Encore Emmy Ballot: Dramas (Pt. 2)

You thought you’d gotten away from me? Nope, I know I haven’t completed my Emmy ballot which of course accounts for the snubs at last week’s nominee announcement. So, yes, I’m liable for those snubs in the drama category. Here’s my ballot, and yes I have United States of Tara in drama which makes me wonder feel even worse about the snub it got – a whopping zero nods. But, television’s so weird now. Sometimes True Blood comes off comedic. Ah, well.


OUTSTANDING WRITING
Nominees:
-Big Love / Roberto Aguirre-Sacasa for “Exorcism”
-Boardwalk Empire / Terrence Winter for “Pilot”
-Dexter / Wendy West for “Everything Is IlLumenatyed”
-The Good Wife / Keith Eisner for “Ham Sandwich”
-True Blood / Alan Ball for “I Got A Right to Sing the Blues”
-United States of Tara / Dave Finkel and Brett Baer for “The Good Parts”

This is a ridiculously strong line-up of nominees. Sometimes I do think the Emmy’s are a bit over infatuated with dramas but it’s been a good year for television dramas – these six shows in particular. I wasn’t sure about this choice of episode for The Good Wife, the main case was a bit of a sleeper but the episode is filled with brilliant beats especially Kalinda’s hearing. The show does do well with its writing. At its best True Blood is a ridiculous supernatural romp and I have a penchant for what Alan Ball does when he gets into the writer’s chair. It sort of functions as the middle episode of the season and it does what the show does best – each character gets their important moments as Sookie finally meets Russell. The episode where Lumen finally gets into the grit of Dexter's madness is excellently done, both dark and comedic and just a perfect point for Stiles to do fine work. The same goes for Big Love and its penultimate episode, that faceoff with Alby, the craziness with Nikki was all adeptly handled. Sometimes Boardwalk Empire got a little gratuitous during the season, but the pilot was beautifully written. No one can touch the United States of Tara series finale, though, absolutely perfect – just the good parts.
Runners-Up: Dexter for “The Big One” / Mad Men for “The Good Parts / The Good Wife for “Getting Off” / Big Love “When Mountains Meet Men” / Boardwalk Empire for “The Ivory Tower” / The Closer “Living Proof”

OUTSTANDING DIRECTING
Nominees:
-Big Love / Adam Davidson for “Exorcism”
-Boardwalk Empire / Martin Scorsese for “Pilot”
-Dexter / John Dahl for “Hop A Freighter”
-The Killing / Patty Jenkins for “Pilot”
-True Blood / Michael Lehman for “I Got A Right to Sing the Blues”
-United States of Tara / Adam Bernstein for “Bryce Will Play”

I love The Killing most for that atmosphere which envelopes the story at times and that depends on the directing. The pilot episode set the tone excellently for the episodes to come. The penultimate Big Love episode felt so short, even as the script dealt with so much issues. It was directed as more as a closer than the actual final episode. True Blood. The madness of Bryce was probably the darkest theme the show has covered and it was his offing (not literally) of Dr. Hatiras that depended on the superb direction of the show. Dexter and Boardwalk Empire top the list both of them keeping a close watch on the protagonists and amping up the suspense. I’m not even sure that Scorsese completely steamrolls Dahl, it’s a bit of a tie.
Runners-Up: Dexter for “The Big One” / Big Love for “When Mountains Meet Men” / Boardwalk Empire for “The Ivory Tower” / The Good Wife for “Getting Off” / The Closer for “Living Proof” / Mad Men for “The Suitcase”

OUTSTANDING LEAD ACTOR
Nominees:
-Steve Buscemi in Boardwalk Empirefor “Pilot”
-John Corbett in United States of Tara for “The Electrifying and Magnanimous Return of Beverlamp”
-Michael C. Hall in Dexter for “Circle Us”
-John Hamm in Mad Men for “The Summer Man”
-Bill Paxton in Big Love for “When Mountains Meet Men”
-Michael Pitt in Boardwalk Empire for “The Ivory Tower”

I must admit that sometimes I underestimate Paxton and Hamm, the latter especially – but I just don’t care for Hamm. Still, they’re both doing fine work in shows with luminous women, and sometimes they get lost in the shuffle. Bill Hendrickson’s swan song depended on Paxton’s excellence and as little as I care for Don Draper Hamm did good work with his development this past season. I wish that Corbett could get half the notices that Paxton and Hamm get. True, Collette is fabulous on United States of Tara, but Corbett’s quiet intensity is not to be ignored and with the series’ end he’s stepped up and turned into a true lead actor (category submissions, be damned). Honestly, I don’t understand in what universe Buscemi is the lead actor on Boardwalk Empire and Pitt is supporting. The show is a tentative back and forth between the young and the old and the two are the leads – the show reaches some of its strongest beats when Nucky and Jimmy have their conversations. The first two episodes are priceless, and though Pitt wins in the showdown they’re both outstanding. But, it’s still Michael C. Hall that I look to when it comes to the lead actors. Year after year (for five years) he’s been turning in superb work on Dexter.

Runners-Up: Peter Krause in Parenthood; Stephen Moyer in True Blood; Matthew Rhys in Brothers and Sisters

OUTSTANDING LEAD ACTRESS
Nominees:
-Toni Collette in United States of Tara for “Bryce Will Play”
-Mireille Enos in The Killing for “Missing”
-Julianna Margulies in The Good Wife for “In Sickness”
-Elizabeth Moss in Mad Men for “The Suitcase”
-Kyra Sydgwick in The Closer for “Help Wanted”
-Jeanne Tripplehorn in Big Love for “A Seat at the Table”

Once again, this is a solid line-up and I sort of don’t know who to start with first. True, Sevigny is who I think of first when I turn to Big Love, but the journey towards the end was significant for Barb trying to find her way and Tripplehorn was beautiful watch, oftentimes upstaging Paxton but at her best when working opposite her sister wives. Margulies and Moss are the actors that might face-off for the Emmy, who knows? Margulies exudes a coldness that makes it difficult for me to love her, but it’s that same coldness she uses to her advantage when she finds out about her husband’s affair and Moss is just brilliant holding down “The Suitcase”. Enos is a true find on The Killing. Her sombreness amuses me, but she never overdoes. Still, it’s the brilliance of “Missing” where I find her most interesting. She never gets hysterical, and her work opposite Kinnaman is golden. But, it’s about Collette and Sedgwick for me. One battled the LAPD, the other her demons. It’s not quite a tie, because Sedgwick carries her show on her shoulder more than any actor I can think of, but they’re both excellent. Naturally, neither of the two earned Emmy nominations this year.
Runners-Up: Anna Pquin in True Blood / Lauren Graham in Parenthood / January Jones in Mad Men

OUTSTANDING DRAMA SERIES
Nominees:
-Boardwalk Empire
-The Closer
-Dexter
-The Good Wife
-True Blood
-United States of Tara
All ten of the shows above and below are excellent, and they’ve all had fine seasons. Of the six above The Closer probably seems like an odd one out, but the show had an excellent season last year and even as it develops as a typical procedural it’s an excellent one. Boardwalk Empire is brilliant new show and yet it’s my fifth favourite of the nominees which goes to show how much goodness we're working with here. I don't know how to rank the top 4. United States of Tara has been almost pitch perfect in its final season, and True Blood thrilled me, humoured me and thrilled me in its third season. The Good Wife and Dexter both focus on protagonists trying to do good, some better than other - one has a killer supporting cast the other has a killer lead - literally. It probably comes down to those two at the end, and I refuse to choose. But, wouldn't a Dexter/Kalinda face-off be brilliant?
Runners-Up: The Killing / Big Love / Mad Men / Parenthood
     
Previously: Comedies: Part One, Comedies: Part Two, Dramas: Part One
           
What would your drama ballot have looked like?

Encore Emmy Ballot: Dramas (Pt. 1)

Ryan and I still are doing our Emmy predictions, but I'm back with my own personal ballots - now headed over to the drama categories. If you love Boardwalk Empire, True Blood, United States of Tara or even Mad Men look out below...

        

OUTSTANDING CASTING

Nominees:

-Boardwalk Empire

-Big Love

-The Good Wife

-The Killing

-Mad Men

-True Blood

Johnny Lee Miller and Julia Stiles alone would secure Dexter a mention here. The two period dramas, Mad Men and Boardwalk Empire, both depend on casting the players to participate in their businesses – one legal, and the other not so much. Regardless of where you stand on The Killing its excellent casting was imperative to its run through this past season but The Good Wife and True Blood rule this category. Both have expansive casts and both depend so much on getting the right people to play opposite their regulars. And both succeed.

Runners-Up: Parenthood / Dexter / United States of Tara

             

OUTSTANDING GUEST ACTOR

Nominees:

-Eddie Izzard in United States of Tara

-Zach Grenier in The Good Wife

-Jonny Lee Miller in Dexter as Jordan Chase

-Denis O’Hare in True Blood as Russell

-Dallas Roberts in The Good Wife

-Peter Weller in Dexter

Sure, Miller’s Jordan Chase was the real villain on the past season of Dexter but Weller’s Liddy was just as distressing. Dexter is a show that often thrives on its guests and both men were worthy foes to Dexter. Both Roberts and Grenier have that sarcastic charm that works so excellently on The Good Wife. The entire fiasco with Derek Bond was brilliant for two reasons, giving Baranski material and allowing Grenier to work all the caustic witticisms the writers could come up with and other than Panjabi Roberts is the best actor to bring out the warmth in Margulies. At first Izzard seemed intent on playing his character in broad strokes but the closer it got to his exist the more personal his performance became leading to that phenomenal performance in “Bryce Will Play” and everything about Russell was superlative. A villain for the ages.

Runners-Up: Kevin in The Closer; Michael J. Fox in The Good Wife; Dennis O’Hare in The Good Wife

OUTSTANDING GUEST ACTRESS

Nominees:

-Frances Conroy in United States of Tara

-Mary McDonnell in The Closer

-Gretchen Mol in Boardwalk Empire

-Mamie Gummer in The Good Wife

-Alfre Woodard in True Blood

-Anika Noni Rose in The Good Wife

This category is always filled with greatness. Mol and Woodward both play mothers but they’re worlds apart. Woodard does well as Lafayette's mom, her few scenes she manages to create an affecting relationship with Ellis. Mol does the same with Pitt in Boardwalk Empire. She plays a more significant character, with a number of facets, but it’s her work as an atypical mother precipitating a slight oedipal arc which is strongest. McDonnell and Rose both play working women in high positions. One of the great things about The Good Wife is how they steered clear of making Rose’s Wendy a villain without making her two perfect. Rose does wonderfully in her scenes and manages to play well against the big names in the cast – her scenes with Margulies are especially taut. The same goes for McDonnell who’s best when opposite Sedgwick. Gummer might not be her mother, but she’s a fine actress and her interesting quirks have made her work incredibly well in the fabric of The Good Wife. Conroy’s done a few guest spots this season, but it’s her work opposite the Gregson clan that was most memorable. In fact, the entire of “Crunchy Ice” seemed dedicated to giving her more to do and she succeeded excellently.

Runners-Up: Evan Rachel Wood in True Blood / Mary Kay Place in Big Love / Frances Conroy in Grey’s Anatomy / Mary Beth Peil in The Good Wife / Doris Roberts in Grey’s Anatomy

OUTSTANDING SUPPORTING ACTOR

Nominees:

-Alan Cumming in The Good Wife as Eli Gould for “Wrongful Termination”

-Keir Cilchrist in United States of Tara for “Crunchy Ice”

-Vincent Kartheiser in Mad Men for “The Rejected”

-Ryan Kwanten in True Blood for “Trouble”

-Michael Shannon in Boardwalk Empire for “Paris Green”

-Sam Trammell in True Blood for “Hitting the Ground”

True Blood has such an expansive cast (and a principally male ensemble) that the actors have little time to make their mark. Kwanten and Trammell have been most effective for the past season. Watching Kwanten do his usual dance between melodrama and comedy continues to be interesting and Trammell has never been as interesting as he was this past season dealing with a family from hell. Kartheiser continues to be underrated on Mad Men but he’s been incredible in season 4. Pete can be arrogant without losing his humanity and Kartheiser makes his attempts to balance his work and family more than a repeat of Don’s issues. I’ve not been especially fond of Marshall this season, but Gilchrist has been phenomenal. Sure, he was good in the New York episodes and dealing with Lionel’s death but it’s the confrontation with Bryce that I remember most. Shannon reaches a new level of creepy on Boardwalk Empire when he gets religious fever and Eli Gould is, as always, untouchable.

Runners-Up: Joel Kinnaman in The Killing / Sam Jaegar in Parenthood / Justin Chambers in Grey’s Anatomy / Billy Campbell in The Killing / Brent Sexton in The Killing

OUTSTANDING SUPPORTING ACTRESS

Nominees:

- Christine Hendricks in Mad Men for “The Good News”

- Brie Larson inUnited States of Tara for “Wheels”

- Kelly MacDonald in Boardwalk Empire for “Belle Femme”

- Sandra Oh in Grey’s Anatomy as Cristina Yang for “That’s Me, Trying”

- Archie Panjabi in The Good Wife for “Getting Off”

- Chloe Sevigny in Big Love as Nicolette Grant for “The Noose Tightens”

Brie Larson is the one member of the show whose comedic work has been more plentiful than her dramatic work this season but that doesn’t mean she’s not adept at both. Is there any sibling relationship more beautiful than Kate and Marshall? Brie manages to work that arc while being incomparable in what could have been a rote romance with Evan and on the topic of rote Cristina’s journey on Grey’s Anatomy this season could have fallen flat with a lesser actor but Oh is such a brilliant thespian (where, oh where, is her Emmy) that it lands with resounding force. I was uncertain of MacDonald in the first few episodes of Boardwalk Empire, but somewhere around the halfway point the series realised how to use her and she became astonishing trouncing Buscemi in their scenes together. The Roger/Joan fiasco seemed a bit too reprisal last season, but unlike Slattery Hendricks managed to make it works as moments of poignant development for her character, “The Good News” depends on her. It’s so tough to choose between Sevigny and Panjabi. Both play women with issues revealing their true selves, and both ruled their shows. In both cases I loved them most when their walls came down. Kalinda was continuously excellent, but that breakdown in the elevator in the penultimate episode is the stuff Emmy’s are made of as was Nicolette’s breakdown with Bill. They’re both difficult to understand, performed by excellent women.

Runners-Up: Julia Stiles in Dexter/ Rosemarie DeWitt in United States of Tara / Michelle Forbes in The Killing / Christine Baranski in The Good Wife / Ginnifer Goodwin in Big Love; Monica Potter in Parenthood

         

What are your drama favourites? Who wins in the supporting categories for you?

Random Acts of Television: Big Love, Private Practice, The Office, Community and Parks&Rec

I’ve been sort of splotchy in my TV viewing lately, and even worse with the reviewing but I just have to single out a few recent episodes....(even though I'm way behind...I'll catch up soon, maybe)

      

I’ve been on and off in my Private Practice viewing, though I’m finally up to speed, sort of. I’m currently one episode behind – most recently seeing Addison’s return and the threat of Naomi’s departure. I feel like a Judas because even though I adore Audra McDonald I hope for her to leave the show so I can have another cast recording with her lovely voice on it. I sort of hope she’s not gone for good. Watching Walsh and McDonald will always be fine, and even the episode does not sizzle it retains that placid coolness that marks the show – sometimes better than Grey’s Anatomy in its interest in characters (which I still have to catch up on).

Episode: “Love and Lies” (Mar. 17) [B/B+]

        

I’m even behind on Thursday comedy which I think is awful, and boy oh boy Community is continuing its awesome string of good episodes which makes me so happy. It’s nice when shows return to form. Oddly, Annie wasn’t a big part of this episode – Britta sort of went front and centre and Senor Chang and yet it worked. Crazily, ridiculously but most importantly HILARIOUSLY. Gillian so often gets terrible material to work with, but seeing her and Abed and Troy having a friendship is nice and that final bit with them all and their “gadgets” was fun. So what if I’m way behind.

Episode: “Custody Law and Eastern European Diplomacy” (Mar. 17) [B+]

And Parks & Recreation returns from the fun of the Harvest Festival to go camping to find some more great ideas. Perfectly sequenced, excellent ideas to ensure everyone gets a chance and then Ron saving the day by making sure Leslie gets to was just absolute genius. But, it was The Office that still has me smiling back. It’s such a perfect way for Michael, the hopeless romantic, to leave the show. Carrell and Ryan are just perfect together and the entire episode is a piece of brilliant, it’s possibly my favourite episode of what’s surprisingly turned out to be a great season.

Episode: “Camping Trip” (Mar 24) [A-]

Episode: “Garage Sale” (Mar 24) [A]

But the real reason for this post is Big Love. Perhaps, later, when I have the time to give them the farewell they deserve, but I do know the writers offered up an episode worthy of our love. The writer was beautifully placid like the best of episodes, but it was the superb direction – the circle coming to an end, the actors being so cohesive everything emerging so smoothly that was most impressed. I’ll admit, I did shed a tear at that closing – not just for the characters, or even the show but the fact that a trio of strong females might never get such great roles again, or worse, not even get recognised for the great work they’ve put in. An kudos to Paxton, for doing fine work in his curtain call.

SERIES FINALE: A, Season Grade: A-

Standout Writing

The Office A+

Parks & Recreation A

Big Love A-

Standout Performances

Bill Paxton in Big Love: A

Steve Carrell in The Office: A

Amy Poehler in Parks & Recreation: B+/A-

Chloe Sevigny in Big Love: B+/A-

Jeanne Tripplehorn in Big Love: B+/A-

Audra McDonald in Private Practice: B+

            

Did any of those episodes stand out for you?

TV Week in Review: 13th – 17th March

Only caught four shows, but all four episodes were great. Apologies for having so little to say about the two on Thursday – I’m behind schedule in life.
            
Big Love: "Exorcism"

10 minutes into the penultimate episode of Big Love I started wondering why the final episode before the end of the Henrickson clan seemed so sanguine, and then things started bursting at the seams and it all started to be excellent. As always, the division of storylines maintains a consistency that’s impressive. Each of the wives has their moments opposite Bill and with their own emotions and they’re all excellent. Then of course, there are those great scenes where the women come together to do brilliant work, reminding us why this show’s female ensemble is so formidable – even if Emmy keeps on ignoring them. There’ so much goodness happening at the Henrickson home, Ben’s and Lois’ issues both seem somewhat superfluous – although the writing makes it work. Mary Kay Place is wonderfully sinister, she always is such a treat when use her appropriately. With just a single episode left, I can’t help but feel a little cheerless, but the penultimate episode works – not least because it sets up so many issues to be resolved without being an obtrusive cliff-hanger.

[A-]

Glee: “Original Song”

Oh, Glee. Last week, I felt that an overstuffed trait made the episode the season’s weakest point – almost unrecognisable from Glee in its earliest form. This week, though, it all seems definitively retro. In an episode written by Ryan Murphy (no less), we head to Regionals; and in the same way that the result of “Sectionals” (in season one) was extraneous – focusing instead on group dynamics and random hilarity “Original Song” turns out to be a lesson in consistency and emerges as my favourite episode of the season. The running hooks of the original songs acts an impetus for an episode worth of jokes – from Santana’s brilliantly paced “Trouty Mouth” to Puck’s cool “Big Ass Heart” to Mercedes excellent “Hell to the No”. All that plays out against Kurt and Blaine’s bonding, a relationship I really have zero interest, but which still manages to be poignant all leading up a well delivered “Regionals” performance and great guest spots from Loretta Devine and Kathy Griffin (and a knockout performance from Jane Lynch – pun intended). I just want to say, Brittney was on fire with the one-liners, and I’m sorry “My Headband” still is my favourite of the original songs. Seriously.

[A]

Parks & Recreation: “Harvest Festival”

The episode was at its best when Ron turned out to be the one who knew all the things that were going wrong with the festival and proceeded to tell them all while stuck on a Ferris wheel. As crazy as this group is, their group dynamics are logical and that was a lovely moment, as was all else. Watching Donna and Ann bond was great, seeing Leslie and Ben do the same was even better. April and Andy are still great – in short, the episode was everything you could ask for from the best comedy on television.

[A/A-]

30 Rock: “Queen of Jordan”

On the downside, Susan Sarandon’s character was not as great as I’d have hoped – on the upside, everything else was brilliant. Sherri Shepherd works at times, and with no Tracy to annoy me she works brilliantly. Watching Jack work out his issues on “reality” TV was interesting even though it makes me wonder why all shows work so excellently when they have the mockumentary format. Of course, Jane Krakowski takes mugging to a whole new level and delivers her best work of the season. Kudos.

[B+/A-]
     
Standout Writing
Parks & Recreation A
Glee A
Big Love A
       
Standout Performances
Chloe Sevigny in Big Love: A (Chloe delivers masterfully in that confrontation with Bill. She’s always so precise, but her rawness there was just exceptional.)
Jane Krakowski in 30 Rock A-
Adam Scott in Parks & Recreation A-
Amy Poehler in Parks & Recreation B+/A-
Lea Michele in Glee B+

TV Week in Review: 6th – 8th February

It’s another week of slim pickings –in the number of shows up for perusal. On with it...


Desperate Housewives: “Searching”

It’s an odd episode, this one. For the most part it’s nice to see that – for the part – a consistent movement forward in plot and character development has returned to the show. So, even if the episode is not a seismic one it’s still generally pleasing one. The issues of Gabby and Lee and Renee and Lynnette are filler arcs, but they work. I do wonder how Renee as a mother would have turned out, that could have been an interesting arc and true the realisation that children don’t have to be perfect has some clichéd characteristics, but they both work. Susan and her bucket-list of sorts don’t exactly thrill me and that final confession with her and Mike is all too trite but it is nice when Hatcher gets to do something other than be the damsel in distress. Of course it’s Bree’s transplant that becomes the major arc especially when it becomes tied to Beth. I’m still trying to fathom the logic behind that decision, but regardless of actual logic Emily Bergl offers up a fine guest performance. I wonder what will happen next...

[B/B-]


Brothers & Sisters: “Home is Where the Fort Is”

It’s a strange thing: this episode retains none of the quickness of the previous instalment – and it’s definitely not one of the show’s best moments. But, Brothers & Sisters manages to be that show which, even on its lesser moments, retains a definite humour and personal nature where there’s always something to enjoy about it. On one end I’m glad that David Anable is actually getting some work to do, it’s a vaguely interesting arc I admit – although I’d like an arc where Justin isn’t playing victim to some neuroses of his. I’m not at all interested in the fatherly bonding that’s going on with Scott and Kevin or Marini's character who's name I'm too lazy to remember; in the case of the former I’m worried it could soon get trite, and in the case of the latter Giles Marini continues to be such an awful actor I cringe through his entire scenes. What’s even weirder is that the main arc of Kitty’s return – at least – isn’t that striking. Yet, the episode for its issues retains that Walker charm that makes it neither great nor terrible, just fine. And, well, that’s fine.

[B-]


Big Love: “The Noose Tightens”

Now this is more like it. This is the sort of episode that makes me think of how much I’ll miss it when it’s done, but more importantly it’s the sort of episode worthy of a final season. More and more complications arise to beset the Henricksons – the first of which is a potential indictment of Barb for procurement. This isn’t Tripplehorn’s episode but her well played opening scenes with Paxton set the tone. Margene being an impetus for Cara Lynn ending her relationship with her teacher was a beautiful decision and Goodwin delivers brilliantly. Watching the rapport between the three families is one of the best things about a show like Big Love. Of course it was all a lead-up to two things – Marge’s issues and Nicolette’s. I don’t blame Barb or Bill for not being cognisant of Marge’s age, but it’s interesting watching her feel guilty. Then, of course, there is Alby and his diabolical plan. Nickie already had her issues with Cara Lynn, so that final ten minutes of intense drama was brilliant. What a way to go out, now I really can’t wait for those final two episodes.
[A-]

Glee: “Sexy”

I’m confused, and I’m actually uncertain as to why. I feel disingenuous saying that this episode of Glee lands with a thud – and yet there’s a consistent inconsistency – both in its actual plot and its placement in the season two arcs that makes it a troubling one for me. It’s weird, in the last episode they tackled alcohol and this time they tackled sex and it made me realise that the last episode was sort of a fluke in a way. Save for Madonna themed episodes (whether themed by artistes as in “Brittany/Brittney” or message “Bad Reputation”) don’t work as well in the world of Glee and even though there’s a mass of plot development, I’m finding it hard to find one I appreciate – it’s a case of too much, too soon. Case in point: Brittney and Santana. It’s nice that Naya Rivera actually gets an opportunity to show her range – she is a good actress, but the resurgence of the Brittney/Santana saga seems ill-timed. So does the return of Emma/Will. Not that I’m against either union, but in the first case it’s a case of indecisiveness on the writers’ part (who never seem sure of their characters) and in the case of the latter, even though Jayma Mays is game throughout the entire episode it feels a bit too rushed. Add that to uncomfortably awkward conversation with Burt and Kurt and a vague weirdness with the Puck/Lauren subplot the episode is left to Will and Holly. Who actually, sort of nail it. The thing is, the performances were all great, but....
[B-]

Standout Writing
Big Love A-
     
Standout Performances
Chloe Sevigny in Big Love A-
Ginnifer Goodwin in Big Love B+/A-
Jeanne Tripplehorn in Big Love B/B+
Jayma Mays in Glee B/B+
Vanessa Williams in Desperate Housewives B/B+

I'm interested in what you saw this week, did you like sexy Glee, biting your nails about the cliffhangers on Big Love?

TV Week in Review: 27th February – 3rd March

Why are all the shows I watch on a break. ABC continues to exasperate me by holding off on new episodes of Cougar Town and opted for no Grey’s Anatomy or Private Practice either AND there was no Thursday comedy nor any Glee. So, it was a dry week with only three new episodes – none of which was exceptional.
            
Big Love: "Till Death Do Us Part"

I’m not sure what prevented this episode from sticking its landing as much as you’d expect it to. It’s not that the plot developments don’t work, they do – and well, too. But, the overall end product is not exactly stellar. Margene’s underage liaison with Bill will soon be revealed – of course, we all knew that that secret was never going to keep. I know Bill has many haters, but I usually understand his take on things – not so much this time. His dismissal of Barb’s feelings is annoying, and though his war with Alby his unfortunate he seems to be taking the wrong approach. Even Cara Lynn, usually so fine, annoys me this episode. I’m worried about how Nicolette is going to take that revelation when the inevitable fall-out occurs. The episode serves its basest purpose, though, in that it sets us up for a gamut of great scenes to occur in the final three episodes.

[B/B-]

Parenthood: "Qualities and Difficulties"

On the note of main characters annoying you, I just wanted to consistently slap Adam during this episode. It’s almost as if he’s become imbued with all the annoying traits that Kristina had in earlier episodes (and now Kristina is awesome). The less said about his arc (which dominated the episode) the better. That being said, I cannot overstate how brilliant Craig T. Nelson and Bonnie Bedelia are. They’re such fine actors working so excellently on the sidelines, Bedelia continually sleighs me with just an expression. Then…Crosby, he’s such a mess and that final scene with him and Zeek was great. Can I just ask: when did Jason Ritter grow up? I still remember his wheel-chair bound brother on Joan of Arcadia – a show I was vaguely fond of. I hope he’s back soon – he and Graham are hilariously awkward opposite each other (in a good way). And Julia and Joel are absolutely brilliant. But, God, can Jaegar and Christensen have an actual storyline? Yeesh.

[B/B-]

Modern Family: "Two Monkeys and a Panda"

This episode doesn’t pop for me, a few laughs here and there but there’s something underwhelming about the actual storylines. It seems like a bit of regressing having Claire go back to her nut-so ways, even if the continuous swapping of gender roles in that marriage make me delighted. O’Neill and Vergara are great opposite each other, but the storyline is just too on-the-nose even if Gloria gets to bring out her brilliant logic (the proper uses of “ta-da”) and it leads to a sweet moment with Jay and Manny. Even Cam and Mitchell with the main plot don’t quite deliver. Correction: Ferguson and Stonestreet are great, but this storyline, too, seems heavy-handed. It’s not a terrible episode, but it’s somewhat disappointing.

[B/B-]
       
Standout Performances
Eric Stonestreet in Modern Family B+
Jesse Tyler Ferguson in Modern Family B+
Chloe Sevigny in Big Love B/B+
Ty Burrell in Modern Family B/B+
Monica Potter in Parenthood B/B+

TV Week in Review: 20th – 24th February

So, I went sort of wild with the reviewing this week. I don’t usually review all the shows I watch – laziness, and I still didn’t but twelve paragraphs is a lot for a lazy old me. There were some poor ones, but the good ones were excellent (I'm one week behind on Brothers & Sisters, I know)

           
Desperate Housewives: “Farewell Letter”

It’s so weird that one of the two pressing issues of the episode gets dovetailed into a sort of silly plot point – Keith is leaving. This is a shame actually, because I did love Brian Austin Green opposite Bree, maybe he’ll turn up again. Who knows? You’d think that they’d make this more important, but alas no. Keith’s child is in Florida, Bree refuses to moves and urges him to do so without her, because you can fall in and out of love with people but never with your children. It’s so weird that Bree, of all people, hasn’t fallen out of love with her children – they used to be absolute demons (and on that note, I miss Shawn Pyfrom). The only genuinely good storyline was Paul Young’s drama. I for one am happy to see Cody Kasch back (one of the reasons for the epic brilliance of season one) – and he looks so old and non-creepy now. The final blowout between Paul and Zack, and then Beth and Paul were both well played which makes me wonder how interesting a show a spinoff about Paul would have been since Cherry keeps reverting to the same old storylines with the actual main characters of the show (robbing them of much significance). You have to wonder where Beth is going to go now. It’ll be sad to see Emily Bergl leave the show (she’s turned into such an asset), but she probably won’t officially leave until the end of the season. I wonder if she’ll team up with her insane mother again...that could be interesting...

[C+]
           
Brothers & Sisters: “The One That Got Away”

Balthazar Getty is not my favourite actor on the show, but I didn’t realise how much I missed him until now. True, he doesn’t get the A storyline here, but watching him interact with the cast (especially Griffiths) makes me remember why I used to love this show, way back when. It’s not perfect this episode, but it is interesting. I’m still vaguely annoyed at how redundant a character Justin has turned into, and the presence of Giles Marini continues to exasperate me. It seems like such a colossal waste having Anable’s sole contribution of the episode be ways to help Giles be romantic. Ugh. Still, the A-plot of Sarah’s paternity, though a little too deliberate, does work well – even if I miss Kitty. I wasn’t as sold on the issues of Saul and Jonathan, but it’s not as cringe worthy as you could expect. What’s more, the second half of the episode gets better and makes good on what could have been turgid storylines for the most part.

[B]

Big Love: “D.I.V.O.R.C.E”

Let me just say, power to Chloe Sevigny for churning out a brilliant performance this episode. Sure, it was more of a sidelining supporting than a co-lead – but I can’t complain, and the episode was something good, too. With only four episodes to go, I really have no idea where the show is going to go – and I have this awful feeling that somebody’s going to end up dead. Ugh, me and my active imagination. Bill and Barb are drifting further and further apart, and it’s a bit unfortunate because you can understand where both parties are coming from. That final scene with the wives, Bill, Barb’s mom and the "lesbian" (too funny) was something special and a perfect close to the episode (and Jeanne, too, offers up a fine performance this episode). I’ll admit that I don’t like the idea of Cara Lynn falling for her teacher or Ben falling for Rhonda – both of those liaisons just seem weird, in addition to be being all wrong. Nicki was responsible for the best moments, though. Watching her trying to understand Cara Lynn’s math was a beautiful moment and that blow-up with Barb and Bill about the “finances” was well played. There again, you get where Barb is coming from, but it’s difficult not to feel a little badly for Nicki. I don’t want this season (and thus, the show) to end. I’m going to miss these characters.

[B+/A-]
            
Glee” “Blame it on the Alcohol”

I don’t know what it is, definitively – was I so worried about Glee tackling alcoholism that my low expectations turned the episode into even more of a delight? I’d hate to think so, but either way this is easily the best episode of the back half of Season Two – and for the oddest of reasons. There was a surprising lack of pretentiousness in the way that they decided to let the students go full out drunk which made the inevitable moral at the end a whole lot less preachy than you’d have expected. Brennan doesn’t get enough praise for his writing credits, and it’s impressive how the arcs all coalesce. Sue goading Will into drunkenness isn’t exactly inspired – but Sue publicly humiliating him was priceless. Not because I don’t love Will (sorry, Ryan, I do) but because Jane is the queen of deadpan humour – and Becky Johnson is awesome. Then, there’s Rachel who was all around great in this episode: from the headband, to the bantering with Puck and then the Blaine issue. Each time I think I’ll let up on Kurt he pulls something ridiculous, case in point: this episode where his melodrama is evident twice. Even though the ending was a bit too pat, Blaine’s conversation with him was a smart move in highlighting hypocrisy, though I’m not sure if they get how hypocritical he was being towards his dad – who’s just trying to do what any sane parent would do (avoid their teenager having drunken sex). I’m neither here nor there on the ultimate payoff – it’s a bit too pat having the issue raised turn into a non-entity, which left a vaguely bitter taste in my mouth. Still, who knew “Blame it on the Alcohol” could make for a great group number?

[B+/A-]
      

Parenthood: “Never Sleep With Your Autistic Nephew's Therapist”

Oh, Crosby just stepped in it – did he not? The thing is, I’m not his biggest fan but I feel he’s getting the short end of the stick, especially in relation to Adam who’s even more judgemental than Kristina with the issue. We get that he’s worried about Max, but it’s a bit unfortunate that Crosby will be getting 0 supporting from his older brother. I love everything about Sydney, Julia and Joel (even if I miss them having an actual A plot) so Sydney’s vegetarian stint was fun to watch. More important, though, watching Connie and Zeek bond was just great. Again, I say Bedelia is such a great actor who makes do with her minuscule amount of screen times. I love the Amber and Drew sibling pairing, so their issues were well received and I’m so glad that Sarah actually stepped up in the parenting department. I don’t feel as if Amber should feel badly for laying into Seth, but I guess you have to choose your battles. I don’t know how Max will react to having Asperser’s and I don’t know what will happen with Jasmine and Crosby (hopefully, they don’t breakup) – but it’s a more than solid episode.

[B+]


Modern Family: “Regrets Only”

I’m not sure if I prefer this episode to last week’s but it easily wins points for being excellently written. We get three converging storylines which actually do justice to each of the main relationships in the show. It’s all fuelled by Claire and Phil’s marital issues which are just hilarious without being contrived. I really do love watching Ty and Julie opposite each other – easily one of TV’s best married couples. This interacts with Gloria and Jay and Cam and Mitchell, both of them having issues with communication. Stonestreet doesn’t exactly wow me (he’s #6 of the six principals) and he doesn’t exactly shine in this episode – but it’s so much fun watching him mug the camera especially in Cam’s interactions with Luke. Gloria shows up for a few moments to be absolutely ridiculous, and what’s more the children are shirked in this episode. Watching the Dunphy girls be silly is always appreciated and we still manage great random moments like Claire getting her massage at the mall or Luke’s stupidity. The second half of season two is looking much better than the first half.

[A/A-]
     
Community: “Into to Political Science”

I wasn’t crazy enough to think that Community was going to offer up another near perfect episode like last week’s instalment – and they didn’t. But, I wouldn’t call it regression. It’s not a brilliant episode, but it’s infinitely better than the first half of the season – though some of the gags don’t soar as well. They’re back to their on-the-nose yarns and Jeff and Annie getting into a political battle is nice to watch, even if wrapping it up with Jeff’s audition for “The Real World” didn’t impress as much as I think it was supposed to. The other significant arc was a dual one: Troy trying to come to grips – somewhat – with Abed’s “faux” life and Abed and the secret agent. The Troy stuff delivers; the other portion? Not so much. Glover and Pudi are great together, but the secret service is just a little too pat – even if the closing gag was a beaut.

[B]

The Office: “Todd Packer”

The main arc of Packer’s return fell flat, the suplot of Pam and Andy and Jim and Dwight were both brilliant. We’re preparing for Michael’s departure and this episode felt way too much like a filler episode. Yes, Amy Ryan continues to be one of the shining stars in the show (oh lord, PLEASE let get that Emmy nod). It sucks, in a way, that Jenna Fischer hasn’t gotten much material this season but she’s working with what she has and I especially loved the closing with her and Darryl – she’s so much fun when given the chance. See how little I have to say about the episode? Not bad, but unsubstantial.

[B-]

Parks & Recreation: “Indianapolis”

Dear Parks & Recreation Department: why are you so continually brilliant? In some ways this episode shouldn’t turn out so great because the set-up seems decidedly mundane even for the Parks&Rec crew, but it ends up being so delightfully sanguine and irresistible only reaffirming the notion that this is the best comedy on television at the moment. I love how subtle the entire arc about Ben finding friends in the department was delivered, all the while underscored by Tom and his ridiculous ambitions. I’m really not that invested in Andy and April, but their “first date” was excellent – going around trying to get free stuff. And the fact that it ended with them giving all the money away was just perfect. Then, there’s Ron and his beloved steak – a plotpoint that Nick Offerman sold time and time again, and of course Ann and her breakup with Chris (which I hope is temporary). And then it wraps up with a montage of Leslie giving us some of the worse ways to get dumped which mirrors Poehler’s brilliant comedic timing from “The Hunting Trip” last season. Why, oh why, is this show so great?

[A/A-]
         
30 Rock: “TGS Hates Women”

This episode is a trick one, it’s coming off a couple of top-notch episodes and there’s a moment at the end with the big reveal with the new writer on TGS that’s ridiculous – and not in the usual good way, but then there are some great things too. The issues with TGS hating women are far from riveting, but to an extent it works, especially when you remember how brilliant Krakowski and Fey are opposite each other – when given the chance. Moretz and Baldwin seemed to be a tad too trite, until that showdown at the end which we sort of should have seen coming – and it sets itself up for something good. It’s sort of uneven in the way it delivers on the jokes – but it’s a fair episode, and I’ll take it.

[B/B+]

Grey’s Anatomy: “Not Responsible”
There’s plot development, but the episode feels far from earnest. I surely don’t mind having Loretta Devine back, and Meredith dealing with her eyesight is interesting – if vaguely silly. The fact that I have to think so heavily for an episode I saw so recently probably means that it didn’t have that much to offer. It was an episode of moments, though. Watching Mark, Owen and Derek playing golf on the rooftop was brilliant. Seeing Bailey getting through to the Chief about his wife? Perfect. Everything involving Alex, Cristina and Meredith (together and separate) was so evocative of early seasons. I’m not sure I care for April and Dr. Stark, and though I hate that Arizona and Callie keep having these roadblocks that’s an arc worth looking into. Jackson and Lexie? I don’t care for them. But eh, it’s fine.
[B-]

Private Practice: “Two Steps Back”
It’s so weird having episodes of the show without Addison, but it’s a generally solid effort all round. Liza Weil (of Gilmore Girls’ fame) appears as a patient who may or may not have dissociative disorder. It’s an interesting arc in itself, even if the payoff seems a bit obvious from a mile away it actually manages to work. This arc develops against three others – Sam and Naomi working with a mother who’s teenager daughter with Downs’ may or may not be pregnant, Cooper and Charlotte in therapy and Violet’s (apparently slanderous) novel-to-be. I’m all for any arc with Audra, and though it’s not exactly a piece-de-resistance, it’s an interesting dilemma and one that’s handled with more realism than you’d expect. Cooper and Charlotte have problems that seem rote, but actually end up interestingly and even if Violet’s dilemma is silly it does lead to some nice moments with the entire group (sans Addison) playing off each other – which are always some of the best parts of the show.
[B/B+]
         
Interesting Things

• Honestly, why are Lynette’s children so retarded (excuse the political incorrectness)? It’s borderline ridiculous, and not even in a funny way. Absolutely weird.
• Why does Alby have to be so creepy? Is it the hair? And that kiss between he and Verlan – good lord, that was sort of disturbing – no?
• I swear, every time Gloria and Phil have scenes together I die inside. Vergara and Burrell are so fun together.
• Who didn’t the reveal with Chris and the pink razor coming a mile away? I loved Lowe’s line-reading of “I’m human. I have blemishes.”
• More than ever, this week I really felt like Audra and Taye were going to break into song on the balcony. Oy.
• Don’t Mae Whitman and Lauren Graham show their emotion (with reference to physicality) in the same way? They’re such a good mother/daughter pair.

          
Standout Writing
Modern Family: A/A-
Parks & Recreation: A-
Big Love: A-
Glee: B+
         
Standout Performances
Julie Bowen in Modern Family: A
Chloe Sevigny in Big Love: A-
Nick Offerman in Parks & Recreation: A-
Lea Michele in Glee: B+/A-
Adam Scott in Parks & Recreation B+/A-
Jane Krakowski in 30 Rock: B+
Amy Poehler in Parks & Recreation: B+
Jeanne Tripplehorn in Big Love: B+

                     

What stood out this past week in TV for you?

TV Week in Review: “13th – 17th February

It’s been a good week for TV, I’d say – especially for the comedies, a number of which returned to fine form with some great writing.

          

Big Love: “The Special Relationship”

It’s ironic, this episode of Big Love seemed like an especially important one but it wasn’t one of their better efforts. The “special” relationship of the title was the bond between Barb and Bill and it’s the sort of episode that focuses on a specific actor – this time Tripplehorn. I often find it difficult to love Tripplehorn’s work on Big Love, not because she doesn’t play Barb well but because the latency of her character is often difficult to establish on screen (she works best when she’s not given the bulk of the episode to ground). Still, Barb’s issue with the status quo in her marriage (and by extension the Mormon faith) is an interesting arc and the objectivity with which it’s been treated is impressive. Despite a vague quiescence to the episode, it features two brilliant. The first is Nicki’s and Barb’s conversation in the café, which is handled beautifully – you rarely see Sevigny and Tripplehorn opposite each other. Then there’s the table conversation with the wives, which is important because despite her frostiness there’s more to Nicki than her harshness. The episode is important because it sets up so many things – Cara Lynn’s isolation, Barb and Bill’s (in name only) divorce, the attempted murder of Don and the motives of Alby; a necessary episode but not a perfect one.

[B/B+]

         

Glee: “Comeback”

“Comeback” is far from the best Glee episodes, but it sort of highlights one of the things I like most about the show. Even if they’re excessively wont to lose sight of character traits, they’re always willing to turn around and address the issue (albeit in a tongue-in-cheek manner): case in point Rachel. Regardless of your thoughts on Rachel, or Lea Michele the character’s an integral part of the club and the show. Rachel’s officiousness is part of what keeps the club going and this season has been sorely lacking in giving Michele material. The ending makes me a bit worried they’re going to revert to her Achilles’ heel (i.e. Finn) all too soon, but I’ll wait and see. I didn’t particularly care for the Beiber subplot, but in true Glee fashion they manage to pay a compliment and deliver an insult in tandem – that takes skill. I still can’t completely surrender to Lauren and Puck (for obvious reasons) but it’s a hilarious addition. And of course, the secret weapon (no, not Jayma’s return –w hich I was happy for) – the rapport between Sue and Will; it’s always a winning addition and it works this episode. Things are looking up on Glee.

[B+/A-]

Parenthood: “Amazing Andy And His Wonderful World of Bugs”

It’s a shame that the strongest portion of the episode seemed a bit curtailed. It’s an arc that’s been done on other shows, but that moment where Drew almost angrily casts off his mother’s opinion on his fighter works beautifully – and a great deal of that has to do with how much Lauren Graham is doing with the role. The main arc was actually Max’s bug show where we watched Adam and Kristina struggle with the organiser of the show who, like Max, has Aspersers’. Then there’s the even tenser subplot of the potentially deteriorating relationship of Crosby and Jasmine – which isn’t helped by the fact that the episode ends with Crosby cheating on her. It’s a bit trite having Joel and Julia show up just as an aside on their sexual libido, but Christensen and Jaegar are so great together and even though you know that they’re going to get caught it’s part of Parenthood and its charm that it becomes a nonissue. It’s all about see

[B/B+]

Modern Family: “Princess Party”

FINALLY we get a subplot worthy of the awesomeness that is Jesse Tyler Ferguson. Watching him trying to dissuade Cam from the horrible clown act was actually funny, even though it’s a generally sanguine plot-point; it’s one of those things that work about the show’s ensemble. The main arc is the return of Mrs. Pritchett and it works so well. It’s so good seeing Bowen get the material she deserves (obviously, she’s submitting this episode for her Emmy). In theory I don’t love Mrs. Pritchett, but it does work and Matt Dillon’s guest appearance is great. It’s the little things that make it even better, though – like Jay and Gloria’s answering machine message (beeeeeeeeeeeeeeeeeep) or Cam as the Court’s “Jester” all leading up to that hilarious party with the princess, and a very out-of-it Gloria. Good stuff.

[A/A-]

Community: “Intermediate Documentary Filmmaking”

How great was this episode? I kept waiting in trepidation that something would happen to make me balk, but nothing came and I was ecstatic because I want to like Community, but recently (other than that EPIC “Dungeons and Dragons” episodes) I haven’t. It’s not back to the beautiful dissonance of season one, but it’s my favourite episode all season. I cringe, slightly, at the theatrics of Pierce. He’s my least favourite character and I’m not especially fond of Chevy Chase, although he’s nowhere near as annoying as Senor Chang – who was, thankfully, absent this episode. The “bequeathments” were well integrated into Abed’s documentary and made for satisfying 20 minutes. And, goddamn James Glover was brilliant, no?

[B+/A-]

The Office: “Threat Level Midnight”

Trust B. J. Novak to come up with the idea for this episode. On the most obvious levels it’s a giant excuse for the office or The Office to hangout and reminisce, but it’s actually blended with actual character developments, and those flashbacks were funny. Some shows do “filler” episodes that are so maddeningly superfluous it’s difficult to put any stock in them, but we end up learning so much about Michael here. He and Holly are not overbearingly cute anymore, but they’re still a delight to watch. It’s so easy to forget the range of Amy’s talents when she plays kooky so well from week to week. She’s sort of the straight (wo)man this week and she nails the vague confusion as to the way things run in the office, and the ending actually comes naturally without making the joke flop. And it made me so nostalgic for all those former recurring stars of the show.

[B+]

Parks & Recreation: “Media Blitz”

When it comes to integration Parks & Recreation can be a bit peerless at times and I love the way that they’re assimilating Rob and Adam into the craziness of the department. Scott is such a great comedic actor – he has so much more to offer than being a straight-man – so I’m glad they’re allowing him to go a bit crazy. It’s an arc that has so much to offer and in true Parks & Rec fashion they’re not rushing it, I just love watching him opposite Poehler, though. The cold opening with Ron and his infernal typewriter works greatly, and of course it’s fun watching him help Andy try to win back April. Naturally he denies that he has any interest in either of the two, or their relationship, but it’s all part of the giant enigma that is Ron Swanson. No comedy right now remains as consistent in its humour and its characters.

[B+/A-]

30 Rock: “It's Never Too Late For Now”

Can I ask, how weird is it that Jack’s Trinidadian nanny has a Jamaican accent? I’m actually a Caribbean person so I can discern these things, but I’m wondering if it’s an actual joke on Fey’s part or just a mistake. I find it hilarious either way, just like this entire episode which is ridiculous and brilliant at the same time. From the moment Jack tells Liz that there’s a movie for Murder on the Orient Express (which, of course, she doesn’t know) I had a feeling we were on to something good. And when Tracy Jordan failed to appear – hallelujah – I knew it was a reality. Liz’s romantic troubles are always fun to watch. I’ll admit, I still want Michael Sheen’s Wesley back because I thought he was perfect for Liz, that aside, the brilliant (i.e. ridiculous) concoction of a scheme to save Liz from spinsterhood is the type of madness you’d expect from 30 Rock and it turns out to be a great episode, though I didn’t much care for the song. Sorry.

[B+/A-]

Grey’s Anatomy: “The Golden Hour”

There seems to be a general rule on Grey’s Anatomy, the less time the actual episode covers the better it seems to be. This week the episode which is more-or-less in real time manages to be gripping, funny, dramatic and still aid in some much needed character development. It’s Ellen’s episode (though, it’s not the best material they’ve given her) and as a Meredith fan it’s nice to see her taking control. Pompeo is a good scene partner, and Meredith manages to work opposite whichever character she’s placed. The conversations with her and Cristina are a much needed impetus for developing Meredith’s character and that final conversation was well placed. There’s one primary issue with insular shows like Grey’s Anatomy which take place in a single environment. They need to make everyone hook-up. I’m not thrilled by the concept of Alex and the new maternity doctor – or whatever she is – but it’s cool (I’m over Izzie-worship, I swear) and any screen time for Chambers is fine with me. And, yay, welcome back Adele Webber; I’m all for more Loretta Devine so I’m glad to see her back and I sure am interested of what to come of that arc.
[B+]
       
Random Thoughts

• That moment where Jack takes on the nanny’s sensibilities (and accent) in the board meeting was priceless. “So what you want do?”
• So, how brilliant was “Take Me Or Leave Me”? As great as Amber Riley is on her own she makes for a killer duet partner (see “Lady & the Tramp”, “River Deep, Mountain High”)
• How cute was it seeing Dr. Bailey making out with her nurse boy-toy? I love this youthful Dr. Bailey.
• Danny Glover singing “Reading Rainbow” in the bathroom (between tears) was something brilliant.
• Didn’t the princess from Lily’s birthday party seem like a Kristin Chenoweth knockoff? Now I want to see Kristin on Modern Family...
• Did anyone notice Randy from Monk on Grey’s Anatomy?
• Isn’t it weird how authentic Andy was in that ridiculous movie of Michael’s?
• In an episode of great random moments I have to give props to Sue’s line reading of “Sweet Porcelain” when Kurt’s name was mentioned. Best nickname ever.

Standout Writing
Modern Family: A/A-
Community: A-
30 Rock: A-
Parks & Recreation: A-
Glee: B+/A-
Grey’s Anatomy: B+
      
Standout Performances
Julie Bowen in Modern Family: A-
Alec Baldwin in 30 Rock: B+/A-
Adam Scott in Parks & Recreation: B +/A-
Lea Michele in Glee: B+
Jesse Tyler Ferguson in Modern Family: B+/A-
Jeanne Tripplehorn in Big Love: B+
Danny Glover in Community: B+
          
How was your TV viewing this past week?

TV Week in Review: 6th - 10th February

So, here's what the TV viewing was like this week. I'm actually annoyed I missed Community, I sort of loved the "Dungeons and Dragons" episodes from the week before last (hilarious), so I'll have to check up on that. And why is Cougar Town on a hiatus? Ugh.
           

Glee: “The Sue Sylvester Shuffle”

The weirdest thing about this episode had to be the Lady Antebellum duet between Puck and Rachel. The fact that they get the two loudest Glee club members to sing a duet (to entice the footballers) which ends up being a sappy country had to be most unintentionally hilarious thing of the night, if a trifle disappointing. Other than, that, Glee was back to it’s madcap ways and it made for a generally fun episode. Sue going crazy is unsurprising but it works because that’s Sue and you can tell Jane relishes those moments. The idea of Finn actually being a leader makes no sense to me, because evidence shows that he’s actually a bit of a coward (case in point: choosing football over Glee, not turning up to take the Glee photo). Call it character development if you wish, but it’s sort of ridiculous even if it’s nice seeing him and Puck on speaking terms. The episode works as a standalone, but it makes sense within the narrative and though the musical numbers didn’t thrill me it’s a solid return. Welcome back.

[B+]

Big Love: “The Oath”

I swear: I’m reticent about watching an episode every week because it’s so near to the end. It’s often difficult to pinpoint a significant detail about Big Love that makes it work, it just all ends up happening. Bill is still getting pressure from all ends – including the family, and now that it’s been revealed that Marge was underage when they married it’s turning into an even bigger clusterf****. I still can’t resist those scenes where the three wives come together to spar, and there was something brilliant about having Barb confess to wanting a third partnetr in the marriage. This episode was setup sort of brilliantly – like you’d notice that each of the wives have significant one-on-one moment with Bill, and though Jeanne wasn’t the strongest this episode her and Bill’s moments were great. And the only thing near as good as seeing the wives bonding is the seeing the children doing the same. Bill’s dream towards the end was freaky as hell, though.

[B+/A-]

Glee: “Silly Love Songs”

Ignoring actual plotpoints and group dynamics, this episode felt like something straight out of the season one catalogue – though, I’m not certain if its buoyancy is more akin to sometimes misguided morals of something like “Bad Reputation” or the smart (if occasionally silly) humour of something like “Mash-Up”. It’s probably somewhere in between because I can palpably point out some of my favourite and least favourite things about Glee all in this episode. Even if Murphy’s actual plots sometimes exasperate, the episodes he writes almost always have a singularity to them that’s a bit necessary in the all the bipolarity (see “Laryngitis”). There were scenes this week, like Kurt, Mercedes and Rachel bemoaning their loveless lives or a ridiculously hilarious scene with Santana helping out at a hospital reek of lunacy – but in the good sort of way where Glee is comfortable with its madness. But then, there are those Finn/Quinn scenes which don’t exasperate as much as confound. True, Monteith is not half as trite as he was one year ago but Finn’s sudden confidence boost seems disingenuous and though I’m not even invested in the Puck/Quinn arc that they had seemed interested in perpetuating it’s weird how that just sort of fizzled out. I’ll admit, though, Mark Salling performing Queen sort of tipped the scales in a favourable way.

[B/B+]

Parenthood: “Just Go Home”

I keep wondering why Julia and Joel keep getting little to no screenplay in this back half of Parenthood – it’s making me sort of antsy about what the writers have up their sleeves. That aside, though, Parenthood delivers another solid episode. In typical sedate fashion the Haddie drama doesn’t reach to a catastrophic boiling point and something as simple as a conversation with Connie leads to end. I have to trumpet Bonnie Bedelia who keeps on impressing with small portions of screen-time. I’m not particularly invested in the Haddie drama, and the two main arcs this week are much more important. On one hand we get the return of Seth to wreak havoc on Sarah and her children which acts as an impetus for one of my favourite things about the show – the various brother and sister relationships, this time the one of Drew and Amber. Whitman and Heizer are both great in their roles and their chemistry is excellent, and it’s nice having Sarah deal with an actual adult problem and not have her being a loafer. I’m not as fully enthusiastic about the problems with Jasmine and Crosby, not on the surface at least but that final argument between the two is excellently played – on both sides. And, though, I kind of don’t want Parenthood going for these cliff-hangers – it was a necessary plotpoint. I sure am interested in seeing where this one goes.

[B+]

Modern Family: “Bixby's Back”

There was something especially slight about this episode which seemed, at times, more interesting in overreaching to fit the paradigm of Valentine’s Day than genuine comedy. I’ll maintain that my favourite portions were the few minutes of watching the four Pritchett grandchildren interacting and then the ending signalling the return of Dylan who’s probably my favourite guest star on the show. As, per normal, the Dunphy’s come out on top when it comes to the adults – if only because Julie Bowen, and especially Ty Burrell are always willing to go the extra mile with the physical comedy, without making it ridiculous. The other two arcs aren’t terrible, though. I couldn’t help but remember the Will & Grace episode where they were both interested in the same guy when I watched Cam and Mitchell going crazy over Mitch’s assistant. It’s still not an ideal plotline worthy of Ferguson, but I’ll take it. And, I can’t resist the connection between Ed O’Neill and Sofa Vergara which is always fun to watch.

[B/B+]

The Office: “PDA”

It’s difficult to resist the great rapport that Amy Ryan and Steve Carrell, no other guest star has managed to fit so well into the fabric of the office as much as Ryan and watching them go overboard with the PDA – and everything about their kooky relationship – manages to work for this episode. It’s awkward about watching Erin and Andy go on a scavenger hunt to find Gabe’s Valentine’s Day gift for her. I’m still not sure if it’s a good weird or a bad weird. Of course, those conference meetings always end up being highlights of the show and watching them all consider having closets for office hook-ups (and masturbation) plays out well, and closing zinger with everyone ruminating on Valentine’s Day ended up being surprisingly well played. (PS. Ryan is awesome.)

[B+]

Parks & Recreation: “Ron & Tammy II”

Generally, Parks & Recreation is not the kind of show that depends on the machinations of a guest star to add humour – but Megan Mullaly is more than just an incidental guest star and when she returns for Part Two in the Ron & Tammy saga it makes to have her become integrated with the other cast members. Watching Mullally and Offerman go at it is nothing short of brilliant and I only hope that the Emmy’s won’t ignore a second chance to honour Mullally brilliant guest work here. The two remaining arcs are smaller, but still satisfying. Watching April trying to deal with the constant peppiness of Chris is hilarious even if thus far the season seems to be either hit-or-miss when it comes to integrating Ann into the show. And of course, seeing Poehler and Scott interact is always fun.

[B+/A-]

30 Rock: “Double Edged Sword”

Sometimes I feel as if Tracy Jordan exists simply to be the bane of my existence when it comes to enjoying 30 Rock. I almost never manage to wholeheartedly enjoy an arc he’s featured in, and this week’s attempt – although much more than just fair – still fails to stick its landing absolutely. Everything else works perfectly, though. Carol and Liz’s relationship reaches its end and in natural 30 Rock fashion it’s absolutely ridiculous. Naturally, it’s only when the relationship ends I realise just how great Damon and Fey work opposite each other. The true highlight, though, was Elizabeth Banks and Alec Baldwin. More often than not I’m on the fence about Avery/Banks’ worth on the show, but watching her bemoan the potential Canadian nationality of her child is surprisingly hilarious – despite a potential hackneyed joke. But, it’s not really about freshness of the humour – 30 Rock is all about ways of doing the same thing over and over and making it work, and this episode works (even if Jenna is sorely lacking, ugh).

[B+]

Grey’s Anatomy: “P.Y.T (Pretty Young Thing)”

It’s weird, this episode doesn’t have the actors doing exceptional work and the writing is not perfect but it ends up being a solid, very solid, episode where things actually move forward. Callie, Arizon and Mark are dealing with her baby issues and I just want to say (for the umpteenth time) that Sara Ramirez is awesome. A pregnant Callie is almost as fun to imagine as a pregnant Bailey, so it’ll be interesting to see where the writers take that one. Thatcher’s back in the hospital, and though I’m not his biggest fan it actually makes for interesting drama and it’s so good to see Meredith growing up and being mature with Lexie and with her mother’s legacy. I don’t love the idea of that doctor putting Alex in his place, but it works as a plot device and it’s weird how neither April NOR Jackson annoyed me this episode. In fact, April had one of the most hilarious bits as Callie tried to comprehend her peppiness. Good stuff.

[B+]

Interesting Bits

• I love how Lexie is contemplating watching Sophie’s Choice and Cristina goes, “It’s a really fun movie.” Cristina’s such a psycho, I wonder if she’s messing with her or actually believes that.
• “I HATE you, Diane Sawyer.” Jane Lynch is amazing.
• Between Elizabeth Banks, Megan Mullally and Amy Ryan this year in comedic guest actresses is looking ridiculously strong.
• Jayma Mays, Jessalyn Gilsig? Where are you?
• Michael sitting in Holly's lap had to be the funniest bit of PDA.
• How funny was Claire freaking out about the word panties?

Standouts: Writing

Big Love: A-

Parks & Recreation: B+

Standouts: Acting

Bill Paxton in Big Love: A-

Chloe Sevigny in Big Love: B+/A-

Ty Burrell in Modern Family: B+/A-

Ginnifer Goodwin in Big Love: B+/A-

Steve Carrel in The Office: B+/A-

Nick Offerman in Parks & Recreation: B+/A-

Tina Fey in 30 Rock: B+/A-

Jeanne Tripplehorn in Big Love: B+/A-

Jane Lynch in Glee: B+

           

What this last week in TV like for you?