glut of high school and college shows currently on the air, Community has a particular bent that keeps it from seeming hackneyed or overdone. The cast of characters who come together for a fictitious Spanish study group (Clippos Magnificos!)is entertaining from top to bottom and the dean of the school (community college's have deans, right?) is played by The Daily Show's John Oliver, so add that to the rest of the cast, crew, and set up and there was very little room for me not to enjoy the pilot.

The comedy is solid throughout the pilot and the comedic timing and pacing of the show kept me interested and laughing from start to finish. The comedy ranges from the more overt gags to subtler fare, but the jokes land consistently and while the pilot wasn't uproariously funny every second, it was funny, charming, and snicker-worthy often enough to bolster my confidence for the future of the series. I particularly enjoyed the layers of jokes. Some jokes were set up early on in the pilot and paid off later (Booyah! springs to mind--you'll understand when you see the pilot), others were peppered throughout with a more immediate pay off. It made for a nice blend of the nuanced and the obvious. Another aspect I appreciated was the lack of a soundtrack (which has thankfully become the norm these days). The show didn't make a point of highlighting, underlining, and pointing a big red arrow at jokes, but rather let them go by in a fairly organic way. There were a number that if you weren't paying attention, you'd simply miss them, and that's fine. The episode as a whole wouldn't suffer if you missed something here or there and more than benefitted from the consistent pace and lack of joke spotlight. And really, anytime John Oliver is associated with something, I'm probably going to be a fan. Although I have heard that he's only a guest/recurring star on the show, Joel and the rest of the cast seem plenty capable of carrying off the show on their own.

At the end of the day, it wasn't the most fabulous or funny pilot in the world, but definitely entertaining enough to get me invested in the show. It's not often that a comedy pilot really has me laughing, but Community certainly had its moments. It's got a strong cast and promising premise that I hope is allotted enough episodes that it can really blossom. I only have a handful of half-hour comedies in my current repertoire, so this should make for a nice addition. I have heard this McHale's obligations on Community shouldn't interfere too much with The Soup, so it's really a win-win.

Much like goose grease.

See, I'm still an Office fan at heart... :)

Outstanding Achievement in the Field of Excellence

Whilst riding the bus home yesterday, I decided to compile of list of my top ten episodes of The Simpsons. The kiddies at work and I have occasionally dallied with such a task in the past, and having decided it was impossible, quickly dropped the idea. Well, having very little life and even fewer new pilots to rely on for the next few weeks, I figured it was now or never.

When embarking on this most mindboggling of tasks, I actually found that coming up with the first six or seven was actually very easy. The all-time awesomest, seminal episodes came to mind with very little effort. Filling in the remainders was the tough part. I knew I was in for a real headache when classic episodes like Lisa the Beauty Queen and Radioactive Man were not making the cut. From about season 3 through about season 8, pretty much every single episode was top notch and picking just ten proved just as difficult as I had feared. Seriously, I could choose an all-time top ten list just from season 7 that I would be comfortable with. Truly, one of the best, if not the best season ever (as you'll see from the percentage of my top ten that comes from that most blessed of seasons).

My love affair with The Simpsons began to truly wane during the 9th and 10th seasons and by the middle of the 11th, I knew it was time to break up. I kept up appearances through the 11th and caught episodes here and there of the 12th (and maybe even a couple from the 13th), but I can actually remember the exact episode where I knew I was basically done. Season 11, episode 7, entitled Eight Misbehavin' was the tipping point. That's the ill-fated episode where Apu and Manjula have octuplets. Not good, peeps. Not good. Although, by standards of later seasons, I'm sure it's a masterpiece. It's hard to imagine that they have produced roughly 500 episodes since that fateful episode where I lost my faith. The point of this story is that I haven't seen a great number of episodes and think of the newer episodes as some sort of derivative, ersatz dreck that can't even be mentioned in the same breath as the older episodes of which I'm eternally fond. If there's some spectacular episode that has aired in the past decade, it won't be appearing on my list because I won't have seen it. I count the possibility of that happening to be basically nil, so I don't think it would have skewed my results in the long run.

Anyway, here we go. Oh, and this list is in no particular order. It was hard enough to narrow down the list to ten, let along ranking those ten.

BART SELLS HIS SOUL
Season 7, Episode 4


When I first decided to do this, this is the episode that immediately sprang to mind (and to the mind of my twin Beckee, so I must have been on the right track). Not only does this episode start of with a rendition of "In the Garden of Eden" by I. Ron. Butterfly during church, but it's pretty much the perfect episode every minute thereafter. I think what propels this episode into most fans' top ten lists is that it seamlessly intertwines so many different aspects of philosophy, religion, pop culture, and family into an insanely funny, totally non-preachy, but somehow inexplicably meaningful 22 minute package. It's one of those episodes that has such a strong A-plot and such a strong B-plot that you almost forget they are the same episode. Not only does this episode feature Bart's odyssey to regain his soul, but it also features Uncle Moe's Family Feedbag--a hilarious jab at all the ridiculous family restaurants with oh-so-much crazy crap on the walls. This is one of the most eminently quotable episodes and stands out in most fans' minds as a classic. I could start quoting, but we'd never get out of here. Between me and the kiddies at work, we could basically recite the entire episode.

Okay, here's one quote:
Jimbo: Way to breathe, no-breath.


ROSEBUD
Season 5, Episode 4


Of all the Citizen Kane parodies, satires, homages, etc, I'd say this has to be best. Any A-plot that features Mr. Burns is probably going to be awesome, but this one ranks among the most awesome. The flashbacks to Burns' childhood, the sweeping, epic construction, the perilous journey of his beloved stuffed bear through the ages... I hardly know where to begin when describing the greatness of this episode. And, as with the best of the older episodes, it doesn't use the Citizen Kane conceit merely because every other storyline has been done and the writers are out of ideas, but it is rather organically integrated into to world of The Simpsons and has real repercussions for the characters. Homer, who by and large sucks as a father, actually does the decent thing here and takes a pretty massive hit for Maggie's sake, even if she ultimately relinquishes the bear in the end. As if all that wasn't awesome enough, it badassily ends with a Planet of the Apes scenario with cyborg Burns' once again reunites with Bobo some million years in the future. The artistic approach, the structure, the stylization, the story, basically the everything is solid, beginning to end.

If I had to pick just one quote:
Expeditioner: You've gotta start selling this for more than a dollar a bag. We lost four men on this expedition!
Apu: If you can think of a better way to get ice, I'd like to hear it.


SIDESHOW BOB ROBERTS
Season 6, Episode 5


As with many of these, the inclusion of this episode hardly needs to be justified. The social and political satire, coupled with the references to films and events makes for one of the most outstanding episodes of all time. As with Rosebud, this episode satirizes a whole lot of things, but in a way that totally works. The episode doesn't make references for references' sake, making winks and nods at the audience, but instead offers a insanely funny, authentic satire. More recent episodes just pick a movie and replace the characters with characters from the show, but real satire does much, much more. Sideshow Bob episodes are all among my favorites, but for shear intelligence, wit, and writing, this episode takes the cake. Plus, this episode appeals to my distaste for Republicans on basically every possible level, so I can't not adore it.

Oh, so many quotes to choose from:
Bob: No children have ever meddled with the Republican Party and lived to tell about it!


HOMER'S PHOBIA
Season 8, Episode 15


The Simpsons has always had a way of addressing social issues in a way that's somehow pointed, yet not pointed all at once. This episode exposes all the ridiculous notions conservative America has about homosexuality in a way that even conservatives could appreciate on some level. I absolutely adore this episode and even had the pleasure of watching it for a college class once. Using Homer as the stand-in for conservative America, the episode highlights the inexplicable panic over the gay community as Homer goes from adoring John to completely turning against him for no other reason than he's gay. Homer's efforts at making sure Bart is straight crack me up every time. Once again, this episode is insanely quotable and I'm hard-pressed to pick just one. It's a classic. 'Nough said.

One of the many, many, many quotable quotes:
Homer: Well, it's been two hours. How do you feel?
Bart: I dunno. I kinda want a cigarette.
Homer: That's a good start. Let's get you a pack. What's your brand?
Bart: Anything slim!


22 SHORT FILMS ABOUT SPRINGFIELD
Season 7, Episode 21


Holy cow, where to even begin? This episode has so much going on, is so brilliantly structured, and unrelentingly funny that it's hard to even quantify. Each story is fantastic in its own right, but the way they're woven together is pure genius. Add to that some Pulp Fiction parody and you've pretty much got my dream episode. This episode include a tremendous number of minor characters and even though the vignettes are short, they're each pretty fantastic and somehow come together into a cohesive package. For going against the grain and throwing traditional storytelling out the window alone, this episode wins a lot of points, but throw in how funny and quotable it is and this episode simply had to grace my top ten.

One of the quotes I quote the most:
Skinner: Aurora Borealis?
Chalmers: Aurora Borealis!? At this time of year? A this time of day? In this part of the country? Localized entirely within your kitchen?
Skinner: Yes.
Chalmers: May I see it?
Skinner: Oh, erm... No.


RAGING ABE SIMPSON AND HIS GRUMBLING GRANDSON IN "THE CURSE OF THE FLYING HELLFISH"
Season 7, Episode 22


This episode didn't come to mind immediately, but the second "Flying Hellfish" popped into my head, it was immediately added to the top ten list. I think one of the things I appreciate most about this episode, aside from its overall brilliance, is the fact that Grampa is center of the story. Not only is that a pretty rare occasion, but never was it done so fabulously, and surprisingly action-packed-edly as with this episode. I love episodes that have flashbacks (particularly ones involving Mr. Burns) and this episode set up a whole mythology in the process, including the ancestors of several of Springfield's residents. It's a genuinely exciting episode that showcases Grampa in a whole different light. Never did it occur to me that at time Grampa could have ever been a badass, but I was wrong. And a tontine?! How cool is that? Oh, and having Ox explain what a tontine is? Solid. Gold.

One of the many quotes:
Bart: Hey, Mr. Burns! Can I go with you to get the treasure? I won't eat much and I don't know the difference between right and wrong.
Burns: Oh, you're a good boy, but the child labor people have been watching me like a hawk.


BART OF DARKNESS
Season 6, Episode 1


One of my favorite A-plots plus a kickass Hitchcock homage B-plot? Yep, definite spot in my top ten. This is easily one of the my most referenced and most quoted episodes. All you really have to say is, "The pool episode," and all Simpson fans sigh wistfully, saying "Oh, man, that's a great episode!" It's a family favorite, in fact--my eldest brother used to sign things with "Milpool__" on a regular basis. I love that this episode focuses on both Lisa and Bart and then brings them together for one of the best endings in Simpsons history. It's hilarious but surprisingly suspenseful, even with Ned Flanders filling the role of the mur-diddly-erderer on the receiving end of Bart's Rear Window telescope. It's a solid episode from beginning to end and integrates every element in an organic way. Awesomely awesome.

Favorite beyond favorite quote:
Phone voice: You have selected regicide. If you know the name of the king or queen being murdered, press one.


MARGE BE NOT PROUD
Season 7, Episode 11


My list of favorites on my TV is called "Thrillhouse" (cousin to "Milpool___"), so I couldn't not put this bad boy on the list. I think one of the best parts of this episode is that it really showcases just how crushing it is to have a parent disappointed in you rather than angry. It's actually kind of heart-breaking to watch... you know, amidst all the funny. :) It's a very well-structured episode that sets everything up just perfectly. It's hilarious and touching and ends on an incredibly sweet yet equally funny moment as Bart pretends to love his Lee Carvallo's Putting Challenge. It's not easy to have a really poignant episode without being saccharine, but somehow The Simpsons pulls it off. I love this episode so much. Pretty much any time I'm about to receive something or check on something, "Come on, new bike!" is the first thing that comes to mind. It makes the actuality of the reveal a little less disappointing. And, it's a Christmas episode, so it gets extra points.

Such a great quote, and totally one that I wouldn't have thought of first thing:
Nelson: Shoplifting is a victimless crime, like punching someone in the dark.


LISA THE VEGETARIAN
Season 7, Episode 5


I haven't seen this episode in an awful long time, but it definitely sticks out in my mind as a top ten contender. Not only is it a great episode in terms of writing, pacing, concept, and guest stars, but it's an episode that permanently changed one of the characters in a series where that just doesn't happen very often. Lisa becomes a vegetarian in this episode (well duh) and it is referenced in several episodes afterward. Not only does it showcase Lisa's newfound vegetarianism, but is also shines a light on the elitism that sometimes comes along with that position. In the end, Lisa realizes that criticizing what everyone else eats is just as wrong as them criticizing her. What can I say? I loves me some... uh... tolerance... :) I've said of many episodes that they're great from beginning to end, but this episode goes above and beyond. Even the ending credits are awesome as "Maybe I'm Amazed" plays over what can be heard to be a "recipe for a really ripping lentil soup."

One of many awesome quotes:
Homer: It's just a little dirty. It's still good, it's still good! [Passes traffic, jumps a bridge and lands in the water.] It's just a little slimy, it's still good, it's still good! [It gets caught in a dam spillway, and when the pressure builds, it shoots into the sky.] It's just a little airborne, it's still good, it's still good!
Bart: [Crestfallen.] It's gone.
Homer: I know.


THE DAY THE VIOLENCE DIED
Season 7, Episode 18


Rounding out my top ten was nigh impossible, but after much soul-searching, I think this bad boy just makes the cut. As mentioned previously, I kinda sorta love episodes with flashbacks and not only does this one have them, it also has old Itchy and Scratchy cartoons and a Schoolhouse Rock! parody. "Steamboat Itchy"? "I'm Just a Bill"? There's no way I couldn't include this episode in my top ten. The old cartoons are oh-so-well-done and they manage to capture the style of each era perfectly, and as per usual, hilariously. There's really little else to say. This episode has a hell of a lot of elements to it and they're all fantastic. Oh, and then getting all meta at the end with the old cartoon versions of Lisa and Bart showing up to save the day? Perfect.

Barring a complete rendition of "I'm Just a Bill", here's a quote that cracks me up every time:
Milhouse: Look out Itchy, he's Irish!

So those were my top ten. I know that all the Simpsons fans out there who are reading this are surely up in arms that certain episodes didn't make it onto the list, but I challenge you to try this exercise for yourself and see how not easy it is. Seriously, filling the last couple of slots was way more stressful than you'd think.

If I were making a top 30 or 40, it would be easy, but a top 10? That's rough.

Here are episodes that I bandied in and out of the top 10 about a dozen times, replacing one episode with another until they ultimately just missed the cut in the end:

Home Sweet Home-Diddily-Dum-Doodily (this was one of the hardest to cut... such a great episode...)

Lisa vs. Malibu Stacy (a classic--it moved in and out of the top ten about 15 times)

In Marge We Trust (I know, I know, how could Mr. Sparkle not make the top ten?! Well, while that's one of my favorite moments on the show of all time, the episode as a whole just didn't quite make the list)

Cape Feare

Itchy and Scratchy: The Movie

A Star is Burns

The Springfield Files

You Only Move Twice

Lemon of Troy

Lisa on Ice

Homer the Great

King Size Homer

Two Dozen and One Greyhounds

Mother Simpson

Bart on the Road

Brother From Another Series

And god knows how many more. The list I was working off of seriously had at least 50 episodes on it. Most of the one listed in my "didn't quite make the cut" list could easily fit in the top ten and would all be episodes I'd be comfortable putting there, but at the end of the day, this is the list I came up with. I challenge you all to try it. It's almost heart-breaking... (in a, "could I get anymore pathetic?" kind of way...)

Mad Men Yourself

Now, in spite of rave reviews from critics, I never got around to watching Mad Men. Regardless, I thoroughly enjoyed Man Menning myself and everyone else in the office. Even if you don't watch the show and simply want to retro-ize yourself (retro-fit?), it's a hell of a lot of fun. Go here to create your own 50's/60's avatar. :)

Now, they didn't really have my hair, so this is what I like to think I would have looked like had I lived in that era:

For those of you who know the people who work in my office, you'll be shocked by just how accurate some of these are (and totally inaccurate others are--no one in the office actually wears an eyepatch, but I defy you not to know exactly who it is). I'll just let you guess...

#1

#2

#3

#4

#5

#6

#7 For those of you who don't know anyone in my office, you'll just have to trust me that for the most part, these are pretty frighteningly spot on. Be forewarned, this activity will eat up a fair portion of your day, so proceed with caution.

In case you couldn't tell exactly who everyone is supposed to be, here are the answers:

#1 Jack (he weighed in on this depiction more than a little bit)

#2 Brett (I think the eyepatch really sells the look... especially at a picnic...)

#3 Ammon (my personal favorite--it really couldn't get more Ammon-y without being an actual picture of Ammon)

#4 Annie (she really does have arms, but the dark gloves kind of make them hard to see)

#5 Blair (and his lovely wife Stacey, who apparently likes to chain-smoke at 7 a.m.--we didn't actually construct Stacey, the wallpaper just happened to have a blonde woman already there for us)

#6 John (seriously, spot on. We actually chose a set of eyes that made him look less worried, lest you think we went overboard...)

#7 Ann (Ammon pointed out the neck scarf as a particularly Ann-ish quality)

Random TV Detritus

I couldn't come up with any logical organization for all the bits of televisual flotsam and jetsam that have been swirling around in my head of late, so I'm just going to throw them all in one miscellaneous post. Between the summer shows coming to an end, the TCAs (Television Critics Association panel-y type conference-y thingamajig), and BBC America invading my viewing agenda more and more, I've got a lot of randomness going on and simply can't be bothered to organize any of it beyond the most basic of categories. Long story short? Not thinking is muuuuch easier than thinking.

USA NETWORK UPDATES:

IN PLAIN SIGHT: While there's not a lot less fanfare involved with USA Network pick-ups, I was pleased nonetheless to hear that In Plain Sight just got the green light for a third season. It's really the little second tier show that could. I have to admit, I'm pretty surprised at just how much this show has grown on me over the past two seasons. I can't imagine it will ever become a top tier contender, but it makes for a nice addition to my schedule (especially my ridiculously slim Sunday viewing options). I'm a little afraid of where Mary's personal life is headed (what with the ill-fated engagement and all), but at least her mother has seemingly disappeared and her sister has been reduced to cameos. The writers are building up the sexual tension between Mary and Marshall and it's becoming more and more apparent that Marshall thinks of her as more than just a partner. It's a pretty standard storyline, but I have some ideas on how the writers could make it pretty awesome. I don't know that I'd ever like to see Mary and Marshall become a couple or anything, but I do enjoy the differing agendas going on. My predictions? I think the third season will illuminate to everyone the true nature of Mary and Marshall's relationship. Raf may be her romantic partner, but Marshall is quite clearly her partner in every other conceivable sense of the word. I'm not sure to what extent Marshall may or may not be in love with Mary, but I'm excited to find out. I realize I'm the only person who watches this show, so I don't expect anyone else to jump on the bandwagon here, but I'm thinking next season is going to be pretty awesome. The season 2 finale is on Sunday, so if you're just now thinking you'd like to give it a shot, this wouldn't be the most ideal time...

ROYAL PAINS: In other pick-up news, Royals Pains got the go ahead for next year after surprisingly decent ratings. Royal Pains isn't as horrible as I would have expected (it's fairly watchable, if not anything to write home about), but I think I'm giving it the official heave-ho. I've only kept up with it in the most cursory of ways, but even that is more than I really care to give. If USA didn't make it so damned easy to keep up with crap (what with airing them a million times), I'd have never have given it this much of my time. The fact that it's a summer show also played a part... In spite of all these aspects, it's as blah as ever and I'm done.

BURN NOTICE: Awww, Burn Notice. Eases the pain. How insane has this season been? With each passing episode, I become less and less supremely confident that everything will work out okay. Michael Westen may have actual magically powers when it comes to spy-ishness, but the baddies have been coming out in full force this year. While past seasons have been much more specifically client-of-the-week, this season has seen Michael and company be the clients more and more often. The tension between Mike and Fi hasn't helped calm the seas either. I'll be posting more about Burn Notice after Thursday's mid-season finale (which, holy moly, have you seen the sneak peek pics?! Ahhh!), but for now, rest assured that my most darling of shows has been renewed for next season, much to no one's surprise. The second half of the third season won't air till January 2010 (gah!), so soak up all the Burn Notice-y goodness while you have the chance.

CW NETWORK UPDATES:

THE BODY POLITIC: In spite of the fact that it had some serious potential, I'm hearing that The Body Politic is officially dead. Network president Dawn Ostroff confirmed today at the TCAs that the show won't be making it on the air, not even at mid-season as so very many people (read: me) had hoped. Word is, the actors have all moved on and been cast in other productions. I don't know if Dawn herself held the ax on this one, but I choose to blame her regardless. Here's hoping Jason Dohring finds a new gig that won't get cancelled... assuming he finds something that gets picked up in the first place... Oy.

GOSSIP GIRL: In better CW news, I'm also hearing that the rather unfortunate Gossip Girl spin-off with Lily's backstory is looking unlikelier by the minute. No official death notice, but it doesn't sound like it'll ever happen. That's not say that a spin-off isn't a possibility in the future, but that the original conception won't likely make it off the ground. I, like many, am rather relieved to hear this... Those Lily flashbacks were...not good, we'll say. It's a shame too because there were more than a few Veronica Mars alums in that thum thar flashback sequence...

OTHER NETWORK UPDATES:

DOLLHOUSE: I finally got around to watching the unaired pilot (you know, the one that was pretty much entirely scrapped) and I have to say, in many ways I liked it quite a bit better than the pilot that actually aired. I've heard conflicting reports of just why the original pilot was scrapped, and although the prevailing notion is that Joss himself was unhappy with it, I maintain that the brass at Fox had more than a little to do with it as well. In the plus column, the original pilot felt a lot more Whedon-esque, it explained the rules of the Dollhouse universe in a way that made much more sense and was much more logical in application, and most importantly, it didn't have the largely weak A-plot story-of-the-week of the official pilot (the aspect with which I was the most unimpressed). The hostage negotiator, procedural-style A-plot of the official pilot left me underwhelmed, a little annoyed, and tended to muddy the waters as far as the science and lore of the show is concerned. To be fair, it's hard to know how I would have reacted to the original pilot had I not seen the entire series thus far, but I'm supremely confident I would have liked it better. In defense of the official pilot, had the original aired instead, the series would have taken a very different path. In the original pilot, Ballard meets Echo right off the bat, Victor is revealed to the audience as a doll, and Echo's notions of self are already starting to show. The original set thinks up more clearly, but threw a whole lot of plot progression into that single episode. I've never been one for weak A-plots, so I think that's my primary bone of contention with the official pilot and really shouldn't reflect on the entire pilot as a whole, but kinda does... In terms of a pilot setting up the rest of the season, I can be persuaded that the official pilot was better, but as a stand-alone, I think the original had more going for it. I haven't watched Epitaph One yet, but I hear it's a whole lotta "huh?" For which, I'm unduly excited. :) In other Dollhouse news, I'm hearing Amy Acker (aka Dr. Saunders aka Whiskey) has been confirmed for three episodes for season 2. Thanks to her role in Happy Town, she just isn't as available and one would hope... Here's hoping they make the most of those three episodes. No official word yet on Alan Tudyk, but I'm hearing he'll be back as Alpha somewhere toward the middle of next season. In casting news, I'm hearing that Battlestar Galactica alums Apollo and Saul Tigh will be joining Helo for an episode a piece. Apollo is set for the premiere, as I recall... In even more exciting casting news, I hear that Alexis Denisof (aka Wesley from Buffy and Angel) is on the docket for next season. Yay! I've missed him... And I'd love to see him and Amy Acker onscreen together again. Finally, I've also heard the Felicia Day will find her way into the mix again somehow and there are plans to bring Summer Glau into the fold, although nothing official has been written. The show (as with most Whedon productions) is pretty much turning into one big family reunion--only this is a reunion you'd actually want to attend. :)

SKINS: Most of you have probably never even heard of Skins, but I'm going to tout its premiere nonetheless. For some connections for you, one of the kids in the show (Dev Patel) went on to star in Slumdog Millionaire as Jamal and remember that socially awkward kid (Nick Hoult, pictured) from About A Boy? Well, he's all grown up and raising hell for the first two seasons. (Quite contrary to what you'd have thought after seeing About A Boy, he totally plays the leader of the pack, the rake, the cad--basically the tool.) The third season starts up on Thursday and I'm more than a little giddy, if slightly apprehensive. Skins follows a group of British teens as they try to find their way in a world of questionable parenting, drugs, sex, violence, and pretty much everything else. It sounds like your straight-forward teen drama, but as with so many British shows, it doesn't pull any punches and has a much grittier, edgier feel to it than most of what's available on standard American programming. Along with the grit, the show is bitingly funny and manages to blend serious character development in with all the light and dark and crazy of the world around them. My apprehension comes from the fact that, aside from Effy, it's an entirely new cast. I'm sure the writers will knock it out of the park once again in spite of the new cast, but I just don't know if it'll be the same without Tony, Michelle, Sid, Cassie, and company... Regardless, I can't wait to find out. :) Seasons 1 and 2 are available on iTunes, if you're interested. Bear in mind, it's definitely not G-rated, so you've been warned. If, however, teenage debauchery is up your alley, you've officially hit the jackpot.

Being Human: kinda like Twilight, only, you know, well written

I have long enjoyed having the BBC (well, BBC America) among my plentiful beyond plentiful list of channels. Officially, I watch the BBCA because of their excellent news coverage, hard-hitting documentaries, and global perspective... In actuality, and by stark contrast, I really watch it for the cheesy musical theatre singing competitions and racy, drug-addled adolescent indulgences. And just when I thought the reality of my BBCA infatuation couldn't get less prim and proper, along comes Being Human, because what viewing schedule would be complete without a show about three roommates who happen to be a ghost, a vampire, and a werewolf?

As I have come to find after only two exquisite episodes, it wouldn't be any viewing schedule at all.
Now don't get me wrong, I realize that when boiled down to its basics, Being Human sounds derivative and lame. But, as with so many questionable concepts (this being high concept), when placed in the correct hands even the most ridiculous of conceits can be completely awesome. Seriously, who'd have thought a show about a teenage vampire slayer would work? And who'd have dreamed that a series about a high school girl who moonlights as a detective would be such a classic? Much like Buffy, Veronica Mars and countless others before it, Being Human manages to take a seemingly ludicrous concept in an overdone genre and make it work surprisingly well.

I first heard about the show on Television Without Pity, and in case there were any doubt as to how much TV I watch and just how much I keep up with TV online, the television add for the show quoted TWoP, saying, "...it's pretty much my dream series." To which I thought to myself, That would be Angel Cohn with TWoP, as I recall. Annnnd it totally was. On the surface, that's incredibly sad, but in my own twisted little way, I've decided to think of it as... accomplished. So there. (Semantics, peeps. It's all about semantics.)

Anyway, Being Human follows a vampire and a werewolf who have become friends and who have inadvertently moved into an apartment that is haunted (sort of) by a ghost. As a trio of unnatural/supernatural characters, they can relate to one another in ways that ordinary people simply can't. It's kind of like Three's Company, if... you know... Chrissy were dead. Which, now that I think of it, that clearly does sound like a winning concept after all (an improvement at the very least)...

The show has some of the usual trappings for this genre, but manages to make them fresh and intriguing. Mitchell, the resident vampire, struggles with his, uh, condition as he grapples with his identity and tries to decide which side he wants to take. He ardently chooses humanity, as is the genre's wont, but is torn between who he is and what he is, likening himself to a lapsed Catholic. Unlike other abstaining vampires, much of Mitchell's equivocacy (which actually is a word, even though Word doesn't think so) is born of his friendships with George, the trio's werewolf, and Annie, the ghost they've moved in with. Mitchell broods with the best of the reformed vampires out there, but he has found a pair of unlikely kindred spirits (almost literally, in Annie's case) which gives him a very positive, almost sunny approach to his attempt at, well, being human. He's very un-predatory as a human, so when juxtaposed with the killer inside, he's decidedly torn. Being faced with his latest convert on a regular basis and facing his other fellow vampires as a budding war approaches only manages to fuel the flame. In spite of this, he's far and away the most open to humanity and hilariously invites his neighbors over, a move with horrifies his roommates as much for being dangerous as for being un-British. He's a real delight and curiously social. Plus, he doesn't sparkle in the sun, shooting rainbows in every direction, so we're already way ahead of the game. And I'm not going to lie, the fact that he's very (!) easy to look at doesn't hurt either.

While Mitchell seems to embrace who he is, even if he doesn't actively engage in his, uh, culture (?), George does everything in his power to hide/erase/forget/disavow the fact that he's a werewolf. Even as I type this review, the show sounds absolutely absurd on the page, but you'll just have to trust me when I say that the show makes it all work. George is fairly new to the paranormal game and spends much of his time just trying to figure out how to live his new life. He wasn't particularly socially gifted in his old life, methinks, so he's even more flustered, awkward, and out of place now more than ever. At the end of the day, the issues dealt with by each of these characters boil down into emotional and social conundrums that everyone can understand and relate to, lack of werewolf-ism notwithstanding. George meets another werewolf, but finds that trying to accept the monstrous side of his life transforms him into another person just as entirely as the full moon does. George more fervently tries to reject his supernatural ways than Mitchell, but all in all, he's just trying to be human all the same.

Annie rounds out the trio and is somehow the most human and least human all at the same time. The show doesn't elucidate all the rules of being a ghost right up front and neither Annie nor the audience are sure what the limitations are. At times she's fairly corporeal, at others, she simply vanishes. Some people can see her (the paranormal set seem to have no problem in this regard), and yet others (most notably, her ex-fiancé and his new girlfriend) cannot. I think it's this uncertainty that makes her situation and her yearning for her old life somehow the most de-humanizing of the three of them. Neither Mitchell nor George are human, but they can fake it. Annie can't. She's not a monster, but she's not human either. She's in limbo in every sense of the word. It's sadly poignant that the one who's the most human of the three has the least ability to embrace humanity. Her attempts at being human are, so far, limited and confusing, both encouraging and devastating all at once. Indeed, her most meaningful human contact comes from her new roomies who aren't really human at all.

At first glance, it seems unfathomable that this cast of characters in this type of set up could really capture your average viewer, what with him/her being all human and all, but Being Human is grounded in the real world and the pain, emotions, and confusion triggered by each of their other-worldly situations are somehow universal. Feelings of disconnection, loneliness, not fitting in, fear, and yearning are things everyone can understand and the drive for human contact and finding your own identity can apply to any random person walking down the street as well they can to vampires, ghosts, werewolves, or what have you. I connected to these characters almost instantly and not in a fanciful, dungeons-and-dragons-y sort of way, but on a palpable human level. The writers have anchored the characters in a very average, everyday universe and have set rules for each being that largely adhere to tradition. All the facets and regulations haven't yet be illuminated, but all the basics appear to be in place (unlike a certain crappy tween series of novels which shall remain nameless... [stiltedly] ex-cept-in-the-title-of-this-post... oh, well). This makes their exploits and emotional crises easier to comprehend and more logical in such an ordinary, modern context. Essentially, these characters are dealing with all the same issues the humans do, only in a much more entertaining way. What can I say? People are largely boring...

The concept, the setting, and the emotional register form the bare bones of the show, but I think it's the tone that won me over first and foremost. The show has a very Dead Like Me vibe to it that I'm totally digging. It's funny and dark and quirky all at once. When being persuaded to give up human ways, a fellow vampire asks Mitchell, "Have you seen Britain's Got Talent? I mean really, what are you saving?" Assuming Britain's Got Talent is even a tenth as unfortunate as America's Got Talent, who can really argue with her logic there? At another point, during the most heated of arguments, Mitchell makes a jab at werewolves to which George incredulously responds, "I'm... pretty sure that's racist!" The show underwrites the dark with the light, the edgy with the funny, and the natural with the unnatural all with ease. It's a surprising joy to watch and I quite frankly can't wait till Saturday.

That's right people, as though I wasn't enjoying the show enough, it airs on BBC America on Saturdays so I don't even have to worry about DVR conflicts. I'm pretty sure I couldn't ask for anything more...

Here's a clip. It's probably not the most exemplifying clip in the world, but it's the best one I could find: