Week-In-Review 2.1

It has become apparent that I need to somehow label these so that I can keep them straight. I'm going to employ a system that I know all to well, the season.episode format, only now with month.week. Here we go!

Most Unexpected Memory Trigger: Betty White at the SAG awards, if you can believe it…
As happy as I was to see 89 year old Betty White take home the statue (even if she actually won for outstanding achievement in the field of still being alive), it also triggered one of those lightning-fast recollections of a dream that I had totally forgotten about. For some reason, I was riding in the backseat of a car (one of those old people cars—you know, the size of a catamaran, all in maroon) with someone I can’t remember and Betty was driving. When I say “driving,” I mean “racing down the freeway like a maniac.” I kept screaming for Betty to stop the car, but she wouldn’t. Then the cops pulled up beside us, sirens blaring, trying to get her to stop. Still no luck. I kept looking over at the cops with a look of “I don’t know what to do” because it was really important to me at the time that they know that I was not in cahoots with Betty White. I seem to recall Betty driving off the road into a ditch after that, much to everyone’s relief. That maniac Betty White would no longer be terrorizing the good people of whatever fictional town my brain had come up with. What this all could mean, I have no idea… If there are any Freudians or dream analysts out there, Merry Christmas.

Best Absence: Al Pacino wins at the SAG awards, but mercifully isn’t there to accept.
Not having to listen to another interminable “speech” from Al Pacino means we’re all winners.

Most Convenient Casting: Paz de la Huerta
Apparently the casting director for Boardwalk Empire wasn’t taking too big of a leap in casting Paz de la Huerta as a half-conscious, grating, incoherent dingbat, as confirmed at the SAG awards. And here all this time I was just hoping she was one hell of a convincing actress. As it turns out, no acting required. In related news, put… the bronzer… down!

Longest Divorce: Chuck
Hot on the heels of its dubious distinction as the “least tempting show saved on my DVR,” I’ve finally, finally, FINALLY broken things off for good. In light of hardly anything being new last night, I started watching one of the saved episodes. After about five minutes, I could hear Jessica Lovejoy’s voice in my head with a plaintive, “Bored now,” and called it quits. Officially. The series has been canceled from my DVR list and all saved episodes have been deleted. If precedent serves, this means the show will now get insanely awesome again, so if you’re sticking with it, you’re welcome.

Most Unhatable Villain: Lie to Me’s baddie-of-the-week
Okay, I realize that the delectable Ashton Holmes (the late great Thom from Nikita) was actually a brutal murderer on last night’s episode of Lie to Me, but I have so many warm and fuzzy feelings about him from his stint on Nikita that I spent the entire episode hoping to hell he got away with it. It wasn’t all that long ago that he got killed (the wound is still a bit fresh in my mind), so it sure was nice to see him crop up on another show (quite frankly, a show that can use all the help it can get). Here’s hoping he lands a regular gig on something worth watching (which is code for, something on cable—ooh! Justified! Please?).

Best Casting News: Kristen Bell in Showtime's House of Lies, a role that might not totally suck.
I think we can all agree that most of her career moves have been more heartbreaking than uplifting. Post Veronica Mars, it’s been pretty painful to watch our darling Veronica in one craptastic romantic comedy after another. Here’s hoping her return to the small screen yields watchable results. Showtime has a pretty good track record, so at least there’s a chance. Kristen really deserves more than just a supporting role, but hey, I’d rather see her play second fiddle on a show that’s good than headline something as horrendous as When in Rome. Oh, wait…

Most Tantalizing Tidbit: Neal Caffrey’s father was a cop!
Can I just say, White Collar took a while to really find solid ground, but now that it’s there, it has become one of my favorite hours of television each week. Maybe it’s that the writers really feel like they know their characters now, or that the network is in full support of the show, or maybe it’s that they finally killed off Kate ("I’ll take Kate Getting Killed for 500, Alex."), but whatever is going on, it’s working. After last week’s flashback episode, I had feared that they would withhold any additional information about Neal’s past until some sort of finale or premiere (which don’t get me wrong, on USA, that’s about all there is), but I was pleasantly surprised to get some tantalizing information about Neal’s real past, not just his criminal past. I love that Neal’s father was a cop. The vibe between Neal and Peter has always had a bit of a father-son vibe to it, so making Neal’s actual father a cop just adds to that. The fact that his father was never around when he was a kid (and was apparently a dirty cop) also gives their vibe a shot in the arm. I thought it was really interesting when Neal said that he learned a lot about guns trying to be like his father, given the fact that it’s been established that Neal hates guns. His relationship with his father (or lack thereof), has helped mold Neal into the man he is today, and essentially Peter is stepping in where his father never did. Neal’s mother claims that his father died when he was a toddler, but I think we all know that he isn’t dead. With the Kate mystery starting to wind down with the revelation of Adler, I’m happy to see them sparking new ones. The actual chronology of events and the veracity of everything Neal told Peter is still up for grabs, but whatever the case may be, I’m thrilled to finally get some basic information about who Neal is and where he came from. I’m secretly hoping there are some siblings out there to be found as well…

Best Showdown: Cary vs Blake on The Good Wife

Second Best Showdown: Eli vs Becca on The Good Wife

Third Best Showdown: Alicia vs Wendy Scott-Carr on, wait for it, The Good Wife

Most Showdowns: Homekeepers with Arthelene Rippy
Or was it The Good Wife? Yeah, in case you hadn’t noticed a pattern here, The Good Wife had kind of an intense week… Homekeepers is really more about passive-aggressive power-plays than showdowns. No really, I’m serious. If you watch The Soup, you know what I mean.

Bloodiest Backfire: Being Human
While it can’t quite hold a candle to the UK original, the US version is well-done and entertaining. And pretty bleak, at times. I had a feeling Aidan’s attempts to glamour that guy wouldn’t end well, but I didn’t expect the guy to kill himself. When Bishop handed Aidan that envelope, I thought of several possibilities for what could be in there, but bloody suicide photos was not at the top of the list. Ouch. Poor Aidan. That’s rough, bro.

Best Shower: One that has Ian Somerhalder in it...
Kudos, Vampire Diaries. Kudos. Ian is also sitting in the "Best Bathtub" category. Man, that was a really good episode, wasn't it?

Sorest Loser with the Most Pathetic Pasta: Mike Isabella on Top Chef
Mike, it’s one thing to be disappointed that you didn’t win, it’s quite another to bitch and moan that Antonia’s dish was “really easy” when all you had to do was make pasta. And you couldn’t. That’s right, jackass, she didn’t beat you with some fantabulous dish. Nope, all she had to do was make something properly and it blew your hard, crunchy, “un-done-te” pasta out of the water. Seriously, I can’t believe he had the gall to call her out for making something simple. Dear Mike, I can’t steam mussels, but I can boil water and dump pasta in, thanks. Bastard. Mike, if you want to beat Antonia, might I make a suggestion?

Best Episode Cliffhanger (muahahahaha division): The Vampire Diaries
I don’t know about you, but I kinda can’t wait for Katherine to get out of the tomb. Did I think for even a minute that it would be Uncle John to get her out? Not a chance. The vampire/werewolf war that’s brewing needs all the badass vampires it can get. There will be blood. Well, more blood.

Best Episode Cliffhanger (ruh-ruh division): Nikita
It doesn’t come as a total surprise that Michael is starting to put the pieces together on Nikita, but that doesn’t make it any less foreboding. His reaction to Nikita outside the museum, however, makes me think that most of his blustering is pure bravado and that he’s isn’t as angry as he claims. I’m loving this show and I can’t wait to see how this one plays out. In other news, uh, Alex? Could you at least try to look like you’re actually capable of subduing a room full of hostages? And couldn’t the show have included at least one other woman in that group? She stuck out like a tiny, teenage thumb.

Quotes of the Week:

Lip: “Debs, was he inside or outside the yard when you grabbed him?”
Debbie: “Inside.”
Lip: “Okay… So, how’d you get him out?”
Debbie: “I waved a Snickers bar at him.”
--Lip trying to figure out just how Debbie stole a 2-year-old from a birthday party and exactly how much trouble she’ll be in on Shameless. It was Debbie’s zealous reading of “Snickers bar” that really sold the line.

“Tell me about your mother. Did she wear hats?”
--Peter, on White Collar, trying to pin down absolutely anything regarding Neal’s dubious personal history, whether sartorial or otherwise.

“This looks like something you’d find at the steam table at your worst enemy’s wedding.”
--Anthony Bourdain (aka the best addition to the show in ages), regarding Mike’s pathetic pasta on Top Chef. Sooo, you’re saying we’re at Mike’s wedding?

Eli: “How is it that I can manage aldermen, judges, and yet I still seem to have this ridiculous little mean girl thorn in my shoe?”
Becca: “Maybe your secretly in love.”
--One of many showdowns in The Good Wife this week. Apparently Eli didn’t watch enough Gossip Girl or he would have seen this coming a mile away. Not that he wasn’t prepared. I think we can all agree that when it comes to politics, Eli is the meanest mean girl in town.

Cary: “You just got my only eyewitness kicked and you want my help?”
Kalinda: “Yeah.”
--Oh, Cary, we all know she does and we all know you will. So would we.

“It’ll murder those fine lines and wrinkles right off your face.”
--Danielle Fishel on The Dish, regarding the Rejuvenique beauty mask.

Damon: “He’s a werewolf. He needs to die. I’m willing to kill. It’s a win-win.”
Elena: "Damon, please. Too many people are dead.”
Damon: “You need to stop doing that.”
Elena: “Doing what?”
Damon: “Assuming that I’ll play the good guy because it’s you who’s asking.”
--The Vampire Diaries. Something wicked this way comes, and he has fabulous blue eyes.

“For reasons that should be obvious, Pierce the Insensitive, known also as Pierce the Dickish and Grandpa the Flatulent, was not invited.”
--Lord of the Rings-y narrator of Community’s Dungeons & Dragons send-up of Pierce.

My Top 10 of 2010

With the end of the year upon us, retrospectives and top [insert random number here] lists have been cropping up all over the place. I don't usually do a top whatever list, but I've seen some pretty crazy-ass entries on some lists lately and felt the need to make my own preferences clear. Seriously, Huge? You're kidding me, right?

Here are my picks... (They're numbered, but there really isn't any particular order. I just picked ten and plopped them in there wherever.)

MY SCRIPTED TOP 10 (ish)

1) The Good Wife
I'm sure you're all sick to death of hearing about my love for The Good Wife, but what can I say? It really is the best show on network TV and can hold its own against cable. It does a better job balancing its elements than just about any other show on air, taking what could have been a standard legal procedural and turning it into a captivating drama that borders on a serial. When the show was first pitched, they aimed for 60% courtroom A-plots, 40% serial B-plots. I heard in an interview though that those values were ultimately reversed, and I think that's the key to its excellence (and probably a bit of why its ratings aren't where they should be). Your average middle-American apparently doesn't like to have to remember anything about anything week-to-week, which is why straight-up procedurals do so well here. Well, I hate procedurals, as you'll probably notice from their scarcity on this list. Give me a good serial any day, thanks. The Good Wife has it all and delivers every single week. Kudos, CBS, for doing something right for once.

2) Terriers
Yet another show you're probably sick of hearing about, but its warranted. I'm bummed beyond belief that this true gem won't be back for a second season, but I commend FX for airing the entire season in spite of dismal ratings (the show would have been pulled from network TV after 1 episode) and for manning up and telling us it was canceled right after the finale, rather than casually pretending the show had a chance until the last minute. Funny, dramtic, touching, intriguing, and addictive, Terriers will go down in TV history as one of the very best shows to be cut down in its prime. Assuming it makes it to DVD, I suspect this is a show that people will discover all too late. Here's hoping Donal Logue finds another project that showcases his true acting chops the way this one did.

3) CW Thursdays (The Vampire Diaries and Nikita)
Who'd have ever guessed that the CW, the little network that usually can't, would be the place for must-see TV on Thursdays (one of the biggest nights for programming)? These two series could easily have garnered individual spots on this list, but there's just something about having them back to back that makes the experience of each even richer. TVD hasn't experienced a sophomore slump at all (amazingly, given how fast they burn through story), and Nikita has been the surprise winner of the fall pilot season. Indeed, I think it's about the only network show I kept this year (what with Lone Star getting canceled and all). Hats off to the CW, where little shows with little followings can actually succeed.

4) Justified
Man alive, I'm so excited for this one to come back (February 9th)! Season 1 seems like ages ago. This show isn't quite like anything else on the air right now and somehow managed to make the western cool. It's a great serial with a stellar cast that has a very different flavor that most other programming. It's a breath of fresh Kentucky air (yeah, yeah, I know it isn't actually filmed there) that helps add something different to my slate of shows. From what I'm hearing, season 2 looks to be just as engaging and awesome as the first, so if you haven't checked this show out yet, you have about six weeks to get crackin'.

5) Community
I wanted to make sure to include at least one comedy on this list, and while Modern Family is incredibly well done, its second season hasn't been as hilarious as its first, whereas Community has reached new levels of awesome in its sophomore year. Henceforth, Community makes the cut. It really is the best comedy on air right now and is deserving of much better ratings than it gets. Seriously, people, it blows The Big Bang Theory out of the water and is a much better (and funnier) way to spend an evening.

6) Boardwalk Empire
A lot of people were ultimately underwhelmed by the narrative (even if they were blown away by the visuals), but I really got sucked into this one. I'm a little surprised at how much I enjoyed this one given my general lack of caring about gangsters. It's pacing was slower than most people would have preferred, but I found the slow burn captivating. There were elements that were underwhelming, I grant that, but overall, it's one of the most accomplished and expertly executed shows out there. Also, the fact that it airs on HBO and isn't in any danger of cancellation certainly helps get me invested in a show. I'm more willing to give a show time if I know it'll actually be around next week.

7) Nurse Jackie
Yet another show that feels like it's been gone for ages, Nurse Jackie has been on my favorites list since I saw the first 10 minutes of the pilot. Showtime has built an empire around quirky leading ladies, but Edie Falco tops them all. Sharp, funny, dark as hell, and incredibly dramatic, somehow Nurse Jackie manages to weave everything together in a seamless way, and in only 26 minutes. Here's hoping season 3 keeps the excellence ball rolling. What can I say? I've missed Jackie's style of justice lately and I can't wait to see how her intervention from the finale is going to play out in the coming season. Life really is full of little pricks, and Jackie is just the person to deal with them.

8) Doctor Who
I love British television. It was hard to pin down which of their stellar shows to include on this list, but my first venture into the wonderful world of Doctor Who takes the cake. Being Human got a little soapy and uneven in its second season, otherwise it also would have made the cut. I had only had a smattering of experience with the Doctor Who franchise until now, but I truly got sucked into this one. Matt Smith is charming and delightful as the Doctor and his chemistry with his companion Amy Pond was cheeky and exciting from beginning to end. Every episode had something special to offer, even in their less successful outings (which were still better than a lot of shows' best episodes). Adding international fare to your line-up is a great way to add something new and fresh and Doctor Who succeeds in spades. It's a hell of a lot of fun, but has some serious drama to boot. Cheers!

9) Castle
I really enjoy this show, but I had to really think about putting it on this list or not. It's a fun slice of escapism, but at its core, it's a procedural... and we all know how I feel about procedurals. Granted, this one is a lot better than most, but it still doesn't have the appeal of a good serial for me. I ultimately put it on this list because I genuinely look forward to it each week, even if it has a fair bit of fluff. The show doesn't take itself too seriously and knows how to have fun, which, after looking at some of the heavier options on this list, I really need from time to time. Plus, anything with Nathan Fillion has to get a mention somewhere (well, maybe not Drive, but who's splitting hairs?).

10) USA Network Programming
(Well, most of it anyway. Specifically: Burn Notice, In Plain Sight, White Collar, and Covert Affairs)
It's at this point that you should be crying foul because I clearly have more than 10 on my top 10, but I don't care. USA has a formula for success, and all of these shows follow that format to a certain degree, ergo, they get the same spot on this list. Burn Notice is clearly USA's most accomplished and aberrant program, deviating from the lighter than air elements of its cohorts with some serious drama. The season finale was off the hook fabulous and if I had to choose one show to put on this list, Burn Notice would easily take the cake. I really do enjoy the other shows listed as well, however, and wanted to give them some props. As a network, USA has created a brand that appeals to the masses without being completely devoid of quality and they deserve some recognition for that.

*Honorable Mentions*

Modern Family
"Don't bite my head off, Mitchell. I'm not a pack of batteries!"

Lone Star
I hardly knew ye... It's hard to know where this show would have ended up if I had seen more than two episodes, but after only those two, I was invested hook, line, and sinker. Here's hoping we get to see the rest of the taped episodes someday...

Southland
I'm actually pretty excited for this one to come back. Who'd have guessed?

Glee
This show is hit or miss, but when it's hit, it's one of my favorites.

Dexter
Not their best season, but it's still a hell of a show.


MY REALITY/COMPETITION TOP 5
1) Top Chef
2) So You Think You Can Dance
3) Work of Art: The Search for the Next Great Artist
4) The Next Food Network Star
5) Top Chef: Masters

And no, Project Runway did NOT make the list. I don't like to reward bad behavior, and crowning what's-her-face (Gretchen) the winner of anything is simply inexcusable.


MY REALITY/OTHER TOP 5
1) I Shouldn't Be Alive
2) Hoarders
3) Mystery Diagnosis
4) Intervention
5) Locked Up Abroad


There are a lot of other categories out there that should probably be explored, but when I started compiling a list, it became pretty daunting. There is one more honor that has to be bestowed, however, and it's something that I like to think had a hand in garnering a top ten finish for the show...

MOST IMPROVED HAIR

Kate Beckett (Castle)
If I never see that mullet of hers again, I'll be a happy, happy viewer. Way to grow out the "business in the front", Kate. It was that or lose the "party in the back"... Either way, something had to be done.

I'm lovin' it...

No, not McDonald's.

Dear god, NO.

Not McDonald's.

[shudder]

Now that the fall premiere season is finally over and all the new shows have had a couple of weeks to dazzle me (or as was so often the case, completely underwhelm and disappoint me), it's high time I made official proclamations of the hits and misses (mostly misses).

This was a particularly odd fall slate this year. Fall 2010 offered up probably the most new pilots I've ever seen for one development cycle, and yet, had probably the least number of winners I've come across in ages. Long gone are the years where I simply had too many spectacular new shows to choose from, it seems. What's worse, of the few great new shows to premiere this fall, my favorite among them has already been canceled. So long, Lone Star. The dreary confines of network programming and the lowest common denominator of mass appeal had you pegged before you even started. Boo.

A few new shows did manage to rise above the dreck and the threat of cancellation (at least for now) and join the my returning favorites in my exalted first tier.

Here are the shows I'm loving the most at the moment, both new and old (note the truly sad brevity of the list):

THE VAMPIRE DIARIES
Never has a show that started off so poorly become so very awesome. The first several episodes of the first season are a bit of a slog, to put it mildly. Each one was better than the last, but it honestly took till about episode 8 before I felt invested in this show and till episode 11 before I started saving them on my DVR for repeat viewings. After the halfway point, it just kept getting better and better. It has the most insane pacing of any show on TV. They cover more ground in one episode than most shows so in a dozen. I keep thinking they're going to run out of room to roam, but I'm continually amazed at just how many different paths they can take. I was going to write about the season 2 premiere because is was insane, but there was just simply too much to talk about. Everyone was afraid that they couldn't keep up with season 1, but they absolutely have. This show hasn't gone soft, it doesn't pull any punches, and it still manages to throw in enough twists and surprises that I'm constantly on my toes. I believe it was right around the time the Damon snapped Jeremy's neck in the premiere that I knew we were in for one hell of a season. Poor Damon. Oh my god, the premiere was just heartbreaking. I understand why Elena is mad at Damon on an intellectual level, but on a more visceral level, snapping Jeremy's neck just seemed... like a good idea to me... right? Hats off to Nina Dobrev though for pulling double duty in the Damon-heartbreak department and knocking both roles out of the park. I think I like her best as Katherine, where she changes up her mannerisms and tone to rise to the appropriate level of sadism. The bigger the hair, the closer to evil, as it were. Even the werewolf angle has been way better than I thought it was going to be. The show tends to align itself more closely with classic definitions of the supernatural and that really appeals to me. Sure there's a lot of magic going around that undoes some of the restrictions, but the basis is true to past form. And, with the latest revelation that Katherine and Mason are in cahoots (!), things look to be getting even crazier from here (as you can see, I started this post a few weeks ago and only just now finished it... pretend it three weeks ago... annnnd, go!). Seriously, this last episode? The brothers Salvatore were almost tortured to death after being outed to the sheriff, Caroline was revealed to her mother as a vamp, the truth about how one becomes a werewolf was revealed, two police officers were murdered, and Katherine's manipulation of Mason was exposed, among other things. For any other show, that would be the season finale or at least the winter finale. For Vampire Diaries? That was just your standard Thursday. Episode five, I think. Awesome. It also doesn't hurt that the entire cast looks like they do... (please see visual aid above).

NIKITA
Who'd have ever guessed that the CW would be the network that would bring me the best night of television on the air these days? Thursdays have suddenly become my favorite night on television again (a feat not accomplished since the Friends/ER era in the late 90s--you know, back when NBC actually had programming... and viewers). This show is kind of a conundrum, but somehow it works. There are more than a few ridiculous elements of this show, but I'm loving it all the same. Seriously, some of Division's standard operating procedures are just absurd, but I find that I'm enjoying the ride enough that I'm willing to let a lot slide. Case in point? Boy, Alex sure spends a lot of time in that computer lab communicating with Division's enemy number one and no one seems to notice... Really? This group, which touts itself as being the be all and end all of espionage, with a tech wizard who, for all intents and purposes, may as well be an actual wizard, doesn't keep track of what the kids are doing online? Seriously? Fortunately, that's really beside the point. It's ridiculous, but the show has a lot that makes up for its shortcomings. It's strange. The conceit totally shouldn't work, but somehow it does. This show has set itself up in such a way that our lead has almost no direct contact with anyone else on the show. Now, don't get me wrong, this has tied the writers hands in some ways, but they always seem to find a way around this particular obstacle. I find myself genuinely concerned for what's going on and eager to see how it plays out. The show kind of sneaks up on me. I don't realize just how invested I am until I notice that I'm on the edge of my seat. It's not a perfect show by any means, but it has proven to be a solid spy thriller. I have heard that in an attempt to improve their key demo numbers the show will undergo some "tweaking," which has me a little nervous, but I'm hopeful that they'll use this as an opportunity to fix some of the key problems with the show. I have a sinking feeling they might turn it into a maudlin love story, but from what I've seen so far, they can make even the most implausible storylines manageable and exciting.

THE GOOD WIFE
Oh my god, this show just keeps getting better and better. I'd say it's probably the best drama on air. Certainly the best drama on network programming and I'm not the only one who thinks so. It does well enough in the ratings department, but for CBS's standards, it could be better. I honestly don't know why it isn't more of a smash runaway hit. I have to assume that people have the gross misconception that this is a show for middle-aged housewives and that it simply isn't their kind of show. Well, I have news for you, this show is NOT a sappy Lifetime: Television for Women soap opera. At first blush, I thought that might be a pitfall it would get sucked into, but fortunately, I couldn't have been more wrong. Above all, this show is smart. I never feel like I'm being talked down to or spoonfed. This show doesn't reduce itself to the obvious, the simple, or the convenient. Even the most seemingly irrelevant of details had a juicy, twisty angle to it. Everyone has motives (whether they're political, professional, sexual, or as it so often the case, all three) and they manipulate their surroundings in a bid for control. The entire cast is superb and manages to juggle the tangled web that's all around them. Julianna Marguiles is second to none, but with a cast this amazing, it's a close race. The love triangle among Alicia, Peter, and Will just keeps getting better and better, but in a very different way than others shows would have it play out. It's all very adult, and I mean that in the best possible way. This show spares viewers from having to watch people whine about their emotions or act like junior high school students when it comes to adult relationships (Dear Parenthood, you could learn a thing or 17 from this show.) It's cool and usually restrained, and somehow, that makes the tension even greater and the payoffs even more satisfying. Oh my god, was anyone not screaming at their TVs when Eli Gold deleted Will's voicemail from Alicia's phone?! Ahhh! Awesome. Oh man, and that scene in the parking garage between Kalinda and Blake?! Sexy, violent, and spectacular. This show is cerebral and sinister and exciting and any viewer from any demographic would do him/herself a favor by giving it a shot. This is not a chick show, although I can't tell you how refreshing it is to see superb female characters that aren't just stereotypes for male characters to play off of. This show is just a great drama. Plain and simple.

TERRIERS
I already sang this show's praises in my last post, so I'll keep this short. This really is the best little show that no one seems to be watching and I really think it's because people don't know that it exists. What other explanation could there be? This show has a hell of a lot to offer and is deserving of a huge audience. It's funny and dark and extremely well-written. I doubt it'll be back for a second season, but I'm going to enjoy every minute while I can (minutes that truly seem to fly by). It has sucked me in in a way I never would have expected and I hope to hell FX realizes their own idiocy in scheduling and finds a way to give this show its due. Highly recommended.

CASTLE
Episode for episode, this is the most carefree, fun-filled romp on air. This show is incredibly easy to watch, but it isn't without real substance. It definitely errs on the side of light, but certainly has it's harder elements as well. I'm not usually one for crime procedurals, but the writers for Castle (as well as the characters/actors) just seem to be having so much fun doing their jobs that I can't help but to have fun too. Even the A-plots are engaging. In a way, they kind of remind me of Life. They're off-beat and quirky and always manage to suck me in. The show understands that at its core, its a show about fiction, and that's where it really shines. It's like taking someone to a place you love, but somewhere they've never been before. You have fun watching them experience that place for the first time. Watching our good friend Nathan Fillion geek out over crazy cases is just a pure delight. If the A-plots weren't good enough, the ongoing storylines and character dynamics are surprisingly warm and satisfying. Even the will-they-or-won't-they relationship between Castle and Beckett has retained its crackle and doesn't feel overdone. The writers did a brilliant job of shifting gears between the pair and it has managed to keep the interplay fresh and fun. The show could have gone ages with one member of the pairing (usually the man) pining for the other, but Castle turned things around last season in a surprising way. When it all boiled down, Castle moved past his crush and Beckett acknowledged her own. It made for a nice twist that is still having repercussions for the two of them. There's a genuine affection between the pair and I'm in no hurry to see them hook up. The show has fostered a dynamic between the two that is so warm and playful that you love seeing the two together, but you're not dying for them to be lovers. It's a difficult line to walk, but they're doing it very well. This is far and away one of the most effortless shows to watch, and when stacked up against my heavy-hitters, it makes for a lovely palate cleanser. The one-liners alone are enough to keep me coming back for more. Oh, and the incredibly rare, yet delightful characterization of Castle's daughter. What's that you say? Not all teenage girls are horrendous bitches? Why no, no they're not.

BOARDWALK EMPIRE
This show is kind of hard to sum up. The pilot was beautiful and impressive and solidly done, but I honestly didn't know if the whole gangster thing would be enough to keep me coming back for more. In general, the mob and kingpins and whatnot aren't really topics that grab me. Along with that, this show has similarly sobering (heh) tangential storylines which make for a fairly heavy drama to follow. As it turns out, I'm loving it all. It's pretty dark, but it's not without it moments of levity. The show is incredibly well-crafted and the world of 1920s Atlantic City feels completely authentic. At first, it did more to impress than immerse, but now, it just feels thoroughly organic to the story and you don't even really notice the little details--which as far as I'm concerned, is a testament to how well done it is. You wouldn't notice a lamp or a rug on any other show, so while I appreciate how beautiful each scene is, I'm more enthralled by the story than the set design. I think the fact that HBO doesn't have commercials has a lot to do with my enjoyment of this show. I never watch commercials, but even simply fast-forwarding through them tends to break up a narrative. Indeed, most shows have to organize their pacing around half a dozen breaks. With Boardwalk Empire, it just flows smoothly and I get swept up in it. For being such a serious drama, it moves along at a surprising clip and never feels labored. I don't know if you remember a show called Kings, but that was a show that got crushed under its own seriousness. Boardwalk Empire does not. There's enough ribaldry and insanity going on to underscore the often grave tone. I'm always a little surprised and even a little sad when an episode ends. It really has a lot more going on than just gangster stuff and that helps put everything into focus for me. The gangster elements provide a context, but it's the characters who make the story. The beyond peculiar courtship between Nucky and Margaret developed in the context of prohibition and corruption, not in spite of it. Speaking of which, the manipulations and mindgames between them have been unduly engaging. You don't generally think of Steve Buscemi (sp?) as a romantic lead, but in this particular setting and with this particular character, he makes for a hell of a rake. This show is dark and twisty and I'm totally loving it. Best of all, it's on HBO, so even though it has a niche audience, there's no threat of it being canceled. Indeed, after only the pilot, HBO greenlit a second season. [insert all-too-rare sigh of relief]

Honorable Mention:

HOW I MET YOUR MOTHER
I'm as shocked as you are. No, seriously. After an entire season of complete and total letdown, this show seems to have regained a lot of its former luster. I never knew how much I missed you! The episodes of this new season have been fun and light and most of all, in line with who these characters really are. I spent all of last season being unbelievably annoyed with everyone on the show because no one was doing anything that even kind of made sense for their characters. Robin was a controlling, pathetic bitch, Barney was a cartoon character, Ted was... even more annoying than usual, and Lily and Marshall just needed to stop. Everything. This season? I'm remembering why I love this show and these people. Breaking up Robin and Barney was probably the best thing that ever happened to the show. I'm actually enjoying seeing them onscreen together again. They play off one another so well when they're not a couple. Ted's annoyance level has diminished considerably, and Lily and Marshall, in spite of an unfortunate desire for children, are charming again. Now all we need is to meet the effing mother already (or geez, even a potential mother would be a step up) and I think this show might just have redeemed itself. Here's hoping the sparkling Jennifer Morrison either is the mother, or at the very least, leads us to her. Her talents and charm were so wasted on House for so long that it's very nice to see her back in a role that isn't a total disaster. Welcome back, Jennifer. And welcome back, Show. You were missed.

So there you have it. The sadly short list of shows I'm really loving right now. Don't get me wrong, there are many other shows that I enjoy, but more and more, shows like Chuck and Glee just don't have me chomping at the bit like they used to... more on in a future post.

Wet Work

When pondering the heights of creative expression, the Jersey Shore doesn’t make many lists. There are a lot of lists on which it does merit an entry, but they’re usually the kind that are maintained by the public health department. After the depths have been plumbed by Snooki levels of self-tanner and hair gel, it would take a miracle to recover. Or, as is the case with HBO’s Atlantic City drama Boardwalk Empire, it takes Martin Scorsese.

Wow. It’s honestly difficult to articulate criticisms for this new series because the pilot was such a visual stunner, showcasing the roaring, rumrunning, gunslinging 20s into vibrant, visceral, technicolor modernity. I found I was instantly enveloped by the lush historical construct and richness of the production and happily lost myself amid the trappings of Prohibition even though this isn’t generally my kind of story. I’ve never been a fan of gangster dramas and the mob generally bores me to tears, but this show thankfully has a lot more going for it than that.

Terence Winter’s Boardwalk Empire is a period piece, in the strictest of senses, but as with any great period piece, it easily transcends the confines of a certain era. On the contrary, the era makes for a tantalizing backdrop to universal, timeless themes. Set in 1920, right at the time the passage of the 18th amendment legislated that the country had to dry out, Boardwalk Empire almost comes across as an alternate reality where liquor is outlawed and the men who rise to power and wealth are those who can keep the country wet. It was incredibly interesting to see Prohibition take effect in terms of how actual people reacted, not how a history book paints it. To see a room full of party-goers mourn the ban on liquor at midnight, only to pop the champagne and celebrate moments later really put things in perspective. This was a ban that didn't actually dry out the country at all, it simply made the smugglers live like sultans. In a televisionscape that’s brimming with scads of your standard cop shows, legal shows, and medical dramas, it’s not easy to create something new and fresh. Apparently, the way to create something new is to resurrect something old. It feels like the kind of alternate universe that science fiction often employs and can be appreciated on a similar level. I was constantly fascinated by the little things of this world that are simultaneously so like and so unlike my own. The fact that the clothes, cars, buildings, social strata, and political climate of Boardwalk Empire actually happened makes it all the more engrossing.

This production is slick and accurate down the button and hubcap. Granted I’m no expert on the era, so there may have been historical inaccuracies that I couldn’t perceive, but from where I was sitting, it was absolutely stunning. It was fascinating in the same way that museums and documentaries are, only with a gripping narrative to go with it. It felt like walking through one of those historical homes that’s been preserved for tourist groups, only without the velvet ropes. People weren’t gingerly handling antiques and historical artifacts here. They were actively engaging with this amazing backdrop, which is always exciting to see. The more accurately done, the more effective it is. Indeed, the best part of Titanic was the set design as far as I'm concerned. What’s this? You mean it wasn’t the touching love story that spans the ages or the Celine Dion ballad? Yeah, no. I’m the kind of person who’ll spend an entire book tweaking character design in my head, so to see it onscreen in lush perfection is extremely satisfying. Little things kept catching my eye that would remind me of how far removed I am from this time period. At one point, a couple of men are wearing pieces of fabric over their faces, with holes cut for eyes. Before my itty bitty brain had actually processed things, I thought it was weird that I could see their hair… because I’m used to ski masks. Which didn’t exist in 1920. I love that kind of thing. I think my only quibble would be that everything seemed a bit too clean, but they generally got splattered with blood soon after, so, you know, problem solved!

The setting is spectacular and pretty much so is everything else. The cast is stellar. Anchored by Steve Buscemi as morally ambiguous Atlantic City kingpin Enoch “Nucky” Thompson, this show has a lot going for it. It’s a hell of a concept to rest largely on one man’s shoulders, but Buscemi luxuriates in the role and seems to relish every moment. I imagine working on this kind of show, in this setting, and with this kind of creative team is every actor’s dream and Buscemi’s not the only one who knows it. The entire cast brings their A-games and embraces their roles body and soul. Michael Pitt does a particularly nice job as Jimmy Darmody, a conflicted 22-year-old war vet who isn’t sure what to make of the world he’s just come home to, ultimately finding himself playing both sides. His experiences in the war have made him an efficient murderer and he's not sure where to go from there. Pitt plays the ambiguity with surprising aplomb. Most of the cast were relative unknowns so I didn’t have to combat preconceived notions, but even if I had, these actors all settled into their roles as they would a feature film and really brought this story of corruption, power, violence, and decadence to life. With a television series, there’s the luxury of settling into a role over the course of a season, but with a film, viewers have to buy these characters almost instantly. With Martin Scorsese at the helm, I’m not surprised that this was the end result. This series has an eminently cinematic feel and visual aesthetic that’s inescapable. It really felt like I had just watched a high-budget, Oscar-contender rather than a television pilot.

To that end, however, there are certain pitfalls associated with movie-making that didn’t quite translate to the small screen as well as I would have liked. Perhaps there simply wasn’t enough time allotted by this format, but certain cinematic tropes just didn’t quite have the intended impact. Chief among them was starting the pilot in medias res and then backtracking to “three days earlier." This is a convention that just about every television show employs at some point and seeing those words flash on the screen led to some misgivings that were mildly irksome in their familiarity. It’s the kind of device that when it works, it works incredibly well, but when it doesn’t, it just seems like a gimmick. Boardwalk Empire’s foray into this trope was more toward the gimmick end of the spectrum. It’s a device that isn’t usually employed until well into the run of a television series. At its best, the audience is met with characters they feel they know and understand in a situation that is wholly unfathomable or acting in a way that’s completely out of character. When I find myself wondering how on earth these people were brought to this state of affairs and why Random Character would be doing that, I’m thrilled at the prospect shifting to “three days earlier." With Boardwalk Empire, I don’t know any of these characters, so their actions don’t seem counterintuitive, and the things they’re doing seem like par for the course based on what information I have thus far. Maybe I just know too much about the concept of the show or maybe the History Channel gave me a little too much inside knowledge of Prohibition (the documentary Rumrunners, Moonshiners And Bootleggers is excellent), but I was only moderately intrigued by what was happening. In fact, when shows employ this device, the audience is usually abundantly aware that they’re missing information and that a time warp will probably be forthcoming. Here, I was actually a little surprised to see it. It just didn’t seem necessary. At that point, you have to wonder if the creative powers that be simply wanted to draw in viewers by starting off with something flashy and exciting and that it had no real narrative purpose. That’s when I take issue with this conceit. I wouldn’t say Boardwalk Empire falls into that trap entirely, but its use seemed more self-indulgent than effective. Indeed, by the time the story caught up with where the pilot started, there wasn’t much in the way of a startling revelation or a new, profound understanding of the world, it was just nice to get back to where we were. Sure I know who these people are now, but it doesn’t make the scene any more or less sensational than it was the first time around.

Another element that seems to work better in a feature film than on a television show (at least in my experience) is deceptive editing. With a film, you only have one chance to interact with the story and characters, so it’s harder to predict where things are headed. With most television shows, audiences at least have a working knowledge of the regular cast, so it makes things slightly more predictable in terms of consequences. In Boardwalk Empire, there’s a scene where the audience is led to believe that the feds are approaching some of the principal cast, cutting back and forth between shots. I don’t know if it’s just me, but I only fell for it for about half a second. Unlike the crazy suspenseful edits in The Silence of the Lambs when those feds are approaching the presumed suspect, here, I was fully expecting the feds to be approaching a different target entirely. Again, when this is done right, it is extremely effective. When it doesn’t quite work, it just seems gimmicky. Again, I think if this were a feature film, it would have worked better. I don’t know what kind of a role Scorsese will have in the ongoing series, but I think the differences between what works well in film and what works in TV are the things he’s going to have to watch out for.

When looking at the pilot as a whole, however, these are but minor quibbles. The things that don’t work in a show are a lot more noticeable than the things that do, so the fact that I have so few complaints speaks volumes about the quality of the show. By and large, the story and direction are beyond reproach. While certain cinematic touches didn’t quite come off as well as intended, for the most part, Scorsese’s expertise behind the camera added a striking grandeur and effortlessness to the show. I think it was the little things that married the story and direction that were the most satisfying. For instance, when early on in the pilot we see fishermen doling out the catch of day, right from the net, it is seen as simply adding to the 1920s milieu, but in actuality, it will factor into the plot in a surprising way. Also, little indicators of personality traits and character priorities were appreciated. Although at times slightly heavy-handed, for the most part the pilot didn’t spoon-feed information to viewers. I always respect a pilot that is willing to trust its viewers. Boardwalk Empire didn’t spend the entire pilot explaining each and every detail to me. It simply created a universe and characters and let me soak in the salient points and details as they rolled out. I don’t need to understand everything all at once and appreciated the opportunity to make inferences based on what was available.

As mentioned, I think my only disconnect with the show is its basis in gangsters and the mob. For whatever reason, that’s a subject that has never really captivated me. The same goes for narcotics and drug trafficking. By and large, I simply couldn’t care less. But, in the same way that The Wire managed to interest me in the war on drugs, I’m hopeful that Boardwalk Empire can suck me into the world of organized crime. The show has a lot more going on than just power plays and gangsters, so I have high hopes. Based on the pilot alone, I’m already a lot more interested than I thought I’d be, even if I’m not perched on the edge of my seat, giddy for the next episode. This is a show that will take some effort and won’t likely be enjoyed by the casual, occasional viewer. So far, it’s a commitment I’m willing to make. Prohibition politics puts a new bent on the old routine, and I’m happy to give it some time to really make me invest.

In short, Boardwalk Empire is a sophisticated, high-budget production that’s a visual delight. Although certain story elements didn’t strike a chord with me, the cast, creative team, and concept are solid. They’ve created a world where morality isn’t black and white, character motivations are ever-changing, and loyalties can never be assured. It’s a set-up that allows for a lot of different kinds of narrative, so the long-term potential is compelling. At the very least, it lets me show my History Channel might. The pilot made several mentions to importing Canadian liquor. Canada actually went dry at about the same time as the US, but they kept it legal to export liquor instead. So, not only did the country at least pretend to dry out, but they made millions of dollars exporting liquor to the States. Brilliant. Anyway, this is going to be a difficult (and incredibly expensive) show to pull off week-to-week, so the creative team certainly has its work cut out for it. If they can make this work, however, I could see this turning into a long-term classic.

Pilot Grade: A-