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: