Emmy Chatter: Writing and Directing (Drama Series)

Remember two years ago when Mad Men took up four of the five writing nominations at the Emmy? We sure do. Ryan (of Sorta That Guy) and I started Emmy predictions with the guest performers early in the week. We return, this time focusing on the potential writing and directing nominees. These categories are notoriously difficult to predict, but this conversation was a lot of fan to predict.

Ryan: But off the bat, I've never even tackled predicting Writing/Directing nominees before because it's hard.

Andrew: It IS hard to predict. You were saying on twitter that it’s exasperating when shows submit like a dozen episodes, and even though I know they want to give themselves as much chances, I wonder if they really expect double nods.

Ryan: It doesn't help that the Emmys LOVE to give multiple nods. I remember two years ago how ridiculously it was that Mad Men got 4 of the 5 nominations. Love the show, but that is excessive.

How many nods is Mad Men getting this year?

Andrew: Well, imagine what it's like for people like me who DON'T love the show. They get a wee bit out of hand when they love you.

Ryan: Well with that said, shall we dive into Writing for a Drama then?

Andrew: Indeed, and since we're talking about Mad Men, they've won each year for the past three years. 2 nods the first season, 4 the second, 2 the third. How much do we see them getting this year and for what?

Ryan: At most 3 nominations for "The Suitcase" "Walfdorf Stories" and "Tomorrowland." I'm confident that "The Suitcase" will get nominated though.

Andrew: Really, because if we have any legitimate precursor for this category it's the WGA and the nominated MAD MEN episode there was "Chrysanthemum and the Sword"...which they won for...

Ryan: Hm. Maybe I should've paid more attention to the precursors! Well, then it'll be that and "The Suitcase." Or you know, maybe they'll get 4 nominations. Who knows anymore? The thing is there are a lot of new shows that they might want to honour.

Andrew: If there's a third, I'm thinking either "Tomorrowland" or "Beautiful Girls", but really they go crazy over some episodes. My favourite episode of the season was "The Good News", but I'm not a true fan. Sigh.

Ryan: Well as for new shows, Boardwalk Empire is the big one, but there's also Game of Thrones, Shameless, and The Walking Dead.

Andrew: Has Shameless been well received? That one seems to have escaped me.

Ryan: I'm not sure how well-received Shameless is actually, but it's HBO so it almost feel automatic for it to be in the running. And The Killing, which submitted almost every episode ever.

Any chance of The Killing making it in?

Andrew: Ha, I loved that The Killing did that. Probably just to fuck with voters. What really surprises me about the submissions for writing is that Boardwalk Empire really throws me for a loop when they submit almost every episode but NOT the pilot. And pilots of great shows are almost always the go-to for nominations. So I don't know which Boardwalk Empire episode to wager for a nod.

Ryan: Especially since Boardwalk Empire's "Pilot" is the front-runner for Directing. Um, Martin Scorsese thank you very much.

Andrew: (Yup, he's the frontrunner. But, you're pre-empting me. ha. ha) I figure the season finale is the best bet for a nod.

Ryan: I agree, but I don't really watch the show so I don't know. Also I was wrong about Shameless, it's on Showtime, not HBO. Its chances actually dropped because of that.

Andrew: You are mean.

Ryan: I'm going purely by nominating history of the Emmy's. They love HBO.

Andrew: Friday Night Lights and The Good Wife both got writing nods last season. Are they coming back?

Ryan: That's funny since I was going to ask you if there are any non-cable shows that would make it in.

Andrew: Let me get this out of the way now, I don't get Friday Night Lights. I'm trying so hard to get through the final season, and it's well made but I just can't love it. I'm barely mustering up a liking.

Ryan: I actually quite love it, except for the final season. Something's just been off about it, but then again I saw all of Friday Night Lights in 2 weeks a few months ago.

Andrew: Well, they submitted one episode which means all the fans have one horse to bet on. A nod you think?

Ryan: It's a great strategy definitely, but who knows. Everyone else does seem to love it, so its finale "Always" has a shot. As for The Good Wife, I'd say "VIP Treatment."

Andrew: Before we actually predict, I HAVE to ask. As someone who loves The Good Wife what do you think of the submissions? I think that there are some pretty egregious snubs in terms of submissions neither "Getting Off" nor "Ham Sandwich"? Or "Breaking Up" which I thought was a fair episode but excellently written. But, I guess of the lot "VIP Treatment" is the best bet.

Ryan: The episodes you mentioned are damn good, but that's the thing about this show, almost every episode is perfectly written. That's why I actually respect that they took the "less is more" route over the alternative.

Andrew: I do respect them for that. I'm a Dexter fan but it's never gotten a writing nod. Odd isn't it?

Ryan: Yeah and I have no idea how to explain it. They're okay with violence (The Sopranos), so who knows?

Andrew: I don't get that; and some critics weren't a fan of this season so I guess it's not a lock for a nod. I think it's time we show our hands; this is going to be fun. I'll go first.

Ryan: Do we really have to predict now, because I have 12 episodes on my long list and I have no idea how to pick 5-6 of them. I really, really don't. Guess I'll look at yours and decide.

Andrew: Pick blindly. (And you only have 5 choices.)

Ryan: Even better.

Andrew: My picks:
Boardwalk Empire “A Return to Normalcy”
The Good Wife “VIP Treatment”
The Killing “Pilot”
Mad Men “The Chrysanthemum and the Sword”
Mad Men “The Suitcase”

Ryan: My predictions are actually the exact same as yours, except I'm wavering on The Killing's Pilot. BUT my alternatives to that would be episodes from genre shows aka Game of Thrones"Baelor" and The Walking Dead"Days Gone By." So... I'm going to go with…
Boardwalk Empire “A Return to Normalcy”
The Good Wife “VIP Treatment”
Game of Thrones “Baelor”
Mad Men “The Chrysanthemum and the Sword”
Mad Men “The Suitcase”

Andrew: I, too, am wavering on The Killing, people have started to hate it so it could easily get ignored. And I don't see Game of Thrones getting love. I'd be pissed on principal if they do, because they ignored The Tudors back in the name which I find criminal.

Ryan: That's exactly why I'm wavering on The Killing. The buzz just seems to not be on its favour now, while Game of Thrones is riding some good ones.

Andrew: But the Emmy's are weird, they kept nominating Two and a Half Men without a care in the world. So, who knows?

Ryan: I'm predicting a shut out for that show this year. But maybe its wishful thinking. Also, that's jumping ahead a bit. Shall we go to Directing? Any front-runners?

Andrew: Hah. I'm already dreaming about how awesome Martin's speech will be.


Ryan: He's so locked, it's funny. I'm looking forward to seeing it. And I will definitely see that episode before the Emmy's. This category is a bit more forgiving on genre shows, so I'm predicting Game of Thrones, The Walking Dead, and maybe even Fringe could get in. The latter is DEFINITELY wishful thinking on my part.

Andrew: I have Game of Thrones there too.

Ryan: Three episodes though. Which one has the better chance?

Andrew: I say the pilot, for obvious reasons. Dexter will probably make it too. It won last year, and Shill directed "Everything is Ilumenated" which seems to have a good chance.

Ryan: I was thinking the pilot, too. And yes, definitely on "Everything Is Illumenated" since as you said, it’s last year's winner.

Andrew: Although, I'd think "Hop a Freighter" is a more obvious choice...

Ryan: And how about the perennial winner Mad Men? I keep saying "The Suitcase" because it was my personal favorite episode of the season, but I'm not sure. Especially since Matt Weiner did "Tomorrowland" and last year nominee Lesli Linka Glatter did "The Chrysanthemum And The Sword." Also I say "winner" though it hasn't won a directing award, has it?

Andrew: They've never won for directing, and probably might not...it could be any number of nods for them, though...but one is what I’m assuming...

Ryan: Any thoughts on the chances of "These Arms of Mine" for Grey's Anatomy? The direction of that episode was front and centre as they had to make it look like a documentary.

Andrew: But they've started hating on the show, they didn't even nominate Sandra last year. So I don't want to be hasty.

Ryan: Yeah, even as an on-off-on again fan of the show, I thought it was insane they didn't get any love for their chilling finale last year.

Andrew: I concur. Emmy's are really random that way.

Ryan: Another nominee last year, Agnieskza Holland could be nominated for her work on The Killing. But who knows?

Andrew: Show your hand, sir. Before you do, though, the DGA nominated Dexter, Mad Men, Lost, Game of Thrones and Boardwalk Empire.

Ryan: Thank you sir for that. Okay...
Boardwalk Empire “Pilot
Dexter “Everything is Illumenated”
Game of Thrones “Winter is Coming”
Mad Men “The Suitcase”
The Walking Dead “Days Gone By”

Andrew: Seriously? That's my line-up which is really random.

Ryan: So you were thinking The Walking Dead, too, though? That one was the surprising consensus to me.

Andrew: (I erred it was actually The Walking Dead and not Game of Thrones which got DGA love. Game of Thrones hadn’t come out yet.) I'm going crap it up and say "Hop A Freighter" instead of “Everything is Illumenated” instead for DEXTER.
Boardwalk Empire “Pilot
Dexter “Hop A Freighter”
Game of Thrones “Winter is Coming”
Mad Men “The Suitcase”
The Walking Dead “Days Gone By”
           
And...Darabont (The Walking Dead) is an Oscar nominee. But, really who knows?
               
Any predictions on the writing and directing for drama categories? Scorsese for the win? Mad Men to rule and conquer?

TV Week in Review: 8th-12th May

It’s another great week of TV as most shows wind down to the end of their seasons. The stakes are high, so most of them are in top form. I caught up on the episodes of Cougar Town and Modern Family from last week but missed this week’s Cougar Town (I’ll rectify that next week) AND I missed the second episode of Parks & Rec this week (sadness) which means I'll have three episodes of the show's best comedy up for review next week. Okay, moving on....

Cougar Town: “Lonesome Sundown”
It’s so great to watch how good of an actor Dan Byrd has become on this show, and whether it was being oddly humorous opposite Grayson or getting emotional opposite Kirsten (and then Jules) Travis was essential to that episode. But that was just a subplot alongside Jules moving into Bobby’s boat for a weekend while Laurie’s idea for “The Council” led to a string of hilarious gags. The episode was marked by all the whimsy, like Ellie realising that her life is nothing with [the ability to taunt] Laurie and Grayson and Travis doing some much needed bonding.
[B+]

Modern Family: “Mothers’ Day”
It was an essentially solid episode, although none of the three subplots were particularly stellar. The Cam/Mitchell issue was probably the most sincere –
Cam’s “crises” is understandable but it’s also hilarious. I do love Jesse Tyler Ferguson, even if I wish he’d get stronger material on a weekly basis. I didn’t love Bowen this week as much as I usually do – but that was more to do with the storyline, although I love moments where Luke and Manny have conversations. It always leads to hilarity. And, of course, Jay and Phil is always a recipe for awkwardness – in a good way.
[B/B+]

Desperate Housewives: “Then I Really Got Scared”
The episode is a lot of random stuff. Apparently the Solis household is back to normal a horror flick which Gaby shows Juanita ends up precipitating some night terrors and then an impromptu camping trip in the yard. On the upside, the presence of Lee worked well this episode but the closing with the random creepy guy who’s apparently searching for someone was just strange. Then, there’s Bree and Chuck. It gives Vanessa Williams an opportunity to turn up and be amazing, and the potential relationship between Bree and Chuck does seem good but something is off. The Lynnette/Tom storyline has reached cringe worthy heights. I have to say, I think Lynette is being ridiculous and Susan heading to jail for Felicia’s crime is bordering on ridiculous. Hopefully the finale makes more sense.
[B-/C+]

United States of Tara: “The Electrifying & Magnanimous Return of Beaverlamp”
Finally, I’m feeling something from Keir Gilchrist this season. As funny as all the madness with Tara’s alters is it is nice when the realism hits and it’s good seeing Marshall deal with that even if he’s too emotionally stunted for words (and it’s great seeing Lionel back). The episode, generally, is rooted in serious as Dr. Hatteras seems to be heading out owing to a fatal relapse in a patient he treated. Tara was in a good mood this week, though and watching her do such good planning for the birthday only to be waylaid by the new alter at the end. The best thing about this show, right now, is how everything is developing so well which brings me to my favourite arc of the episode – the excellent Brie Larson’s Kate. Something as simple as a tentative relationship with a passenger becomes much more poignant than I expected. Larson is really doing impressive stuff this season.
[B+]

Nurse Jackie: “Orchids and Salami”
Holy devil, Jackie is devious. The episode opens with her being the no-nonsense, good mother that she is but the way it switches to her drug issue ending on a troubling only underscores the dichotomy between good nurse and mother Jackie and drug addict Jackie. Now that we’re in the second half of the season the direction that show is taken is more obvious, and it’s going to be interesting to see what happens when everything flares up. I’ll admit that I love the rapport between O’Hara and Eddie, Best hasn’t gotten the opportunity to do anything brilliant, yet this season. Merrit Wever and Peter Facinelli were in top form, though. Wever was responsible for the comedic beats, like working on her blog – typing at a snail’s pace – and reminiscing with Thor about Kelly. But, it’s Coop who continues to be my favourite character. It’s both sad and hilarious watching his downward “spiral”. I really wish Facinelli would get some Emmy love.
[B+/A-]

Glee: “Prom Queen”

Jesse St. James is back! I have to admit, I was way less interested in the prom results than seeing Jonathan Groff back at McKinley. Of the three males Rachel has worked opposite the chemistry with Jesse worked best with the show (actually, the Puck/Rachel dynamic was more enjoyable but I won’t go there) so it’s nice seeing them get another killer duet. The one random thing was Mercedes’ sadness about prom. It’s not that it’s unwarranted, but just felt random – like all of Mercedes’ arcs seem now that I think of it. Other than that, it’s generally good. Oddly the highlight of the episode was Artie’s number which was so simple with the guys playing the instruments, it reminded me of old times (Glee wise). The climax of Kurt being prom queen didn’t really land as strongly as they seemed to want it to – sometimes Colfer just comes off as shrill to me, which is a shame because his comedic scenes are brilliant (just those few moments in the Home Economics class were great). Essentially, though, it’s a good episode and that bathroom conversation with Quinn and Rachel was surprisingly well contructed.
[B+]

The Good Wife: “Getting Off”

The dual arcs intersect nicely on this one. On one hand the lovely Mamie Gummer is back, a thorn in Alicia’s side and the arc features a guest spot from Sarah Silverman as a woman who owns a site that helps spouses to cheat. The crime itself is rather standard, but the concept of a triad marriage sparks some thinking on Alicia’s part which is proof that she’s not as holy as she thinks. But, of course this episode was all about that Kalinda/Alicia showdown. That scene of Panjabi in the elevator tops everything of the entire season, and all with no words. I’m not feeling Alicia’s perspective in either the Jackie or the Kalinda case, but Margulies delivers a forceful performance. It’s difficult to look away when Panjabi is on screen though. I want a three hour finale.
[A/A-]

Modern Family: “Good Cop, Bad Dog”

This is a nice solid episode of the show featuring the Dunphy clan in top form. Burrell and Bowen are so good in their roles it’s easy to forget that they’re actors and watching them switch roles for this episode was fun. Watching Phil, especially, being the main parent was a good highlight for the episode. And, we get to see the rapport between Manny and Luke, which is always a plus for me. The Gloria/Jay arc was excellent, but it was nice in its way underscoring the Mothers’ Day episode about Jay’s warmer interior, although Vergara’s performance felt over earnest. The Cam/Mitchell was better, though. I love the fact that Mitchell can be selfish at times and make it so logical, and it’s an interesting arc because I’m sure that almost everyone has been there.
[B+]

Community: “A Few More Paintballs”

So, another seasons ends. It’s a fine end to an iffy season of this show. Okay, perhaps not an iffy season. I’ve already confessed that the first half of episodes this season didn’t thrill but the show turned it around in the second half and they end on a powerful note. Everything works, from the blink and miss it cameo from Busy Philipps and Dan Byrd (go Cougar Town) to the star wars’ references which never went over the top to the resurgent theme of City College vs Greendale. It’s going to be interesting what becomes of Pierce and they leave us questioning that without turning it into too much of a cliff-hanger.
[A-]

The Office: “Dwight K. Schrute, (Acting) Manager”

I don’t know about anyone else, but I think the show is doing well without Michael. Dwight achieves his dream this episode, and naturally it leads to goodness. I’m not a big fan of a Dwight, I’m all for Jim but whenever the conflict between the two rears its head I’m excited. Dwight is at his most ridiculous and Wilson turns in a fine performance, and it ties in so well with the other office drama of Andy/Erin/Gabe. Gabe is becoming unhinged (and disturbing); it’ll be interesting to see what becomes of that. I’m glad to see the show is remaining solid.
[B+]

Parks & Recreation: “The Fight”

Hate to be a broken record here, but yet again this show turns in a near flawless episode. Poehler’s writing is excellent and the thing I’m most happy about is the chance for Rashida Jones to get some good work in AND become a worker of the department which should give her more screen-time. Tom’s ideas are always insanely good, or goodly insane. Either way it makes for great plot-lines and the concept of Andy and April playing dress-up was hilarious. April especially was brilliant playing her widowed character. Is it wrong that that blink-and-miss it moment of chemistry between Ann and Ben made me happy? God, this show is just perfection.
[A/A-]

Grey’s Anatomy: “I Will Survive”

Grey’s did a fair job this season. Much better than their worse season (season six) but often just fair and this penultimate episode here shows that they haven’t lost it. It’s not a seismic episode, but it’s well contrasted while managing to move plots forwards and maintains the balance between light humour and comedy. Oh is dominant in the episode and she’s great. Does anyone else notice how this season has rarely given actors the chance to shine? I miss the days when almost every episode was worthy of Emmy submission for at least one actor. Alex’s relationship with Lucy ends, which doesn’t bother me – I never cared for her. That rejection, though, leading to a drunken Alex could be destructive to Meredith, what with her tampering with the clinical trial and all. It seems like the season finale is going to be something great.
[B+/A-]

Private Practice: “God Bless the Child”

Addison and Naomi make up, and it’s about time. This is Addison’s episode as she deals with a patient getting an abortion and Walsh delivers. That’s measured against the return of Dell’s daughter and her potential abuse by her foster parents. To be honest, Violet has been annoying me a bit this season but she’s strong in that final scene of hers and it’s nice to see her and Naomi have a moment. I’m not sure what the season’s end will bring, though.
[B/B+]

Standout Writing
The Good Wife A
Parks & Recreation A/A-
Community A-
Nurse Jackie B+/A-

Random Thoughts

• Of all the random pairings on Nurse Jackie, I love the interactions between Thor and Coop.
• Am I the Glee fan who doesn’t think Colfer is an excellent actor?
• Seriously, the fact that Kalinda actually cried tears pierced my cold heart. But, now I want her to be an ice-queen to Alicia.
• I wish the character being killed off was Finn. Sue me.

             
Standout Performances
Archie Panjabi in The Good Wife: A
Julianna Margulies in >The Good Wife A-
Amy Poehler in Parks & Recreation A-
Toni Collette in United States of Tara B+/A-
Rashida Jones in Parks & Recreation B+/A-
Sandra Oh in Grey’s Anatomy B+/A-
  
Brie Larson in United States of Tara B+
Merrit Wever in Nurse Jackie B+
Aubrey Plaza in Parks & Recreation B+
John Krasinski in The Office B+
Keir Gilchrist in United States of Tara B+
Edie Falco in Nurse Jackie B+
Peter Facinelli in Nurse Jackie B+
Naya Rivera in Glee B+
Kate Walsh in Private Practice B+
Dan Byrd in Cougar Town B+
John Corbett in United States of Tara B+
                 Did you like Greendale’s send-off? Who did you vote for the prom queen? Did the Kalicia (Kalinda/Alicia) blow-up work for you? What did you watch this week?

TV Week in Review: 27th March-3rd April (and leftovers from last week)

It’s been a fairly good week, a few episodes that are quite good but a TON of brilliant performance which always makes me glad. I’ve got some left over comedies from last week that were worthy of note, somewhat, so here goes.

     

Modern Family: “Boys' Night”

Only now caught up on the latest episode of Modern Family, and it’s fairly solid but nothing special for me. It’s a series of interesting arcs, but they don’t pack as much as a punch as I’d hope though it gives Mitchell a nice chance to get some actual character development done. Seeing Jay “bond” with the guys is hilarious and that entire sequence is funny, even if the “resolution” is a bit too on the nose from the Gloria. It’s the same way that Luke’s new friend turns into a not-so-grumpy old man. It’s sweet, but a bit saccharine at times. But, that closing was a killer. Nice to see the very funny Reid Ewing back as Haley’s boyfriend and I love those moments where characters you don’t usually see together bond – like her and Cam.

[B/B+]

Community: “Critical Film Studies”

Another stellar episode from the Community crew. Jeff’s been so bland as a character lately so I like that he has this episode that serves as an interesting delve into his characters which has Danny Pudi (who was formerly my favourite supporting player) doing fine work. The one-sided commiseration of Cougar Town (which I miss terribly) was hilarious. I admit, at first the machinations of the group weren’t working for me, I was antsy for more Jeff and Abed – and then Troy went berserk, Abed went sane (which is actually berserk) and the episode ends with a brilliant close. Good stuff.

[B+]

  

30 Rock: “Plan B”

Well, Tracy’s coming back. Yay. If you know me, you know I’m less enthused about this and it’s a bit of a limp episode for me – the main arc, at least. Will Arnett’s return is fine and he does some good stuff upset Jack, but otherwise feels especially filler-esque. Tina is being a trooper, and she does try but it ends up feeling a bit too full of gags and without real hooks.

[ B-]

       

Nurse Jackie : “Game On”

As much as I’ll continue to admire the steps that Nurse Jackie makes in terms of taking the half hour-serial to a higher level, I’ll never understand why it’s considered to be a comedy. Its return is a case-in-point – a fine episode, a great way to return but one that thrives so brilliantly on the dramatic beats. Falco is in her usual good form and the rapport among the supporting cast is strong as usual. The second half doesn’t pack as strong a punch as the first, but it’s ultimately a top-notch return even though, nothing much really happens which is something I like about the show, usually – it always does take it slowly. Still, four minutes of recapping what happened last was a bit too much.

[B+]

        

United States of Tara: “...youwillnotwin...”

It’s not the same with United States of Tara, there’s a host of plot development but the episode isn’t brilliant – although it is a good episode. Tara’s return to college will be interesting to watch, and Collette shines in little moments like that meeting with the professor. As per normal, though, it’s Rosemarie DeWitt I’m more interested and she’s in fine form as usual even if [ ] is still ridiculous. There’s not an excess of focus on the children but both shines in their little moments – Larson is especially on-point in a funny interview scene. It’s the ending that strikes the strongest chord – a nice moment of “unity”.

[B+/B]

Parenthood: “Taking the Leap”

It’s an episode of good and not-so-good. Julia and Joel were the highlight of the episode, even if they still don’t get the A storyline (which is exasperating). That closing scene with the two is so brilliantly played, and I wish they’d given Christensen more to do to bring it home. Still, the two remain as the show’s most authentic pairing. Mae Whitman, too, is especially good this episode and I love that her college searching doesn’t turn into something too fanciful. The Crosby/Jasmine arc is become really awkward, as is the one with Adam/Kristina. I’m not sure how Sarah story is going to pan out, it could go either way – but I was hoping that Jason Ritter would return. I’m still waiting.

[B/B-]

The Good Wife: “Killer Song”

I recently caught up to speed on this show, but I wasn't sure if I'd watch this week episode...then I saw it open with Archie Panjabi (who easily wins for series MVP for me) so I continued watching. Julianna Marguiles aside – I just can’t love her - The Good Wife succeeds because it’s more serial in nature than every other CBS procedural. There’s a striking sense of continuity and the acting is excellent. America Ferrera’s guest turn this episode is well executed, and the court scenes continue to have that zing that used to mark the original Law & Order and its peak. And of course the focus on Kalinda is much appreciated by me, though it’s worrying what will happen when Alicia finds out. To get ethical, though, so the guilty man gets 30 years in an institution for one murder where he gets “mentally better”. I can’t help but feel he shouldn’t be tried for another murder he may not have been found guilty of before. Am I alone?

[B+/A-]

Grey’s Anatomy: “The Song Beneath the Song”

I didn’t even get wind that there was going to be a musical episode of the show until Wednesday – which goes to show that I should probably start paying attention to previews. Well, I love Sara Ramirez – I continuously play her numbers from “Spamalot” so it’s nice to see her work with those pipes – but the episode isn’t quite spectacular. It’s biggest issues is too much singing, so the episode ends up being obstructed and buttressed by the musical numbers, for the most part. Only Sara (and Wilson to some extent) ends up making the song work as a “acting” exercises and not just good singing. It’s an interesting plot, so I almost wish there wasn’t any singing so we could have seen more of Capshaw and Dane doing fine work – the latter of who I never thought had it in him.

[B]

Private Practice: “The Hardest Part”

It’s another fairly good episode of Private Practice sorely lacking in Audra and Addison. It sort of functions as the episode that should be Tim Daly’s calling card, but I find him terribly bland of an actor. So, the episode ends up getting its goodness from the guests mostly – the best of which is the piano prodigy who offers up an interesting arc. Nothing significant happens, but this episode makes me think that whenever Audra does leave the show for good (sigh) Kadee Strickland will be my MVP – she’s just so good, even in her small scenes.

[B-]

       

Standout Writing

Nurse Jackie: A-

The Good Wife: A-

United States of Tara: B+

Standout Performances

Rosemarie DeWitt in United States of Tara A

Edie Falco in Nurse Jackie A-

Archie Panjabi in The Good Wife B+/A-

Toni Collette in United States of Tara B+

Joel McHale in Community B+

Alan Cummings in The Good Wife B+

Jesse Tyler Ferguson in Modern Family B+

Sara Ramirez in Grey's Anatomy B/B+
Sam Jaegar in Parenthood B/B+

Peter Facinelli in Nurse Jackie B/B+

Brie Larson in United States of Tara B/B+

        

What did you watch this past week on TV – new HBO premieres? ABC Thursday? Joe Reid’s tweeting (he’s hilarious) made me tune in for Idol this week, but I’m really disinterested in the shown and couldn’t care to recap...should I tune in again next week?

TV Week in Review: 3rd - 7th October

I still owe you a real movie post, bear with me. And ignore the fluctuation length...I just have more to say about some episodes.

               

Dexter: “My Bad”

I hate starting all my thoughts on Dexter this way, but why is Michael C. Hall so brilliant? Okay...moving on. Obviously Dexter can't be normal and sit down and home, but I don't find the new villain all that interesting, but coming off John Lithgow - that doesn't surprise me. It's going to be really interesting seeing what happens when the climax of the Quinn/Deb/Dexter issue comes, that's something I'm looking forward to. It's probably good that the children aren't staying with him, even though I wish they had. The episode felt very calm, not very explosive but pleasant....well as pleasant as Dexter can get...

[B/B+]

Desperate Housewives: “You Must Meet My Wife”

There’s something awry with the construction of “You Must Meet My Wife” and it’s frustrating because I’m not sure what. One thing I’m appreciative about is seeing forward movement, plotwise. And, just like that, in one episode Gaby finds out that her daughter is not hers – biologically, Renee moves to the lane (sign me up for more Vanessa Williams) and Susan gets comfortable – sort of – doing a one woman porn show (okay, not really). Marcia Cross always plays well of Bree’s anal behaviour and it’s going to be nice seeing her get a little dirty with her construction worker. There’s just something the slightest bit disingenuous about that scene in the pool, but I’ll let it ride. It’s weird, though, how Eva Longoria has turned into one of the show’s better performers. She easily takes the episode with her comedic approaches and her “sexomnia”. It’s a shame she’s probably never going to get any significant recognition for her work. The “wife” of the title is of course Paul Young’s virginal (assumedly), thirty-something wife. Perhaps with time that arc will seem less silly, and Lynette constant lack of interest in Tom’s issues seems to be too unoriginal for me to care for. The added complication of Renee being a past flame (unbeknownst to Lynette) is every more

[B-]

Glee: “Grilled Cheesus”

 

I guess I figured that any episode of Glee that starts with Mark Salling singing Billy Joel had to be a good one. It seems weird that it’s already been a year since Kurt and Mercedes were making plans to go to the original “Sing-a-Long Sound of Music” (and the whole “Bust Ya Windows” incident) – it’s nice seeing those small efforts at continuity. “Audition” suffered from having too many storylines that that were getting tangled up in each other and “Brittney/Brittany” suffered from too little storylines with little connection, “Grilled Cheesus” gets it right, sort of. On the superficial level Kurt’s crisis with his father seems like the obvious A storyline, interestingly though Finn’s pseudo existential crisis seems just as significant. It’s still a “theme” episode but from the musical diversity to the controlled plot-lines it’s easily the most cohesive episode of the season. I was still not buying the concept sold in the premiere of the club members being one family but episodes like this make it seem realistic. There’s just something very easy about all the members dancing around the room to “Only the Good Die Young” and though its staging is freak-y “Papa Can You Hear Me?” manages to remain a definite line of dry humour despite its poignancy. I don’t think Kurt and Mercedes will ever NOT be my least favourite of the cast, and though I don’t think that this episode was the perfect showcase for Colfer’s talents so many seem to think his efforts were solid, and whenever Amber Riley opens her mouth to sing Mercedes becomes bearable. “Grilled Cheesus” exists like on of those palpable ensemble episodes like “Wheels” or “Journey”, no one seems to be monopolising it though I have to give Cory Monteith extensive props for selling the idea of the Holy Sandwich.

[B+]

Parenthood: “Date Night”

 

The more different it becomes from its cinematic predecessor (which I love) the more I end up liking Parenthood. This episode was that sort of episode where everything just coalesces into a perfect encapsulation of why this is a good show. What’s more, I’m back to liking Peter Krause. In fact his and Monica Potter’s arc, though done before, was well executed. It’s interesting watching them against the Erika Christensen / Sam Jaegar marriage, Jaegar once again does a good job with his role. Dax Shepherd is still my least favourite of the siblings but his work this episode was the best I’ve seen him.

[B+]

30 Rock: “Let's Stay Together”

Hmmm, does it get better? I'm not sure. Will & Grace will forever be the master at incorporating high-profile stars as guests and Queen Latifah's appearance just seemed too bleh. Kenneth's attempt to reapply to the programme was interesting but MacBryer never impresses me over time. Jenna K. still shows she doesn't need big storylines, but that doesn't mean she shouldn't get them. Come ON writer. Tracy Jordan....Sigh. I just loathe this guy. Okay, fine, not loathe but my patience wears thinner with him as each episode airs, his brand of funny is not for me. Alec and Tina hold the fort, but I feel as if Alec got too much to do and Tina got too little. And she was coming off such good work from last week. Sigh.

[B-]

The Office: “Andy's Play”

Ugh, once again the episode is sorely lacking in Erin. This was a good showcase for Ed Helms who does a good job with the main storyline. I wasn't bowled over by the Michael subplot but Steve Carrell always know how to make ridiculous and over-the-top into funny and even believable. I'm usually fond of Angela and Dwight but I'm not enamoured with the rekindling of their romance, really I did like Angela and Andy even if Erin is a brilliant addition to the show. Sometimes Jenna gets just too anal as Pam; this was one of those episodes. In some ways I just felt that it was trying too hard, but kudos to the writers and Carrell for selling the closing scene. Seeing Michael re-enact scene after scene from Law & Order was just the right amount of crazy and funny.

[B/B-]

Grey's Anatomy: “Super Freak”

 

Hmmm, the last episode was sort of brilliant. This one? Not so much. The patients were interesting, really that spider crawling out of the guy was really weird/gross/interesting/cool. It's interesting watching Sandra Oh play Cristina when she's almost afraid of surgery, but the treatment of that storyline seemed a little vague. Derek's sister is annoying as hell (take her away) and it's annoying that because Callie and Arizona are in romantic bliss or whatever they can't have a salient storyline. Sometimes Grey's comes, and sometimes it goes...this was it sort of going.

[B-]

Best in Show

Eva Longoria in Desperate Housewives

Monica Potter in Parenthood

Cory Monteith in Glee (don't kill me)

Ed Helms in The Office

Michael C. Hall in Dexter 

            

What did you watch this week?

TV Season, 2009/2010: Top Fifteen Supporting Actresses, Comedy and Drama

Eligible Shows (Eligible does not mean featured): 30 Rock, Big Love, Brothers & Sisters, Burn Notice, Californication, The Closer, Community, Cougar Town, Desperate Housewives, Dexter, Entourage, Glee, Gossip Girl, Grey’s Anatomy, How I Met Your Mother, Law & Order: SVU, Lost, Mad Men, Medium, Monk, The Office, Parks & Recreation, Private Practice, Psych, Royal Pains, Samantha Who, Supernatural, The Tudors, Ugly Betty, Weeds

                     

Runners Up: Alison Brie in Community, Sharon Gless in Burn Notice, Christina Hendricks in Mad Men, Audra McDonald in Private Practice, Elizabeth Perkins in Weeds, Busy Philips in Cougar Town, Jean Smart in Samantha Who, Angela Smith in The Office

#15: Vanessa Williams in Ugly Betty

She didn't get the Emmy send-off I was expecting, which was unfortunate. My general interest in Ugly Betty waned long ago but Vanessa still continued be an asset to television. I'm interested in seeing what she does on Desperate Housewives next season. I hope the writing is worthy of her talent.

           

#14: Sara Ramirez in Grey’s Anatomy

She's finally managed to get some significant story arcs, and really it's about time. Ramirez has potential to be one of the strongest on the show and she was especially good in the first half of the season. There's still a whole lot of fine tuning that needs to be done as far as her relationship with Arizona goes, but it's getting better.

                 

#13: Elizabeth Moss in Mad Men

as Peggy Olson

Perhaps it's the prototypical deglam at times but I always end up being moved by her Olson the most. Perhaps the character is too much at times, but I'm always pleased with the direction she takes it and though she can get overly technical at times I'm always appreciative of what she does.

                 

#12: Gabrielle Anwar in Burn Notice

as Fiona Glenanne

Am I blinded by lust? She’s one of the reasons that I often think that maybe Burn Notice is a comedy. She’s trigger-happy in the worst of ways, and her perkiness (if we can call it that) is scary at times. But it all blends together gloriously because she's oftentimes responsible for the biggest laughs of the show. She and Donavan are golden together.

             

#11: Aubrey Plaza in Parks & Recreation

as April Ludgate

She’s like a young Nick Offerman in training (well without his moroseness, actually scratch that with his moroseness). It would be easy to write her off as frigid, you’d be missing the point – I think. It’s sort of the ultimate comedic performances, she works more off actions than dialogue; odd considering that the show is so well written. The fallout between her and Ron was a highlight.

            

#10: Rashida Jones in Parks & Recreation

as Ann Perkins

Sometimes I wonder if she’s too understated. And then I remember that that’s what makes her special. For example, her drunkenness towards the end of the season was so well played, and never over-the-top. She doesn’t mug the camera, and yet I’m often looking for her. Like Schneider she’s playing a straight-guy to the crazies, and like Schenider she works brilliantly with Poehler. I liked her a bit more in the first season, but I’m getting picky.

          

#9: Ginnifer Goodwin in Big Love

as Margene Heffman

I ALWAYS forget how good she is (and it doesn’t help that Jeanne and Chloe keep up turning in those excellent performances) but she’s a good actress. She's the kind of actor who works well on the TV because we get to see her explore more than one facet of character. She'll always be the *third* wife - but she's still worthy of praise.

              

#8: Yvette Nicole Brown in Community

as Shirley Bennett

She is Community’s secret weapon – even if they don’t realise it. As clichéd as it sounds (and it does) she winds up being the heart of the show. She knows that Community is as realistic as Jeff’s original college degree, but she’s somewhere between enjoyably over-the-top and gloriously perfect, leaning more to the latter.

              

#7: Sandra Oh in Grey’s Anatomy

as Cristina Yang

It’s a pity that Sandra Oh doesn’t have an Emmy, but from Danner to Danner to Heigl to Wiest to Jones (the latter of whom I’ll assume was good from word-of-mouth) her competition was fierce. She fools you into thinking that her forte is the comedic portion (her almost offensive recalling of Schindler’s List complete with deadpan was brilliant), but then she’ll throw you for a curve when she gets emotive.

               

#6: Jane Lynch in Glee

as Sue Sylvester

She’s having so much fun playing this role and it shows. It’s comedic over-posturing at its best. The very concept of Sue Sylvester is ridiculous, she knows that and so do the writers which is why every time she pushes the envelope it doesn’t elicit an eye-roll from me but a bright chuckle. I still single out her diatribes in “Throwdown” as her highpoint, but what’s even more hilarious is her ability to deliver dialogue like no one’s business. Her delivery of the “I am Ajax” line still has me rolling with laughter for reasons beyond my comprehension.

                    

#5: Jenna Fischer in The Office

as Pam Beasley –Halpert

It’s nice when the writers grow and are willing to make even Pam a little snarky; though it’s just regular with an extra bite. She still can’t rival Krasinski with the deadpan facial reactions, and it’s odd that her strongest moment of the season was her acting very unlike Pam (the reaction to Michael and her mother). It’s to Jenna’s talents that she pulled off an almost childish tantrum. We couldn’t root against Michael…but we could not root against her either.

                

#4: Chandra Wilson in Grey’s Anatomy

as Miranda Bailey

At the height of her talent few actors can deliver an emotional juggernaut like Chandra Wilson. It’s ironic that in the weakest of seasons (see Season Four) Wilson ends up becoming even better. A potentially exasperating storyline in the final episode led to an oddly moving performance from Wilson. She’s been doing the titanic task of keeping it serious (and she almost pulled off those braids in the flashback episodes. Almost).

               

#3: Jayma Mays in Glee

as Emma Pillsbury

Mays has the most distinctive speaking voice of the cast and her strange enunciation works impeccably in fashioning the strange creation of Emma Pillsbury. It’s easy (too easy) to write off her many tics as over-the-top. She stood as the strongest in the Madonna themed episode because Mays is aware of all the things that make Emma crazy and all the things that make Emma attractive.

                

#2: Chloe Sevigny in Big Love

as Niccollette Grant

It’s criminal in some ways how Big Love’s talented cast is continuously ignored by the Emmys. Sevigny continues to be the strongest, by now she has the caustic manner down and manages to humanise her character when necessary too. Her reaction to Bill's campaign, though surprising, was well played.

               

#1: Jane Krakowski in 30 Rock

It’s even stranger when I think that Jenna’s role has been decidedly shortened in this last season, but that’s the brilliance of how Jane Krakowski makes a few minutes in a 20 minute comedy that much better. She continues to make the most of the writers’ one-liners continuing to make Jenna’s theatricality a reality and not a peculiarity. She comes out as the strongest in the cast most often than not, even when she’s only there for a moment.

               

Previously:

Lead Actor
Lead Actresses
Supporting Actors
Guest Performers

           

Who were the supporting women that had you cheering last season?

TV Season, 2009/2010: Top Ten Leading Actresss, Comedy and Drama

I anticipate some angry readers…okay, perhaps not. But you know I’m not particularly normal in my tastes…; that doesn’t mean that my choices are poor. I feel strongly for them all, particularly the top 5.

           

Runners Up (Alpha): Tina Fey in 30 Rock, Sally Field in Brothers & Sisters, Calista Flockhart in Brothers & Sisters, January Jones in Mad Men, Leighton Meester in Gossip Girl, Elizabeth Moss in Mad Men, Mary Louise Parker in Weeds, Kate Walsh in Private Practice

               

#10: Ellen Pompeo in Grey’s Anatomy

as Meredith Grey

I’ll continue to tout Ellen, because she continues to deliver. Say what you want about Grey’s the show Ellen keeps on delivering as Grey the person. She’s had a middling season, she was on quasi-maternity leave for the first half…but she was particularly moving as the season drew to a close. The somewhat clichéd storyline in the finale managed to come off because she was so on point.

         

#9: Marcia Cross in Desperate Housewives

as Bree Hodge

She’s one and a half of the reasons I’m actually planning on watching the next season of Desperate Housewives (the half being Vanessa Williams). It’s not that the show is horrible, but Cherry seems to have forgotten how to make the four women part of one story and not turn the show into four unrelated plots. Her arc last season was maddening at times, but it’s why I’m continually impressed with Marcia. She doesn’t sweat it, and attacks each episode with sincerity. She deserves more.

        

#8: Courteney Cox in Cougar Town

as Jules Cobb

Though Cox was never my favourite of the Friends, I’d wager that she was the most underrated. More than her lack of Emmy love, people rarely realised the difficulty in making Monica Geller work just right. And Jules is a completely different creation. Just the right amount of candid, funny and odd. It’s nice seeing her front and centre and she more than holds her own among the cast members.

                 

#7: Jeanne Tripplehorn in Big Love

as Barb Henrickson

At the best of times my allegiance will often remain with Sevigny’s middle wife, but Jeanne’s natural cadence is irresistible. It’s anyone’s guess why she hasn’t managed to get a bigger career (for the life of me, the first film I can think of with her is Mickey Blue Eyes, which doesn’t say much). In the season argument pitting her against Paxton she easily comes out on top (no disservice to Paxton).

                   

#6: Christina Applegate in Samantha Who?

as Samantha

Cancelled years before it’s due, it’s a pity that Christina Applegate is remembered for being the talented comedienne she is. In some ways Samantha’s brand of kookiness is just too good to be true, but in that way she’s the perfect headliner for an underrated show. Christina works excellently with her entire cast, moreover unlike many leading comediennes she’s never upstaged by her supporters. Is the writing slanted towards her? Not so much…she’s just always on the ball.

        

#5: Lea Michele in Glee

as Rachel Berry

I think that her episode submission (Sectionals) was excellent, but I’m not sure she’s a Lead. It depends on the episode really. I don’t have a problem with her overassertive character, but sometimes I think that that character is what prevents people from realising how much she’s doing. She’s no Barbra, but she sings and acts at the same time…that’s rare to be honest, and it’s really not as easy as it looks.

          

#4: Patricia Arquette in Medium

as Alison Dubois

I was nervous about the move to CBS, but it managed to work. She’s still able to pull of the comedic bits in a fairly straight drama and a particular Halloween episode was only one of the few aces this past season. It seems like the awards’ bodies have all but forgotten her, which is unfortunate because she still continues to turn in good work.

             

#3: Glenn Close in Damages

as Patty Hewes

She tentatively called it the best role she’s been given last year at the Emmy’s. It’s not, of course, but she’s delivering brilliant performances on it and if we can’t get on her the big screen why not the small? Patty is still too gargantuan at times, and no one seems to be able to have the upper hand with her. Still, Glenn makes it work. Her chances of a third Emmy are nonexistent…what with Julianne Marguiles and all, but at least cable is saving the show for a fourth season.

          

#2: Amy Poehler in Parks & Recreation

as Leslie Knope

Poehler’s Leslie is a difficult one to play. She’s ferociously devoted to her job, despite her craziness. Even more, she’s brilliant at it, even it’s just a government job in the Parks & Rec department. Poehler makes such a ridiculous devotion real and we never doubt Leslie’s honesty even as we watch her being continuously ridiculous and making some decidedly poor choices. It’s like at the end of the season when she has that goodbye with Schneider – in her way, she’s dedicated to making the world a better place. One bit park at a time.

       

#1: Kyra Sedgwick in The Closer

as Brenda Leigh Johnson

Against all logic Kyra Sedgwick manages to get better with each season of The Closer. She is The Closer (really, that’s her job) and from Brenda’s idiosyncrasies and insecurities to her bravery and dedication she nails it all. I don’t even notice the accent anymore, I can’t say if it’s on-point but it certainly is convincing. More than that, though, Kyra’s tenacity is formidable and her talent is difficult to ignore.

             

Who were the leading women who had your attention this past season? Kyra, Lea, Amy, Glenn? Who have I missed?

Previously:
Fifteen Supporting Actors
Fifteen Guest Actors / Actresses

TV Meme, Day 26: Season Finales (OMG, WTF?)

My oh my. What a question, I've read a few titles for this day (skimmed is more the word) and I see the types they've chosen and I'm really at a loss as to what to pick. I'd always had three season finales on my mind, though I'm still not sure they're the best season finales or the most shocking. There's "The Gift" the season finale for Buffy, the Vampire Slayers Season Five. Then, there's the two parters "Deterioration of the Flight or Flight Syndrome / Losing My Religion" the Season Two closer from Grey's Anatomy and "Goodbye for Now/One Wonderful Day" from the First Season of Desperate Housewives. However they'll rank on the list of great performances they really are three excellent season closers.

               

You know I don't like choosing so I'll do a quick recap of each finale and tell you why they're OMG, WTF worth. They may not seem so shocking, but watching it makes you see it more. Still here goes -  beginning with Grey's Anatomy. 

       

Grey's Anatomy: Season Two Finale

Backstory, in case you don't know the show is about surgical interns. At the moment Izzie Stevens (an excellent Kate Heigl) is cutting Denny, her boyfriend's, LVAD wire because unless his condition worsens he will lose the chance of getting a donor heart and he may give up on life and head in to the light. WTF? I think so too...

Breaking it down, it goes like this - It opens with what we learned in the last episode. Burke has been shot OMG. Meredith has joined George with Izzie and Cristina informs them of Burke's test. Dr. Bailey, their resident, finds them all breaking rules and orders them out but Izzie shouts them down refusing to leave (W.T.F). Alex is at another hospital waiting for the tests to confirm whether Denny is critical or not, but the rude attending there refuses to wait (WTF). Eventually, though more lies, he does get the heart and Dr. Hahn grudgingly returns to Seattle Grace to take part in the surgery since Burke is incapacitated. Burke might not be able to use his hands again and Derek must perform on him (OMG). Denny gets the new heart, but for punishment the interns must help the Chief-of-Surgery's niece pull of a ridiculous prom (OMG - seriously?). Denny asks Izzie to marry him even though he's NEVER seen her outside of the hospital (WTF). All are called in for questioning, but no-one spills the beans even Alex, who Izzie dumped him to hook up with Denny. Eventually though Denny dies because of a blod clot (O. M. G.) and Izzie cries through the entire of Snow Patrol's "Chasing Cars" eventually quitting the hospital surgical programme (WTF). Oh, and Derek and Meredith have sex in a closet and the episode ends with her there, unable to decide to choose between him and her current boyfriend (WTF - who the hell wouldn't pick Chris O'Donnell over sleazy adulterer McUnDreamy?)

           

Desperate Housewives: Season One Finale

Backstory:  Somebody killed Deirdre, Mike's ex-fiancee from a decade ago and he's intent on finding the murderer. He believe it is Paul Young, who happened to kill another neighbour who was blackmailing his wife Mary Alice - leading to her suicide. Bree and her husband Rex are about to be separated (he's been unfaithful), her pharmacist is poisoning him to death, but no one else knows. Tom's ex-girlfriend is working at his company again and his wife is jealous and Carlos may be going to jail for some white-collar crime. Okay, good. Susan is walking around the street being her usual annoying self.

Rex gets a heart attack, but Bree is being passive aggressive and makes the bed before she drives him. (WTF). She realises it's serious and checks him in. Gabrielle suggests to Carlos that the baby she's carrying may not be his and he freaks out and attacks their new gardener, who's gay (WTF). Lynnette's ridiculous jealousy makes Tom lose his job (WTF! OMG!). Paul Young's son Zach is staying with a nosy neighbour Felicia, the sister of the woman Paul killed, who shields him from his father's location (she has actually sent Mike out to kill him OMG). Zack goes berserk when she doesn't tell him the truth and bludgeons her until he gets it (WTF! OMG!). The new neighbours arrive and though Edie sold them the house they refuse to let her show them around (WTF!). Susan's constant ridiculousness leads her over to Mike's house where Zack is waiting with a gun, she's trapped there for the rest of the episode (OMG). Rex's doctor realises that he has too much potassium in his blood and Rex immediately thinks Bree is poisoning him. He writes a note of forgiveness and dies, Bree receives the news cleans her cupboard of silverware and then sits down to wail (OMG). Gabrielle testifies that she was making her husband jealous which is how the mix-up came about, but her original gardener shows up and tells Carlos the news in court, who attempts to beat him up (WTF). Wait: there's more. We learn that Mary Alice and Paul took Zack to a new town when his druggie mother sold him to them. She returns three years later clean and wanting her son. A scuffle ensues and Mary Alice kills her (OMG WTF OMG WTF). They put the body in a box and put it out to sea. When Mike learns the truth from Paul he does not kill him, but goes home not knowing that Zack is there waiting with a gun (OMG).

            

Buffy, The Vampire Slayer:  Season Five Season Finale

Backstory: Glory is super evil, that's really all you need to know and she's planning on destroying the world by opening a portal that Dawn, Buffy's sister's, blood is the key to; hence Dawn is being held captive. Tara, Willow's girlfriend, has gone catatonic due to Glory's wiley ways.

The one way to stop the world is to kill Dawn, Buffy of course refuses. The gang decide then their best option is to avert the time of Glory's attempt since the world can only be stopped at a particular time (WTF). Xander proposes to Anya, who tells him to wait until the end of the world doesn't happen - OMG. Spike is finally allowed back into Buffy's house and the two share a heart-to-heart (OMG, so nice). The usual fighting hijinks ensue and there a lot of OMG moments (like Giles murdering Ben) but it's the end when Buffy KILLS HERSELF to save the world and we're all left doing a collective OMG WTF (this is the SECOND time she dis). Damn, I love this show.

               

Okay, that was one big splat of verbosity. This MEME is killing me, but I love it.