TV To-Watch Oct-Dec 2011

I am absolutely seething right now because I had this whole post typed up and I thought it was really brilliant, and I remember thinking 'Wow, this is an excellent post,' and then when I went to Publish and of course I was logged out and there is no saved draft and I could stab someone. I could stab whoever made it so I can't be logged in to both my school and regular gmail accounts. R.I.P. beautiful post with your metaphors and callbacks and witty rhetoric. Fuck you, whomever did this to me.

This is just a shadow of the Post That Once Was.

WHAT HAPPENED IN SEPTEMBER

I don't really remember. A lot of The Wire. I started and finished Ashes to Ashes and the little BBC 4 miniseries The Great Outdoors which had some great actors (Ruth Jones, Mark Heap, Katherine Parkinson) and great outdoorsy shots but little substance.

Whatever, some stuff about panel shows ending and beginning, blah blah blah

WHAT'S HAPPENING/HAPPENED IN OCTOBER

My Sharon Horgan binge-watch weekend happened in October. Pulling (brilliant), Free Agents (brilliant), and The Increasingly Poor Decisions of Todd Margaret (admittedly just the first episode; shelved for now til it's on Netflix later this year). Love her.

Blah blah blah there was some witty stuff about her here, plus me whining that I can't find that Icelandic petrol station show, blah blah

Homeland and Suburgatory and Fresh Meat are the best things to come out of this fall's premieres blah blah, disappointed with The Fades blah

Fuck everything

Next Up: I dunno, whatever

Next Next Up: The Shield... one day...

(P.S. Fuck you. That "one day..." was a callback to the other times in the post I'd written it, and it was really funny, and it tied the whole thing together, and fuck you.)

I am really fucking mad, still. I hate the Internet and everything in the world and I want to break things.

2011 Primetime Emmy Predictions

Scorecard for this year. 1 & 2 as most likely and second most likely to win; asterisk denotes who I'd personally like to see win.

Outstanding Drama Series
Boardwalk Empire
Dexter

* Friday Night Lights

Game of Thrones

2. The Good Wife

1. Mad Men

With Breaking Bad not eligible this year, it's Mad Men's race to lose. I don't see its winning streak being interrupted this year. *Last chance for the superb FNL!


Oustanding Comedy Series
The Big Bang Theory

Glee

1. Modern Family

The Office

* Parks and Recreation

2. 30 Rock

Voter laziness.


Outstanding Lead Actor in a Drama
2. Steve Buscemi as Nucky Thompson in Boardwalk Empire

Michael C. Hall as Dexter Morgan in Dexter

* Kyle Chandler as Coach Eric Taylor in Friday Night Lights

Hugh Laurie as Dr. Gregory House in House

Timothy Olyphant as Raylan Givens in Justified

1. Jon Hamm as Don Draper in Mad Men

Bryan Cranston's not eligible so I predict Jon Hamm will get his due. Phenomenal season for him. *Last chance for the always stellar Kyle Chandler.


Outstanding Lead Actress in a Drama
* Connie Britton as Tami Taylor in Friday Night Lights

1. Julianna Margulies as Alicia Florrick in The Good Wife

Kathy Bates as Harriet "Harry" Korn in Harry's Law

Mireille Enos as Sarah Linden in The Killing

Mariska Hargitay as Olivia Benson in Law & Order: SVU

2. Elisabeth Moss as Peggy Olson in Mad Men

I'd love to see either Elisabeth or Connie win.

Outstanding Lead Actor in a Comedy
Jim Parsons as Sheldon Cooper in The Big Bang Theory

Johnny Galecki as Leonard Hofstadter in The Big Bang Theory

Matt LeBlanc as Matt LeBlanc in Episodes

* Louis C.K. as Louie in Louie

1. Steve Carell as Michael Scott in The Office

2. Alec Baldwin as Jack Donaghy in 30 Rock

Carrell's last season and he hasn't won yet.


Outstanding Lead Actress in a Comedy
1. Laura Linney as Cathy Jamison in The Big C

Melissa McCarthy as Molly Flynn in Mike & Molly

Edie Falco as Jackie Peyton in Nurse Jackie

* Amy Poehler as Leslie Knope in Parks and Recreation

Martha Plimpton as Virginia Chance in Raising Hope

2. Tina Fey as Liz Lemon in 30 Rock

Are voters tired of Tina yet? Not that she's not fantastic -- she is! But I think Laura submitted The Big C's Pilot which shows huge emotional range. Melissa McCarthy's had a good year though.

As for the other actor categories:

Outstanding Supporting Actor in a Drama

* Peter Dinklage / Josh Charles / Alan Cumming / Walton Goggins / John Slattery / Andre Braugher

Outstanding Supporting Actress in a Drama

Kelly Macdonald / Archie Panjabi / Christine Baranski / Margo Martindale / Michelle Forbes / * Christina Hendricks

Outstanding Writing (Drama)

Friday Night Lights "Always" Jason Katims / Game of Thrones "Baelor" David Benioff and D.B. Weiss / The Killing "Pilot" Veena Sud / * Mad Men "The Suitcase" Matthew Weiner / Mad Men "Blowing Smoke" Andre Jacquemetton and Maria Jacquemetton

Outstanding Supporting Actor in a Comedy

Chris Colfer / Jesse Tyler Ferguson / Ed O'Neill / Eric Stonestreet / * Ty Burrell / Jon Cryer

Outstanding Supporting Actress in a Comedy

Jane Lynch / Betty White / Julie Bowen / * Sofia Vergara / Kristen Wiig / Jane Krakowski

Outstanding Writing (Comedy)

Episodes "Episode 7" David Crane and Jeffrey Klarik / * Louie "Poker/Divorce" Louis C.K. / Modern Family "Caught in the Act" Steven Levitan and Jeffrey Richman / The Office "Goodbye Michael" Greg Daniels / 30 Rock "Reaganing" Matt Hubbard

TV To-Watch Sept-Dec 2011

Summer term's out; two weeks grace and then back to the grind on Sept 5. Not that classes will stop me from watching copious amounts of television. It never does. I tried to abstain from TV for a week, but it was a complete failure. However, I did do some (unfortunately) surface-level thinking about dark comedy that I would like to revisit in the future.

WHAT HAPPENED IN AUGUST:

Wrapped up Grey's and Modern Family. Finished the first series of How Do You Want Me? but am currently having trouble finding the first episode of the second series. Didn't watch much Father Ted. Began Wilfred, which started slow and painful but got a LOT better. If the mythology expands, I'm in for the long run (well, probably even if it doesn't, I guess).

Shooting Stars on air again! I laughed more during each episode of Shooting Stars than I did at anything else during any given week. Top form.

Louie, Wilfred, and Childrens Hospital on Thursdays this month. Fucking phenomenal. I might even prefer this Thursday lineup to my NBC lovelies during the regular season. Blasphemy!? Louie in particular is the best thing on TV right now ("over Breaking Bad? Really? Depends on my mood. But right now, YES!" --inner monologue). I was nervous this season wouldn't live up to its first, but wow did it deliver. I honestly believe it's earned its right to be considered a classic show. Watch "Subway/Pamela." Watch "Joan," "Eddie," or, shit, "Ducklings." Do yourself a favor!

Terrific Unplanned August TV: Wilfred, Catterick re-watch
Disappointing Unplanned August TV: Re-watch of Whites

WHAT'S HAPPENING IN SEPTEMBER:

Powering through The Wire. One and a half seasons down, box set ordered off Amazon (gold box deal, hell yeah). I was nervous about this show because of the hype, but I was absolutely blown away by the first season. It throws you into its world from the first minute and was often hard to follow in the beginning. But by episode 5 or 6 I found myself wondering how it was so good -- how, suddenly, were all the characters believable and fully fleshed out and relatable, the plot so engrossing and intricate? Flawless season. Perfect, subtle direction. Fabulous everything. I feel like I really know Baltimore. The last show I watched that was truly a love letter to a place in the same vein as this was when I fell in love with Dillon, Texas.

Anyway, so I guess if you didn't believe everyone in the world before: The Wire really is that fucking amazing.

So, besides that, only Father Ted and How Do You Want Me? on the side. Fall shows will be starting soon anyway (oh god).

Next Up: Ashes to Ashes, Daria, Lights Out (should really take a weekend and just bang this out...), The Street, State of Play (going to air on BBCA this season), The Comeback
Next Next Up: Curb Your Enthusiasm, The Shield, Deadwood, Six Feet Under, Delocated, The Night Shift (Iceland), Twenty Twelve

TV On-Air in September: Louie (finale), Wilfred (ending), Childrens Hospital (ending), Breaking Bad (half season left), Torchwood Miracle Day (ending), Doctor Who (Aug 27), Raising Hope (Aug 30), Glee (Sep 20), Modern Family (Sep 21), It's Always Sunny in Philadelphia (Sep 15), Parks and Recreation (Sep 22), The Office (Sep 22), Community (Sep 22), Grey's Anatomy (Sep 22), Would I Lie To You? (Sep 9), QI (Sep 9), Fringe (Sep 23)

New Shows in September (only the ones I deemed worth trying): Ringer (Sep 13/CW), Unforgettable (Sep 20/CBS), Charlie's Angels (Sep 22/ABC), Person of Interest (Sep 22/CBS), A Gifted Man (Sep 23/CBS), Pan Am (Sep 25/ABC), Terra Nova (Sep 26/FOX), Hart of Dixie (Sep 26/FOX), Suburgatory (Sep 28/ABC)

Edit 9/8: Finished How Do You Want Me? and Ashes to Ashes. Currently watching Stewart Lee's Comedy Vehicle and Mad Dogs.

BBC Trailers Interlude

I get very emotional over BBC drama trailers. They are addictive when done well and I often watch them upwards of twenty times because I'm obsessed and insane. I made a list of my five favorites, mostly so I can come back to this post and watch them over and over again myself; otherwise they'd be lost in the black hole that is my YouTube favorites.

This isn't anything near comprehensive, as I've only been interested in BBC dramas since late last year. Any trailer prior to Spring 2010 I probably haven't seen.

These videos may also be indicative of a Romola Garai complete BBC takeover, which I'm totally okay with.

5. The Hour (BBC Two, Jul 2011)

Striking and beautifully done. Evocative of the era and aesthetically just glorious. (Mmmm Dominic West.)

4. The Crimson Petal and the White (BBC Two, Mar 2011)

Featuring "Intro" by The XX, which may sound familiar because you have heard it in every commercial ever. Music choice makes the promo. This was perfect.

3. BBC Drama Winter/Spring 2010

Featuring "The Cave" by Mumford & Sons. This would be higher but I didn't like the way the song was cut up during the end montage. I'm way too familiar with the song, and it was jarring. Great clip choices though.

2. BBC Two Original British Drama (Apr 2011)

Featuring "Bigger Than Us" by The White Lies. Suitably epic. Really fantastic voiceover choices too. It must be so fun to put these together because your source material is so gorgeous.

1. BBC Drama Autumn/Winter 2010

Featuring "Sway" by The Perishers. I won't say how many times I've watched this because I'm embarrassed. It's probably fewer than 70. Probably.

Grey's Anatomy - Song Beneath the Song, 7.08

In Defense of What Is Still the Highest-Rated Drama on Network TV, Thank You Very Much:

This should be one of the dumbest, corniest episodes of anything ever: surgeons Glee-ing it up to The Fray while performing surgery as the ghost/astral projection of the woman they're operating on watches from above. Those are some shark jumping shenanigans. But Grey's has always taken that route. It's never shied away from ferry boat near-drownings and bus crashes full of lovesick teenagers; Seattle Grace's high casualty rate is matched only by its high drama quotient.

My first thought about Song Beneath the Song was that it was ridiculous. But then, duh. Grey's heightens everything, that's why it's as popular as it is. It's exaggerated and emotional and that's how it gets to you.

My second thought, as Sara began to sing her second song, was that Grey's has truly earned this. Seven and a half seasons in, it may not be novel as it was, but it's still well-written and occasionally as evocative as its earlier seasons. It has some of the best actors on network television. Sandra and Kevin? They're some legit HBO material.

And there was Ellen's performance in the elevator this episode. Season 7's baby storyline kept her sidelined with Derek, who didn't seem to have much to do after he stepped down from Chief. But they're still the heart of the show. I don't want to do too many "remember when"s, but remember when she was dark and twisty and she drowned and then built a house in candles? That was excellent acting. That was fantastic television.

So this musical episode, then. Doing songs that are fun and also advance the story is tough. Buffy's the only show that's pulled that off successfully. Grey's didn't quite, but I think this episode was more of a mixtape than a vehicle for plot: Grey's has always been known for its use of licensed indie music. This episode was a tribute to that.

Hearing the cast in chorus singing The Fray's How to Save a Life was silly, but I was moved! That was the song. Grey's pretty much singlehandedly catapulted that record to immense popularity.

That was also true for Brandi Carlisle's The Story, one of my favorite songs to come out of Grey's. And Sara sang the hell out of it, dear god. She is so fantastic. She's so clearly a Broadway star. Out of all of Grey's leads, she's the one that really draws you in: her performances are unfailingly powerful and moving. Seeing her belt it out, crying, moving through the hospital halls is simultaneously ridiculous and ridiculously terrific.

Grey's earned its right to indulge both Shonda and its loyal audience. This episode wasn't perfect, but it was a great "remember when" that I thoroughly enjoyed.

TV To-Watch Aug-Dec 2011

It's 2:45am on a school Monday and I'm updating my dead TV blog. Such is life.

WHAT HAPPENED IN JULY:

Caught up on Chuck, Fringe, Glee, Luther, The Office, Raising Hope, Running Wilde, and Skins. That just leaves Grey's (7 eps to go), Modern Family (8 eps to go), and V, which I'm probably moving to the back-burner because I don't need to "catch up" on it in time for fall premieres.

Life on Mars UK was over quick. Adored it, as I thought I would. That scene in the finale -- you know the one -- was impeccable: Simm, cinematography, Bowie, everything.

Terrific Unplanned July TV: Big Train, The Thick of It series 3 re-watch

Disappointing Unplanned July TV: Grandma's House

WHAT'S HAPPENING IN AUGUST:

So the plan for August is, while still clinging to comfort food television, Grey's and MF, to begin my TV 101 viewing. If I had a time machine I'd go back and tell my 14-year old self to WATCH MORE TELLY so I won't end up a 20-year old self-proclaimed TV enthusiast who hasn't seen Alias or Cracker. I'm a disaster.

Realistically, I won't get through full seasons of anything if I start too many at once. So I've decided on the first season of The Wire, which I hear is the toughest anyway. How Do You Want Me? and Father Ted are benchwarmers if I finish Grey's and MF soon, which is likely.

Of course, this is all going to shit once fall shows start premiering next month. Perfect.

Next Up: Ashes to Ashes, Daria, Lights Out (should really take a weekend and just bang this out...), The Street, State of Play

Next Next Up: Curb Your Enthusiasm, The Shield, Deadwood, Six Feet Under

TV Currently On-Air in August: Shooting Stars (Aug 8), Torchwood, The Hour, Breaking Bad, Childrens Hospital, Louie

TV To-Watch July-Dec 2011

Organized my TV watching for the next six months today... eep.

Catching up on Chuck, Fringe, Glee, Grey's Anatomy, Luther, Modern Family, The Office, Raising Hope, Running Wilde, Skins series 5, and V. Yes, I am just watching The Office and Glee so I can complain about them. Continuing with Chuck because it's only got one season left and I've come this far... the next season of Grey's will probably be my last: when Meredith's out, I'm out. Running Wilde and V have been canceled, so it's matter of just wrapping those up. I hate that I'm such a completionist. Is that a thing?

Starting: Life on Mars UK, Ashes to Ashes, The Wire, Daria, Lights Out, Curb Your Enthusiasm, The Shield, Six Feet Under, and Deadwood.

It's gonna be tough. My bread and butter recently has been 20-30 minute British comedies, 6 eps a series, etc. Sketch shows and surrealism. I'm not big into cop shows (WHY AM I STARTING FOUR OF THEM THEN) but I admit they're important to the TV landscape and I'm way lacking in the area.

Upfronts 2011: The CW

Green TV: Watch.
Yellow TV: Try pilot and see.
Red TV: Nooope.

Ringer -- SMG, always.

Hart of Dixie -- Scott Porter is charming and Southern!! That's enough for me.

H8R -- Will probably watch YouTube clips after the fact.

The Secret Circle -- I don't do CW fantasy.

Remodeled

The Frame

Upfronts 2011: CBS

Green TV: Watch.
Yellow TV: Try pilot and see.
Red TV: Nooope.

I'll preface this by saying I'm not a big fan of CBS shows at all. I hear The Good Wife is good, though. But as of now I don't watch anything on this network.

Person of Interest -- J.J.'s new joint. Stylish and intriguing.

Unforgettable -- Cop drama with a twist, a la anything on the USA network. Looks like it'll be very character-driven, which I do like. If the cast is good and the writing carries them through believable arcs (rather than a bland open and shut COTW) then I'm in.

A Gifted Man -- They had me at "supernatural love story." An American Randall and Hopkirk-y premise. I'm totally into this sort of show (and because I love the genre, I could list the problems this show is inevitably going to run into...), but how are they going to draw this one out for a season, let alone a full series?

2 Broke Girls -- Above average writing and acting can transcend an overdone, tired premise and/or title (See: Cougar Town). From the looks of the trailer, this unfortunately doesn't look like it will be the case for Kat Dennings' new venture.

How to Be a Gentleman -- David Hornsby (It's Always Sunny's Rickety Cricket), Mary Lynn Rajskub, and Rhys Darby are reasons to watch. Script, from the preview, is questionable.

Upfronts 2011: FOX

Green TV: Watch.
Yellow TV: Try pilot and see.
Red TV: Nooope.

I like FOX. They gave us some good stuff in the past. And then they canceled it.

Terra Nova -- Hmm. I had so many FEELINGS watching this trailer. First: I gotta respect FOX for giving us the quality genre shows no one else will (Dollhouse, Fringe... oh. Maybe that's it.). Second: filling the gap LOST left. Will it live up? Green lighting a show like this is clearly a risk because Nielsen has showed dozens of times over that your average American likes his cop/lawyer/doctor shows but is undecided on colonizing new planets in the Future. If you're the least bit science fiction-y and not created by J.J. or Joss, you're on cable. And this one's got dinosaurs.

Alcatraz -- J.J. again. If Giacchino scores, I am so in. (Ah. Even if he doesn't!)

The Finder -- I don't watch or like Bones but I'm willing to try any crime shows TV offers up next season. Turning over a new leaf. Trying things I know I won't like just to prove I don't like them. Maybe I'll be surprised.

Allen Gregory -- I don't regularly watch any of the FOX animated lineup, but they're good every now and then.

The X Factor

Napoleon Dynamite

I Hate My Teenage Daughter -- Unfunny trailer with Neon Trees in the background. The last American show with a laugh track that I liked was probably Friends.

New Girl -- Sorry, Zooey! You're such a dear, bringing your quirky alternative self to network TV, but I'm 99% sure I'll find it just really really annoying.

Upfronts 2011: ABC

Green TV: Watch.

Yellow TV: Try pilot and see.

Red TV: Nooope.

Making Fall TV more accessible for you since May 2011. AKA right now.

In which ABC takes on thirteen new shows and all I do is watch one minute clips from each of them and be judge-y, because to my knowledge there are no official trailers yet:

Subergatory -- What won me over was the trailer. If it's written well and given time, everything else can fall into place and overcome a dumb premise.

Apartment 23 -- Yes, yes, yes. Krysten Ritter and James van der Beek? Sharp dialogue delivery and New York setting? Meta Dawson jokes in the preview clip sealed the deal.

Pan Am -- Is it more than an ABC-ized piggyback on Mad Men success?

Charlie's Angels -- Hands up: who thought, "What we really need right now is a Charlie's Angeles revamp." Anyone at all?

Once Upon A Time -- Among the rest of the new shows, this fantastical show sticks out in a strange way. When's the last time ABC had a legit fantasy genre show? So weird.

Man Up -- Just seems to me like a potential dark horse. If it's funny, it's funny, and the clip was promising.

The River -- V and FlashForward were flops, but maybe this won't be? Maybe the comparison isn't justified. I hope it's not.

Scandal -- It's funny: from the first two lines of dialogue, I found myself thinking, "Wow, this sounds so Shonda Rhimes" without any prior knowledge. And it is.

Last Man Standing

Revenge

Work It -- No. This isn't groundbreaking social commentary about gender roles (let me know ASAP if it turns out to be, but judging by that trailer...); it's probably dumb drag jokes. Probably. If I wanted to see men dress up as women in a quality comedy program, you know where I'd be.

Clips MIA: Missing, Good Christian Belles

The Walking Dead vs. Dead Set

This will be brief because I watched them both over a month ago, but I wanted to jot some stuff down anyway:

My first thought was "All right, we can probably look at the pair as 'Americans reacting to a zombie apocalypse' and 'Brits reacting to a zombie apocalypse.'" But is that totally justified?

The Walking Dead is truly an AMC show: that is, it's slow. Quality at a snail's pace. There's a sheriff and his familial problems (more running time = more time to build relationships), a racist who saws his own limb off (introducing moral Issues with a capital I), and most importantly, relentless but typical zombies.

I'm a purist and don't like my zombies running about like they do in Dead Set. The Walking Dead had it right with its crawling, dismembered rotting corpses, dragging themselves across lawns...

Dead Set is roughly half the running time The Walking Dead's had so far. Maybe that's why their zombies were more frantic.

Another thing that annoyed me about Dead Set was that everyone was such a good shot, except that one time when Riq wasn't even hit after like five attempts because the story called for it. This bothered me so much it took me out of the moment every time. Brooker games, so perhaps this influenced all the one shot KO's.

The Walking Dead is a zombie show. A good one. Dead Set is a message. Using Big Brother as the backdrop for a story about zombies is nearly perfect: the way the zombie hoard charged the Big Brother house like Mecca, Nyman's producer character as the perfect villain, that final shot of Kel as a zombie shown on every screen... so good!

Something I loved in Dead Set: Kel as a strong female protagonist. I kind of wish that she'd been called Kelly the whole way through rather than her nickname, because then you get that "she's female AND the badass hero" contrast rather than the "she's the hero so she's also masculine so let's call her something less feminine" thing. Did that make sense?

Something I loved in The Walking Dead: Exploration of characters and relationships, slow burn, racial diversity.

Both excellent shows, though I think I prefer Dead Set because I appreciate the metaphor.

Britcom Samplers

...of the panel-show-regular-as-lead persuasion, mostly. I won't be watching more than one episode of these shows for various reasons discussed below, but I wanted to post a roundup with my preliminary thoughts.

Jonathan Creek (1997-)

Not a comedy. I expected to like this one, but it ultimately disappointed. Maybe because it's a product of the late 90's. Reminded me of the awful Randall and Hopkirk (Deceased) 2000 remake. Featuring Alan Davies as a super-observant detective/magician's assistant. Not compelling enough to keep me watching, though the synopsis was very intriguing.

Whites (2010)

Now this Alan Davies-led show I liked! I watched all six episodes of the first and sadly, only, series. Reminded me of a classier, British Kitchen Confidential (Bradley Cooper American sitcom, not the book). It's a bit empty; it doesn't really go anywhere, which was a little frustrating, but not enough to turn me off. Good performances all around. Loved Katherine Parkinson and Isy Suttie. Pseudo-Moonlighting thing Davies' character and Parkinson's character had going on was weird because Alan Davies is Alan Davies and Katherine Parkinson will always be Jen (from the IT Crowd) to me. But I liked it. Moderately funny, definitely enough to keep me watching, at least, and directed well. Sad this promising show only got one series. Sign the petition!

Not Going Out (2006-)

Featuring Lee Mack as a character not unlike himself, similar to Jack Dee in Lead Balloon. (Speaking of characters playing fictionalized versions of themselves, check out The Trip or, with less fanfare from me, Rob Brydon's Annually Retentive.) A typical sitcom, but not bad by any means. If there wasn't better stuff on, I would probably continue watching this.

Miranda (2009-)

The appeal of this show is that Miranda Hart is so incredibly endearing. What's more, it made me laugh more than once, which is more than I can say for some of these other shows. The jokes are all self-deprecating pratfalls, which could get old, I suppose, but if I'd kept up with this show from the beginning I'd probably have kept watching anyway. I've seen the first episode and the one with Peter Davison, and I can't help feeling good afterwards. Cute, accessible. I don't even mind the canned laughter.

15 Storeys High (2002-2004)

I do like this one. Atmosphere is fantastic. Subtly funny, and Sean Lock and Benedict Wong are very good. Might keep watching, actually. Mark Lamarr helped write, too!

Lead Balloon (2006-)

Featuring Jack Dee as someone not unlike his public persona. Lead Balloon's kind of an extension of that, a sitcom background to the character Jack Dee affects when on Shooting Stars or Buzzcocks, etc. Haven't seen his stand up, but I assume it's more of the same, which isn't a bad thing. Cool to see Rasmus Hardiker, who I'm enjoying as Raymond in Saxondale right now. Some set-ups to jokes paid off later were too predictable to laugh at. Overall, seems like one of those shows where nothing happens, and I don't like Jack Dee enough to care about his fictional housekeeper's blood sausages.

Hyperdrive (2006-2007)

I like the idea of this one: Miranda Hart, Nick Frost, and Kevin Eldon in SPACE! Decent effects and set, but unfortunately, simply not very funny. The minutes seemed to drag on. Really too bad, as I absolutely adore all three leads. And space.

Friday Night Dinner - The Sofabed, 1.01

In this newish Robert Popper-helmed comedy, Simon Bird plays his Inbetweeners character with Tamsin Greig as his mother, Mark Heap as the creepy neighbor (always a joy to see), in a decidedly Inbetweeners-vibed milieu. As sitcoms go, nothing special so far.

When I watch sitcom pilots I generally evaluate by two standards: the ambiance/tone and the characters. Not many American sitcoms are funny right off the bat (exceptions abound, of course, ex. Modern Family), because the humor typically takes a bit to develop and find its footing. This is the same for tone and characters, though writers usually have a better feel for them initially, I find. The pilot of 30 Rock wasn't very funny, but Liz was Liz and Jack was Jack and the incidental music and direction set the tone for the series as it stands today.

That said, it's different for British comedies. Because the series are so much shorter (22-ish versus 6-ish), the qualities and quality of a sitcom are evident right from the start: the first episode of a series doesn't feel tonally separate from its successors. This is just opinion and personal experience with the genre, of course. Garth Marenghi's Darkplace was a fully formed idea from the beginning. Parks and Recreation wasn't. The Office US wasn't. They took a whole series to find tonal center and balance.

So, Friday Night Dinner. I've only seen the first episode so far. Feels like The Inbetweeners, which isn't a bad thing. Popper is very good. Shot well, cast well, but I'm not yet sure if the laughs are there. The funniest bits were Mark Heap, which did make me laugh out loud. We'll see how this goes!

Surprise Matt Holness!

Jonathan Creek

...It's as if this show was made specifically for me.

Comedy Night Done Good.

NBC comedies (sans lame two) were ON FIRE last Thursday. I couldn't choose a best or a favorite, which is saying something. I even loved The Office!

ETA: What really got me, I think, is how good-hearted all four sitcoms are. They're light fun with big heart. I do like my comedy black (Nighty Night, jam, etc.), but it's impossible not to fall in love with these really quality, feel-good shows.

Top 10 British Comedy Sketches

I'm green when it comes to British humor. Still working my way through the second series of Blackadder. Still haven't seen the Fast Show. But I am in love, and I want to share my favorites so far.

These are sketches from a range of shows, though you'll find I'm partial to The League of Gentlemen. Sketches, never more than seven or eight minutes, are succinct vehicles for storytelling. Character is often limited to one or two idiosyncrasies because the medium is short and the purpose comedic. However, I consider it a triumph if, within those short minutes, there is poignancy: a moment that makes me stop and think. Laughter could be secondary. You'll find that the higher ranked sketches on my list are ones that combine genres or feature a tonal shift. (Yup, I've written about this before.)

Some are just plain funny, though, and have made it onto the list for that reason alone! Some are also more accessible than others, I imagine (jump in with Tricky Linguistics. Hold off on Masterchef for a while...).

10. Masterchef (The Smell of Reeves and Mortimer)

Brilliant and surreal. I think The Smell of is Vic and Bob at their very best.

9. Pitch of Fear (Doctor Who Night 1999)

I can't not giggle all the way through this. This is solely because I'm a huge pre-2005 Doctor Who nerd. And look, Gatiss and Walliams!

8. American Sitcom Parody (Mash & Peas)
h

The first (I believe) collaboration show between David Walliams and Matt Lucas. This sketch was from a special, and features some of my all time favorite comedy actors.

7. Know-Nothing Estate Agent (Monkey Trousers)

Bob and that wig. I don't know.

6. The Debt Collectors (The League of Gentlemen)

I've written about this one before. All of the League at their very best. Superb acting, superb comedy.

5. Tricky Linguistics (A Bit of Fry and Laurie)

Fry and Laurie are absolutely masterful. Not only are they unbelievable actors, they are freakishly intelligent. Stephen Fry has a way with words like no one else. This sketch made me feel like I was reading a good bit of poetry. Fantastic.

4. Elderly Sherlock Holmes (That Mitchell and Webb Look)

I've written about this one before, too.

3. Papa Lazarou (The League of Gentlemen)

Look at the strut. Listen to the gibberish. Papa's one of my favorite characters of all time. Delightfully dark. Typical horror-tinged League comedy.

2. Understanding Barman (A Bit of Fry and Laurie)

Perfect, perfect, perfect.

1. Injure For Friends (jam)

Julia Davis, queen of black comedy. jam is fantastically dark and surreal, straight out of the brain of Chris Morris (Brass Eye, Four Lions). The sketches that comprise its 25 minutes remind me of the sort of deranged collage of snapshots of murder victims and newspaper clippings you might find plastered on a serial killer's bedroom wall. It's that good.

Doctor Who Interlude -- Series 6

I could not possibly be more excited for the next series (and series-point-five) of Doctor Who.

The Monsters

Have you SEEN the previews? Fucking stellar. Creepy life-size dolls and space suits with no one in them. Moff's Vashta Nerada worked because everyone is innately afraid of the dark. They're afraid of Silence, who seems to be the Big Bad of series 6. I love that we're already set up for a big mystery.

Can't wait to draw monster/horror parallels between The X-Files and series 6!

Hopefully scarier monsters means a darker tone, as well. We've been introduced to Eleven, and he's been introduced to himself. Now he can be thrown around and tested a bit.

The Companions

They're the species the Doctor loves most, and any viewer knows they're the heart of the show, a reminder of what the Doctor fights for, why he does what he does.

It was interesting to me that through series 5, Amy seemed to be separate from us, the viewers. Rose Tyler was our eyes and heart, close to home, but Amy is fiery and distant. She's likable, and relatable to an extent, but there seems to be more to her, whereas Rose laid everything on the table from the first ten minutes of series 1. Moff revealed that there's more to her too, and I wonder if her specialness is different than the RTD brand of the same: Donna Noble, the most important person in the universe; Rose, the Bad Wolf; Amy Pond... I hope the reveal will be darker. Nothing Bad Wolf or DoctorDonna. Maybe something Judas. A betrayal would be quite twisted. We've had Amy's Choice and she chose the Roman soldier. But how about a variation on the theme, with a darker edge?

The cliffhanger to 6.5 will hinge on Amy, and maybe Rory, if Arthur's role as a companion expands (did he get opening title billing in the Christmas Special?). Series 5 was about Eleven finding himself, reconciling his past selves and his dark and light sides (and duplicity via the Dream Lord, Pandorica vs. TARDIS, etc.). Series 6 must be more external, more about his human sidekicks.

Also can't wait to find out who River really is. Astounding that in a fandom as huge as Doctor Who's, no one can agree on one theory. I think that's good story telling on the Moff's part. She is a great mystery. I personally hope she's the daughter of Mel and Glitz (hey, it fits) because I won't buy her as a Time Lord.

The Guest Stars / Spoilers

David Walliams (I resist the urge to insert a "Fucking" before his surname. I'm constantly repressing the urge to be more colloquial here. It's not in my nature to talk about TV formally, but I try). James Corden in episode 12 (THE LODGER IS ENDGAME. I knew it, knew it, knew it!!). Lynda Baron (AKA Captain Wrack in Enlightenment, one of the absolute best one-off characters this series has ever, ever had, in one of my favorite serials. She blew it out of the water. She is one of the reasons that story is as good as it is. If only she were back playing that character, though! What if.)

Walliams is an apt comic actor and he'll do fine with drama, or whatever the role calls for -- Corden's Craig was played for comedy though I'm sure he too can add weight if needed. What a thrilling casting, though. Surprising, at least to me, and warmly welcomed -- I find that comedic actors (especially ones as versatile as Walliams) often turn out to be fantastic in dramatic roles, perhaps because of their timing.

Also exciting is the return of Craig from series 5's "The Lodger." Something as big as another TARDIS had to have gargantuan implications. No way around it. TARDISes are of the Time Lords, and I am exhilarated hearing all the rumors and buzz about a possible return of John Simm as the Master (to regenerate soon after; who else is vouching for Colin Firth? Or Cumberbatch? Too exciting), or a female character with "a new face" (quoth Moff) immediately calling to mind the Doctor's extinct people... specifically the female ones. The Rani? Romana? President Flavia? I'm a huge nerd. I might be too excited about this. But Moff is a fan of the old, and my fingers are crossed. And, Gaiman's episode does claim to be influenced by The War Games, an absolutely stupendous, epic, Two-era serial -- has the War Chief reincarnated female? Is the Doctor a pawn, being ushered around a chess board (sounds more like The Five Doctors) by an invisible hand? Or hands? Time Lords, Silents, or other enigmatic being?

Rumors point to the reemergence of Time Lords, at least, if not Gallifrey. And that's huge.

And lest we forget: the ubiquitous Mark Sheppard! Lily Cole! Cybermen! Cybermats!

The Moff

I'd trust him with my life, basically.

The Smell of Reeves and Mortimer

I raved about The League of Gentlemen, I lauded Mitchell and Webb, yet now when it comes to writing about my newest obsession, Reeves and Mortimer, I find myself oddly stuck.

Their humor is silly and a bit surreal, decorated with various fake mustaches (plastic horses, magic marker, pipe...) and often featuring increasingly violent slapstick fights with bats and frying pans and cartoonish sound effects. They're an acquired taste, or they're tailor-made for the 13 year-old boy who likes jokes about passing wind. One or the other.

Mortimer met Reeves (real name Jim Moir) at one of the latter's stand-up shows, after which he approached him and found they had the same sense of humor, though it's really more than that -- the rapport of a double act is its triumph or downfall, and Vic and Bob demonstrate some of the best. You couldn't replicate the banter they do because you're not on the same wavelength. They're on a different plane completely. A plane where Ulrika Jonsson is a stewardess in a short skirt and Matt Lucas is the baby pilot in a onesie.

They probably don't consider themselves surrealists. I'm pretty sure they just do what they think is funny. This results in absurd, outlandish sketches and characters. Some are visually grotesque, adding to the surrealism of the show.

I guess what I find hard to write about is why I find them so funny, why I was compelled to watch this show, and Bang Bang It's Reeves and Mortimer, and the abysmal Randall and Hopkirk (Deceased), and more than four series of the celebrity-style quiz show Shooting Stars. I think maybe it's because I adore the pair so much. I love their tremendous chemistry. It's a joy to see them interact. I also love the surreal element, intended as such or not. The Mighty Boosh certainly must have been influenced by these two.

Really good stuff. Juvenile and strange, but good. I don't know what else to say!

The Office - Threat Level Midnight, 7.17

Oh, Office. Harkening back to the halcyon days wherein Beesley was not so fancy or new, when Ryan started the fire (his cheesy pita, and reputation, up in flames) and went to business school, when Jim searched the state for Herr's Salt and Vinegar potato chips, all the while thinking instead of Mixed Berry yogurt and the artist who favored it.

I could reminisce for days.

This show is good. One of the better comedies on television. It's written well and has a terrific cast of talented actors. But it's past its prime and should end while it's still got its dignity. Its UK predecessor understood that it was a small show. It's about an office. Tim was complacent about his job and his life, and then he wasn't; and there was the arc of the series: he flirts with Dawn, runs into some roadblocks, gives up, settles, and then goes for it one last time. Dawn returning to the office party that night was the greatest payoff one could hope for. And there it ended. David Brent was not going to get more self-aware. The two relatable characters on the show found closure and the audience was left with a superb two-series show.

It didn't end because there weren't anymore jokes left to tell (unless Gervais had said anything to the contrary, of which I'm not aware). Is that what the American version is waiting for? There will always be jokes where there are good writers. But these characters are tired, and more pressingly, so is Dunder Mifflin itself. We've spent seven years with these people in this building and to me, it feels empty and hopeless. Tim and Dawn got out. Jim and Pam have settled (they're not even likable anymore, most of the time). I prefer Michael Scott to David Brent because there are more layers, but even those are worn through...

There will always be new viewers, and that's the lifeblood of The Office. They're casting a ton of new roles, too, so there's that. Keeping it fresh in Scranton. Though isn't that the oxymoron?

- - - - -

It's Always Sunny did Lethal Weapon and that was gold. I've been watching Garth Marenghi's Darkplace, and you cannot beat that kind of spot-on parody. Excellent. Threat Level Midnight (not even addressing the issue of these people agreeing to be in it, having the time and resources, etc.) isn't a great parody, and when it's shot and cut so fancily, it's not believable as a Michael Scott side project either. Lazy Scranton, and then this?

All in all, this season is about saying goodbye to Carrell and Scott, and I'm fine with an episode like this to look back and relieve glory days.

One day, I will write about Catterick.

Four box sets are on their way to me from across the pond.

1. Human Remains -- I cannot wait to write about this one. I've seen the first three episodes (of six) online, and they are brilliant. Julia Davis, of course, is the queen of dark comedy, and she is beyond fantastic in a myriad of vastly different roles. She has such a clear idea of what humor works and she pushes it in her writing and acting. Superb. Finished Nighty Night the other day, and though I didn't think the second series was as strong as the first (the first episode being the strongest of all, by far) I thought it was still a very strong, very funny series. Very Julia Davis. And then Human Remains has got Rob Brydon, whom I adore after seeing The Trip (someone buy this for me please?!), which is one of my top shows of 2010. Maybe ever. Anyway, these two actors came together to make Human Remains, a dark (in places, extremely dark) comedy in which they portray six different, dysfunctional couples. Brilliant.

2. The League of Gentlemen Are Behind You -- Amazon reviews were sort of negative, but it's the League, so I'm going to love it anyway.

3. Black Books -- BOX SET! SO EXCITED! What a stupendous comedy. More Linehan perfection. Can't wait for Moran on the commentary.

4. Catterick -- The series I keep saying I will one day write about. And after a re-watch or two, I totally will. Totally. One of my favorite series ever. So bizarre. Vic and Bob, Shearsmith, Lucas, Higson. You can't go wrong.

Off the Map - Pilot

Grey's Anatomy, Private Practice, Off the Map -- same recipe, a few new ingredients. Ultimately the same flavor.

Firstly, what a cast! Zach Gilford (just seeing him on my screen makes me tear up, no lie) whom I already empathize with, even if his character is a bit Karev-ish; Caroline Dhavernas, whom I enjoy, even though I didn't like Wonderfalls (I actually compared Jaye to Meredith Grey when I watched it -- the same brand of broody protagonist), and more. Not bad at all. I hypothesize that the problems, if any, won't lie in the ability of the actors, but rather the scripts and direction... which will probably be very Grey's in tone, which isn't a problem in itself; it'd just better watch itself and not dig the same hole Grey's did post-season three.

I don't have a problem watching a show that is similar to Grey's, so long as it delivers fresh stories in new ways (not simply ferry boats/Denny Duquette in the jungle). Time will tell if this bunch has the chemistry the Grey's original fab five did.

In short, will keep watching for potential new stories and Matt Saracen in South America. Also, Bailey's hot ex-boyfriend. Hot. Has good chemistry with everyone. Major plus.

Oh, and Morris Fletcher ziplining! X-Files or Buffy alums = I will watch. And knowing Shonda, there WILL be Buffy alums. Exciting!

ETA: I find it hard to believe NONE of the three newcomers know any Spanish. Then why did you go to South America??

My Top 10 Shows of 2010

Honorable Mentions

Terriers, Psychoville, and Dollhouse didn’t quite make the cut, but that doesn’t mean they weren’t brilliant this year. Terriers (RIP) was a well-written, wonderfully acted, witty buddy-cop mystery drama that also happened to be very funny. It was compelling, at times extremely affecting, and shot just gorgeously.

I may be biased where Psychoville (which I am counting as 2010 because of the Halloween special, he he) is concerned because I am absolutely enamored of Steve Pemberton and Reece Shearsmith. I will adore anything they create. However, their current project is stupendous on its own, from its Rope-inspired fourth episode (guest starring standout newcomer ♥~Sam Kisgart~♥) to the Modus Operandi musical sequence featuring wax serial killers come to life singing about everything from poisoning to strangles.

Dollhouse started off rough, admittedly. But shit got real the second season, the second part of which aired in 2010. Joss and co. stepped it up plot-wise, and the result was a beautiful and nightmarish The Attic, a heart-pounding The Hollow Men, and the reflective post-apocalyptic Epitaph Two: Return — a fitting, if not wholly satisfying, end to a fantastic and daring series.

#10 Modern Family

Modern Family is getting the critical recognition it deserves. It’s not only one of the funniest comedies on network TV, it’s also the one with the biggest heart. Wonderful writing, amazing cast, just a well-executed show in every way.

#9 Fringe

Sci fi shows are few and far between these days, especially on network television. But never fear, Fringe has got your bases covered: it’s the most disturbingly gory, thought-provoking, visually stunning, perplexing, exciting show on TV. And it is so fun.

#8 Party Down

Party Down is the funniest show I have ever seen. It is the funniest show you’ve never heard of. It is a show that I believe, from the bottom of my heart, is compulsory viewing for everyone that likes comedy, even a little bit. It is a master class in what good humor should be.

#7 Parks and Recreation

Fact: This is the funniest show on television right now. (And that isn’t up for debate.) The cast is an all-star dream team — give Amy Poehler or Aziz Ansari room to improvise, tell Nick Offerman to pratfall or throw a hamburger at his face, and you’ll see what I mean. When you’ve got a tremendous cast, sharp writing, and the most likable lead on TV in Leslie Knope, everything just clicks.

#6 Louie

Louie C.K.’s unique brand of sad, dark humor permeates his eponymous show, and the result is a brilliantly melancholy tone unlike anything else on television. Superb direction, cinematography, episode format, and score (not to mention ace acting and writing) are all integral to conveying the show’s feel — one part stand-up, one part narrative sketch show, two parts midlife crisis, and 100% of the very real, relatable, self-deprecating Louie C.K. telling stories and jokes in the unforgiving city of New York.

#5 Doctor Who

Steven Moffat’s sharp wit and penchant for non-linear narrative characterized the fantastic series 5. His themes of identity, storytelling, and, of course, time — being rewritten, moving too slowly, saying “five minutes” but showing up a decade later — complemented by visual motifs like red against blue and the ubiquitous crack, made for compelling, engaging viewing. Series 5 is what good Doctor Who should be: a romp in space, the tragedy of an old man who’s loved and lost, an exploration of (THE UNIVERSE! and) humanity and compassion, and at its heart, a fairytale about a mad man and his blue box.

#4 Sherlock

This was certainly a triumphant year for Steven Moffat. One of his shows is a British institution, and the other features one: Sherlock Holmes (this time, sans deerstalker and pipe), the world’s only consulting detective and London’s resident high-functioning sociopath. Benedict Cumberbatch is a revelation. Martin Freeman plays his Watson wonderfully. The scripts are funny, complex, suspenseful; the direction masterful; the cinematography tilt-shiftingly brilliant. All three episodes were some of the most compelling viewing of the year.

#3 Mad Men

What can I say about Mad Men that hasn’t already been lauded and gushed about through every media outlet? With one of its strongest seasons yet, Mad Men lived up to its universally high expectations. In particular, “The Suitcase” was the most superb forty minutes of television I watched this year. Elisabeth Moss and Jon Hamm blew the rest of the cast out of the water with their flawless performances that showcased their tremendous dramatic chops. I laughed and cried and remembered why I love television: because when it’s well done (and this was light years beyond “well done”) it can be emotional and compelling, and when you identify with these very real characters it can hit close to home.

#2 Community

Community is smart. Its self-awareness, meta references, and in-jokes strengthen the connection between show and viewer. It’s a young show, and its willingness to experiment is its greatest strength; I think its unpredictability of style and tone (the fantastic “Mixology Certification” arguably tonally at odds with the rest of the season), grounded in its strong and familiar cast, makes it all the better. The cast’s chemistry and comedic timing are impeccable. But the most compelling aspect of Community, for me, is the fact that it never forgets where its heart is.

#1 Breaking Bad

Bryan Cranston and Aaron Paul earned their Emmys in “Fly.” (Esposito, Norris, Banks, even Odenkirk should ALL have been nom’d for Best Supporting Actor.) I almost had a heart attack during “One Minute,” which featured one of the most heart-pounding (and -stopping) sequences I’ve ever seen. “Half Measures” and “Full Measure” drew the impeccable third season to a stupendous close. Breaking Bad is the best written, best acted, best looking series on the air. When I set out to make this list, there was no debate about who should take the top spot. Breaking Bad was, simply, the best show of 2010.

That Mitchell and Webb Interlude

Just briefly (because it's late and I'm tired and still basking in that hazy post-episode glory that clouds my ability to be rational) -- David Mitchell and Robert Webb can do anything. The last Peep Show of series 7 was unadulterated brilliance. The writing, of course, had a lot to do with it; the way recurring characters were utilized was effective and gave everyone a chance to shine -- Dobby at the beginning and end, Super Hans!, Big Suze, even Sophie, even Gerard.

But M&W, wow. Not just anybody could've pulled those last scenes off, let me tell you...

At first it was hard for me to separate Mitchell from Corrigan, Rob from Jez, because Peep Show was the first thing I'd seen with them in it. Then I worked my way through Bruiser, The Mitchell and Webb Situation, and finally That Mitchell and Webb Look. I learned that the act can write as well as it performs, which is to say, positively wonderfully.

And then tonight I finished the final episode of That M&W Look. And I was blown away again. Because they had be completely convinced for those last minutes -- their dramatic chops are superb. There have been moments in other sketches in which one has to play completely straight for the other, and I noticed then, too, how good they are; but it was that last M&W Look sketch that won my admiration and respect.

Mitchell and Webb are my favorite comedy double act. They're two of my favorite actors. I'm so glad I stuck with "that weird POV show with the British guys," because they are so fantastic.

ETA: Oh, and I didn't even mention the Peep Show episode "The Christening," which would go on my Top 10 Episodes of 2010 list, if I'd made one. Undoubtedly.

ETA2: Yo check this shit out: