It should be no surprise that Glee has fallen in the ranks of my favorite shows. What used to be appointment TV is now Hulu-days-later TV. I feel like it doesn’t have the same pizazz, the same bite, the same freshness. So imagine my surprise when I found the most recent episode, “On My Way,” to be one of the most important hours of television of this season… or maybe of any season. In the story, Karofsky—whose bullying of Kurt stemmed from his own closetedness—becomes the target of physical and cyber bullying himself, and he tries to take his own life. The students and faculty at McKinley then grapple to empathize and to process their guilt. Finally, Kurt visits Karofsky and helps him imagine a happy future—one worth living to experience.

The episode aired with public service announcements from The Trevor Project, an organization whose mission is “to end suicide among LGBTQ youth by providing life-saving and life-affirming resources including our nationwide, 24/7 crisis intervention lifeline, digital community and advocacy/educational programs that create a safe, supportive and positive environment for everyone.” (And the same PSAs also ran on Hulu.)

I was very lucky that I never had to be forced out of the closet, and that I could tell the world on my own terms; and even luckier that when I did, I was received with love and support. I don’t take that for granted. So many others aren’t so lucky, and I can imagine how easy it would be for them to feel alone and helpless. That’s why causes like The Trevor Project are so vital. Now, LGBTQ teens don’t have to feel isolated. When they think that their lives are meaningless and hopeless, there’s someone a phone call away to tell them otherwise.

I love the frivolous, funny episodes of Glee as much as the next fan; but I think the show is at its best when it addresses our society’s issues and debates, sometimes even using shock tactics to get people to sit up and take notice. The stellar on-screen performances aside, I give the writing team a lot of props for using the breadth of the show’s cultural influence to shed light on an important issue and, better yet, an important solution. (And from the installment’s cliffhanger ending, it seems like the next issue the show tackles is texting-while-driving.)

The episode is viewable here (for as long as it’s available on Hulu), and you can read more about The Trevor Project here.

My year-end accolades (or year-beginning ones, as the case may be) always come with a disclaimer: I haven’t watched all the awesome TV out there. There’s no Boardwalk Empire on this list, no Homeland, no Game of Thrones… and I can’t even award Breaking Bad because I’ve only seen three episodes of this year’s season! But, c’mon, every TV critic must be missing out on something worthwhile… at least, those TV critics with social lives. (And I should know—I used to not have one to speak of!) Anyway, enough navel-gazing. Of the shows I’ve followed consistently, here are my favorites.

1. American Horror Story
2. The Good Wife (2010: #8)
3. Modern Family (2010: #4)
4. Justified (2010: #10)
5. Dexter
6. Parenthood
7. Community (2010: #5)
8. Parks and Recreation (2010: #7)
9. Fringe (2010: #6)
10. True Blood

We all watch television in eager anticipation of those watercooler moments—those moments so shocking, so emotional, so incredibly awesome that we have to a) rewind to watch them about twenty times and b) rehash them to death with all of our fellow watchers. And I honor my picks for those moments here, along with video clips of each moment from YouTube and Hulu (which will hopefully still work in six months). Bear in mind that I did not (and surely could not) see every worthwhile show on television in 2011, and I might be behind on the ones I do watch, so I will most certainly snub deserving moments. Also, I chose not to go Googling to remember these events; if they didn’t come immediately to mind, they must not be momentous enough to merit a place on this list.

WARNING: MASSIVE SPOILERS AHEAD! You may just want to look at the show names in the parentheses before looking at the description to keep yourself pure. You’ve been warned!

1. Alicia finds out (The Good Wife) that Kalinda slept with her husband Peter, since only she knows that the name of his rumored mistress, Leila, is the name with which Blake would constantly refer to Kalinda.
2. Debra sees Dexter kill (Dexter), and now we’re dying to know now how strong their familial bonds are—will she arrest him, protect him, or aid and abet him?
3. Adele learns she has Alzheimer’s (Grey’s Anatomy) passing through denial, anger, and grief all within the span of a tour de force monologue, thanks to an Emmy-winning performance by Loretta Devine.
4. Zeek lectures Amber (Parenthood) after she gets in a car accident because her friend was drunk, saying, “You do not have my permission to mess with my dreams.”
5. Gus uses the box cutter (Breaking Bad) on his henchman Victor’s neck, wordlessly putting the fear of God (or is that the fear of Gus?) into insubordinate Walt and Jesse.
6. Violet realizes she’s dead (American Horror Story) when she finds her rotting corpse deep in the bowels of the Murder House, and she realizes that her suicide attempt days earlier was successful.
7. The multiverse forgets Peter (Fringe) as if he never existed, and he was only trying to stop the destruction of our universe by the other and vice versa.
8. Debbie shoots Tara (True Blood) with a bullet meant for Sookie, making this season finale the bloodiest and most tragic episode yet.
9. Michael says goodbye (The Office), ending the comedy king’s reign in Scranton on a surprisingly sincere and touching note.
10. Henry dies (Grey’s Anatomy) on Cristina’s operating table, while Henry’s wife Teddy operates in the next room, misled to believe the surgery is a success.
11. Dexter finds the professor’s frozen body (Dexter) and realizes that Travis is the monster himself, not just the lackey—and worse, he’s schizo.
12. The Troubletones sing “Rumour Has It/Someone Like You” (Glee), a mash-up showcasing the emotion-laden vocals of Mercedes and Santana, with some fine choreography to boot.
13. Adam and Kristina fight (Parenthood), which not only displayed superb acting by Peter Krause and Monica Potter but also proved that the relationships developed by this show’s writers are among the most realistic you’re likely to find on TV.
14. Callie sings “The Story” (Grey’s Anatomy)—really just an excuse for Sara Ramirez to sing a showstopping number, and damn if she didn’t sing her heart out.
15. Blake leaves Kalinda with a parting shot (The Good Wife), telling her that he knows that she slept with Peter—and we get a rare glimpse of a vulnerable and scared Kalinda.

• BONUS: “Just give me all the bacon and eggs you have. Wait… wait. I worry what you just heard was, ‘Give me a lot of bacon and eggs.’ What I said was: ‘Give me all the bacon and eggs you have.’ Do you understand?” – Ron Swanson, Parks and Recreation 

   

The start of a new year makes us all reflect on the previous 365 days, but it makes this blogger reminisce not only about the year that was but also the television that was. That’s right: as is tradition this time of year, it’s time for another round of the Primies. Not the most prestigious awards, perhaps, but let’s hope it’s a bit more entertaining (and maybe even more credible) than last night’s People Choice Awards? In any case, here are the characters I appreciated the most in 2011. And I should also take this opportunity to categorically commend the actors who portray these characters, since even the best writing needs the perfect delivery. Finally, let this be a warning to all ye who continue: spoilers abound!

1. Debra Morgan (Dexter) This season saw this profanity-spewing Miami Metro detective was make lieutenant, but the promotion alienated her from her team. Couple that loneliness with her disconnectedness with her brother, and the revelation of what that dependency means, and the revelation of who her brother is; and you get a woman for whom every aspect of life is unraveling. Played by Jennifer Carpenter.
2. Mags Bennett (Justified) The matriarch of the Bennett family was always ready with a glass of her famous “apple pie” on top of the table and a sawed-off shotgun below it. She could have easily been portrayed as a backwoods simpleton, but her cunning and deviousness almost outstripped Raylan’s in the culmination of the Bennett/Givens feud. Played by Margo Martindale.
3. Kristina Braverman (Parenthood) Kristina has a lot on her plate these days: a teenage daughter on the brink of adulthood, a son with Asberger’s, a weeks-old baby, and a husband starting his own business—not to mention a zany bunch of in-laws. And she handles it all with an admirable amount of patience and compassion, but her humanity truly comes through when it all proves too much for her. That realness makes her brand of “parenthood” the most relatable of the show. Played by Monica Potter.
4. Gloria Delgado-Pritchett (Modern Family) Disregarding her sex appeal (reluctantly), Gloria is a pleasure to watch every week because of two reasons: her Colombian accent is ripe for comedy, and her references to her upbringing—e.g. any anecdote starting off with “In my country…”—are reliably funny. Played by Sofia Vergara.
5. Santana Lopez (Glee) Despite the Glee fatigue some of us are feeling, one of the better developments of late is the amount of time Santana is in the spotlight. Once known as the other Cheerio singing back-up for Quinn, this pistol from Lima Heights Adjacent has been showing off her considerable pipes recently, particularly in duets with Mercedes. Played by Naya Rivera.
6. Constance Langdon (American Horror Story) Never mind that the Tinseltown limelight never shone upon her, never mind that she murdered her husband and her maid, and never mind that her children are all resting in peace (or otherwise), Constance is still unflappable—not to mention perfectly coiffed. Played by Jessica Lange.
7. Eli Gold (The Good Wife) A brilliant strategist, Eli’s political savvy and tactics won Peter Florrick the seat of State’s Attorney, but he always seems two poll points away from a nervous breakdown. In fact, he is at his comedic best when he loses his cool. (Talking to the chairman of the Democratic Committee, he sputters, “Where did you go to school, you idiot!”) Played by Alan Cumming.
8. Rubber Man (American Horror Story) Easily the most unnerving (if not totally terrifying) character of the year, the silent, omnipresent Rubber Man haunted, raped, and/or murdered inhabitants of the so-called Murder House—and we won’t even dwell on what he did with the fire poker. Played by Riley Schmidt, Evan Peters, and Dylan McDermott.
9. Lafayette Reynolds (True Blood) Honoring Lafayette on this list is long overdue, since his gaudy style and cutting remarks make him one of my (and so many other Truebies’) favorite characters. But he deserves even more recognition this season for being put through the ringer. Not only was he embodied by not one but two spirits, but his boyfriend and (presumably) his cousin lost their lives. Time will tell how or if he recovers from these blows. Played by Nelsan Ellis.
10. Amber Braverman (Parenthood) Amber has grown up so much since the days of her teenage rebellion, but she still has so much further to go. Her transition into adulthood and her struggles making it on her own are recognizable to me and probably anyone my age. Played by Mae Whitman.
11. Blair Waldorf (Gossip Girl) After establishing herself as the Queen Bee of the Upper East Side youth the previous three seasons, Seasons 4 and 5 has shown a softer side of Blair—evidenced in her platonic dependence on Dan. And this Dan appreciates the dimensionality. Played by Leighton Meester.
12. Burt Chance (Raising Hope) Easily amused, never mature, and never quite capable or competent, Burt still transcends poor-white-trash humor and becomes endearing because he’s so good-natured and well-meaning. That said, he’s funniest when his stupidity rears its airy head. Played by Garret Dillahunt.
13. Tom Haverford (Parks and Recreation) Normally, this level of delusional confidence would grow tiresome, but with Tom, it’s always entertaining. His storylines are even funnier when his self-promotion comes this close to paying off before he puts his foot in his mouth or otherwise happens to blow his cover. Played by Aziz Ansari.
14. Dickie Bennett (Justified) Deficient of his mother’s cleverness, Dickie is a bit of an idiot—but a dangerous idiot because of his fast trigger-finger and even faster temper. Still, he had a hickish way with words, and for that I salute him. Played by Jeremy Davies.
15. Henry Burton (Grey’s Anatomy) Effortless charm is not a common personality trait, but Henry has it. And though he was never pessimistic about his health troubles (or anything else for that matter), Henry always struck me as an underdog type, which is why it was so good to see Teddy make him happy. Played by Scott Foley.

Hello, my name is Dan Clarendon, and I’m an addict. Ladies and gentlemen, I’m afraid to say I’ve had a bit of a setback. I thought my life was better off without Gossip Girl. Only a year and a half ago, I publicly condemned it, deeming it “flat” and “uninteresting.” I criticized the fact that none of the characters mature and that none of the break-ups and make-ups matter because none of them last.

Well, I’ve been tempted again, and I have to admit, I lost control. But it wasn’t my fault, I swear—I have enablers! My boyfriend is a junkie, too. And Netflix is my supplier. How can I help myself when every episode from the past four seasons is available to stream instantly? I started using Gossip Girl again to indulge my boyfriend because I know he loves it and I didn’t hate it. So I figured I’d get caught up so that we could watch together. What was the harm, I thought. And there was a time when I enjoyed it. But then I started liking it way more than I thought I would or should.

I started watching it independently. It became my primary source of procrastination. If I had my druthers, I’d probably be watching it now instead of blogging. It’s a perfectly decent show. It can be silly and proposterous and ocassionally dull, but when it’s salacious and scandalous, it can be one of the most addicting TV drugs I know.

Listen, don’t judge me, okay? I can make fun of it like the best of them. Blake Lively is not likely to win an Emmy. Taylor Momsen looks like a would-be Lohan. Ed Westwick’s name is Ed. But, hey: everyone is good-looking, the clothes are bizarre in a cool way, the music is pitch-perfect, the storylines are tantalizing, and—best of all—the show glorifies New York City. And it just makes me feel good, dammit!

Look: I can stop any time. I swear.

Forgive me, readers, for I have sinned. It’s been months and months since my last blog post. And in that time span, the Emmys broadcast came and went, uncommented on—until now! Yes, though it may be ridiculously belated, I’m here to opine, ruminate, and wax poetic on all things Emmy. Hey, at least I’m doing so before next year’s broadcast…

• Even though the opening number didn’t wow me (until the Mad Men bit, that is), I still think Jane Lynch made for a fine Emmy host, and I hope the producers continue to make unexpected choices for the hosting gig for future ceremonies.
• All hail Modern Family. Not only was it chosen as Outstanding Comedy Series, but Phil and Claire Dunphy themselves, Ty Burrell and Julie Bowen, were chosen as the comedy world’s best supporting actor and actress. Plus, the show also took home awards for its writing and directing.
• That said, I could have used some more Parks and Recreation lovin’, since that show jockeys in my mind with Modern Family for the best comedy on TV right now.
• I loved Melissa McCarthy on Samantha Who? (and I hear she was just as lovable in Gilmore Girls), and now she’s finally getting her moment in the sun, what with a scene-stealing turn in Bridesmaids, Emmy gold for Mike & Molly, and a recent critically-adored hosting job on SNL.
• Still haven’t watched The Big Bang Theory, but congrats to Jim Parsons nonetheless for nabbing Outstanding Actor in a Comedy Series. I’d be eager to watch, but I just have too much television on my plate.
• Once again, The Daily Show is hailed as the best of all variety, music, and comedy series—and I feel shameful that I haven’t even gone to see a live taping here in New York.
• It was hugely gratifying to see Margo Martindale win for her role as Mama on the criminally-underrated Justified. And I’d nominate Mama’s “apple pie” in Most Tantalizing Moonshine category.
• It seems like fans of Friday Night Lights bemoan its lack of attention, so I felt some vicarious vindication when Kyle Chandler won for Outstanding Lead Actor in a Drama Series. Still, I was rooting for Justified‘s Timothy Olyphant…
• Julianna Margulies? Love her. Love everything about her. Love The Good Wife. Yep.
• As much as I enjoy The Amazing Race, I think that Top Chef put up a better season this year. Both shows brought back former “also-ran” contestants to compete again this season, but Top Chef‘s contest was just more engaging.
• Much as I enjoy Grey’s Anatomy (discounting the fact that I get paid to enjoy it), I do think that Loretta Divine deserved the show’s one and only acting nomination, and I’m tickled that she won it, because this scene is definitely Emmy material.
• When I saw Kate Winslet in the audience, I assumed she was just there for show. Then I remembered (and then she won for) her role in HBO’s Mildred Pierce miniseries. And that’s great, because she’s just so freakin’ likable.
• Much as I love Mad Men, I found myself a little dismayed that it won this year again. Seems to me that any of the other four shows (Dexter, The Good Wife, Friday Night Lights, Game of Thrones) would be just as worthy. Is Mad Men Fatigue possible? And if so, is it justifiable? I guess it’s a high-class problem to be tired of a show being consistently excellent.
• Most pressingly, when the hell will I be recognized by the Emmy voters for Outstanding if Infrequent Television Blogger or Outstanding if Overconfident Talent for an Unproduced Television Writer?

Regardless of what you thought of the result (if you happened to see it), you have to admit that putting on a musical episode of Grey’s Anatomy—and doing so sincerely without a sense of parody or irony—indicates that Shonda Rhimes has some pretty major creator-balls. It certainly wasn’t Glee, and jazz hands were nowhere to be seen. It took a different tack to the trope of the musical episode, and it succeeded as much as it failed.

I get what Shonda tried to do, and I loved the idea of commemorating the songs that Grey’s made famous. But here’s the rub: a show’s music supervisor usually chooses songs whose tone sets the right mood for a certain scene and does so without much regard for the actual lyrics. So while the refrains of the songs fit in with the storyline (e.g. “Breathe,” “Wait,” “How We Operate,” “How To Save a Life”), the rest of the lyrics did not. Take The Fray’s hit song “How to Save a Life,” for example. It’s about failing to reverse a friend’s self-destruction, and that’s not quite applicable to Callie’s case. To be fair, however, some of the other songs (e.g. “Chasing Cars,” “Grace,” “The Story”) did actually make sense within the storyline.

The performances were a mixed bag. Sara Ramirez: awesome. Kevin McKidd, Chandra Wilson, Chyler Leigh: almost as awesome. Ellen Pompeo, Justin Chambers, Jessica Capshaw: surprisingly impressive. Kate Walsh, Kim Raver: points for trying. Patrick Dempsey, James Pickens Jr., Sandra Oh: musical no-shows! It’s no surprise that the talented singers were showcased more than the less-talented ones, but the editing of the scenes made the disparity so obvious. (Case in point: we saw and heard about one whole second of Addison singing.)

I loved the “book” of the musical, or the spoken script. Mark’s grief, Alex’s pessimism about his happily-ever-after, Arizona and Mark’s argument over Callie’s wishes, Arizona’s begging Callie to live, and—holy cow—Meredith’s elevator meltdown were all written with the brilliance we’ve come to expect from Shonda’s keystrokes.

But what really sold this episode was the absurd talent of one Sara Ramirez. This was her episode, and that’s not just because the hour was all about Callie. It’s because of Sara’s performance—on both sides of reality. In the the “real” world, she portrayed Callie’s trauma and terror with goosebump-raising authenticity. In the world of her imagination, she gave bravura performances of some our favorite songs with crackling emotion. The last chorus of “The Story” nearly brought Seattle Grace down and made the whole musical conceit worth it.

Was the episode a slam-dunk? Not nearly. Was the episode memorable, emotional, and bold? Absolutely. I applaud Shonda & Co., the cast, and the crew for taking the risk. And, not for nothing, I still have some of the tracks on repeat in my iTunes.

Note: I cannot tell a lie. Most of this post was repurposed from a blog post I wrote for Wetpaint. But I wanted to share my thoughts nonetheless. (And hey, cut a opportunistic, overstretched blogger some slack!)

Because it’s already February of the next year and I’m feeling sheepish, let’s just speed through this! Here is the pantheon of shows which, in my opinion, made television a bit more divine in 2010. (Note: I have not yet seen Boardwalk Empire or Downton Abbey—forgive me.)

1. Mad Men (2010: #2)
2. Lost (2010: #3)
3. Breaking Bad (2010: #1)
4. Modern Family (2010: #7)
5. Community
6. Fringe (2010: #8)
7. Parks and Recreation
8. The Good Wife
9. The Buried Life
10. Justified

It’s often hard to remember all of the television I watch every year, but some episodes make themselves impossible to forget. The following hours or half-hours of television were exemplary in some way, whether it was for the writing or the direction of the episode; for the way they ended seasons or, in some cases, entire series; for their plots or subplots; for the emotional toll they took on the viewer; for the way they broke the mold and parted with tradition; or sometimes for just one scene or performance in particular.

1. Lost “The End” (Parts 1 & 2)
   … for providing an unexpected, moving, and controversial finale sure to keep fans talking, dissecting, and criticizing for years to come.
2. Grey’s Anatomy “Sanctuary/Death and All His Friends”
   … for the tensest, most emotionally-draining two hours of television this year.
3. Breaking Bad “Half Measures”
   … for the brutal, game-changing last thirty seconds alone.
4. Mad Men “The Suitcase”
   … for the most finely-written “bottle episode” I’ve ever seen.
5. Lost “The Candidate”
   … for being the first television episode to actually elicit tears.
6. 24 “Day 8: 2:00 PM-3:00 PM/Day 8: 3:00 PM-4:00 PM”
   … for finally letting Jack Bauer run off into the sunset (even if he is doing so under duress) after a tender moment with Chloe
7. Fringe “Over There” (Parts 1 & 2)
   … for smashing the two snowglobes—the two universes—together, and in so doing, kick-starting a powerful season to come.
8. The Buried Life “Make a Million Dollars” (Parts 1 & 2)
   … for the guys’ dogged persistence and cheerful optimism in the face of their most challenging task yet.
9. Glee “The Substitute”
   … for Gwyneth Paltrow’s bravura performance as the goofy Holly Holliday.
10. Dollhouse “Epitaph Two”
    … for providing an epic, post-apocalyptic finale, while still being a love letter to the fans jilted by the show’s cancellation.
11. Private Practice “Did You Hear What Happened to Charlotte King”
    … for not dwelling on the rape so much as the physical and psychological aftereffects.
12. Breaking Bad “Full Measure”
    … for ending another stellar season with more narrative propulsion than any other third-season finale
13. Modern Family “Family Portrait”
    … for the scene of Mitchell attacking the pigeon in slow-motion to the sound of Cam’s rendition of “Ave Maria.”
14. Mad Men “Public Relations”
    … for showing the chinks in Don’s well-groomed armor that will lead to his season-long descent.
15. Community “Modern Warfare”
    … for making a paintball game into a riotous send-up of action movies and for letting Jeff and Britta act on—and purge—their romantic tension.
16. The Walking Dead “Wildfire”
    … for the horrific aftermath of the zombie incursion on the camp and for the survivors’ foray into the wilds of downtown Atlanta.
17. So You Think You Can Dance “Meet the Top 11″
    … for the humility of Kent Boyd’s impassioned speech and for the jubilation of the finalists and their family upon hearing the good news.
18. Justified “Blind Spot”
    … for Raylan’s chickens coming home to roost in regards to his relationship with Ava, for his intensifying verbal sparring with Boyd, and for the introduction of the Crowder patriarch, Bo.
19. Damages “The Next One’s Going In Your Throat”
    … for efficiently connecting all the dots laid out in the third season in a devastating and thrilling finale.
20. The Good Wife “Hi”
    … for the triumphant scene in which Daniel and Kalinda cleverly win Peter a retrial.

Honorable mentions: Parks and Recreation “Telethon”; The Good Wife “Running”; Modern Family “Fears”; Glee “Grilled Cheesus”; Cougar Town “When the Time Comes”; Fringe “Entrada”; Top Chef “History Never Repeats”; The Office “Andy’s Play”; Lost “LA X”; Breaking Bad “Sunset”; Justified “Bulletville”; Breaking Bad “One Minute”; Grey’s Anatomy “These Arms of Mine”; Modern Family “Strangers on a Treadmill”; Modern Family “Starry Night”; The Buried Life “Get Married in Vegas”; 30 Rock “When It Rains, It Pours”; Glee “Furt”

In the waning hours of 2010, allow me to kick-start the Second Annual Primie Awards. Below are my favorite fifteen characters from the past year of television, again listed in descending order of awesomeness. (One could only dream of a context that would bring all of them together to share the screen!)

1. Kalinda Sharma (The Good Wife) If mystery is sexy, Kalinda is a bombshell. The tight-lipped private investigator radiates allure and ambiguity while keeping herself impassive and collected… most of the time. And when she let her emotions show, she does so in grand fashion, like taking a baseball bat to her rival’s car before leaving a kiss on the rear-view. She wins cool points even when she loses her cool. Played by Archie Panjabi.
2. Phil Dunphy (Modern Family) There’s not one weak link on this show, but this year, I’m honoring Phil. (Or, as Gloria would say, “Feeeeel.”) He’s so desperate in his attempts to stay hip and cool that it’s embarrassing, but in a weird way, it’s so embarrassing that he actually becomes kinda cool again. Huh. Played by Ty Burrell.
3. Olivia Dunham (Fringe) On our side, Olivia is empathetic, cool, and logical. In the alternate universe, she’s combative, single-minded, and impulsive—oh, and a redhead. When the two Olivias switched universes, each camouflaged herself like the other (by choice or otherwise), and the inherent difficulties and dilemmas were the highlights of the season so far. Played by Anna Torv.
4. Brittany Pierce (Glee) Who would have guessed that Brittany would be the new fan favorite in Season 2? Credit her brilliantly-dumb observations and her insane footwork, both of which were on full display in the episode devoted to her, “Britney/Brittany.” Played by Heather Morris.
5. Raylan Givens (Justified) Not only does this U.S. Marshal have a fun name to say out loud (and it must be said with a Southern accent), but he is also a helluva shot who vacillates between even- and hot-temperedness. It’s like he’ll try to calmly reason with you for five minutes before pulling his sidearm and shooting you between the eyes. Played by Timothy Olyphant.
6. Ellie Torres (Cougar Town) The role of “bitchy best friend” has been overplayed, but Ellie Torres revitalizes the trope with cutting wit and grudging love. As far as the Cul-de-sac Crew is concerned, she’s the cool kid on the block—the one by whom everyone wants to be liked. Hell, we all want Ellie to like us. Played by Christa Moore.
7. Dan Stark (The Good Guys) With all due respect to Josh Lyman, Dan Stark was the role Bradley Whitford was born to play. With a mustache second only to last year’s honoree Ron Swanson, Dan is a washed-up, libidinous joke of a detective who only stumbles into the the answers. But that never hurts his swag. Played by Bradley Whitford.
8. Holly Holliday (Glee) She may have only been on the show for one episode, but that’s all I needed to fall in love with this goofy, impulsive, hip substitute teacher. Between the Cee Lo singing, the Lindsay Lohan opining, and the Mary Todd Lincoln impersonating, Holly brought new levels of fun to the humdrum Lima High. Played by Gwyneth Paltrow.
9. Holly Flax (The Office) Her reappearance this year was fleeting, but she brings new life to the The Office whenever she shows up in Scranton. Whereas Michael’s other leading ladies only tolerated his goofiness, Holly matches it. When the jokes end, though, the reality of their former relationship and ensuing tension shine through. Still, if Michael is truly driving his Sebring into the sunset at the end of this season, I’m hoping Holly is riding shotgun. Played by Amy Ryan.
10. Gustavo Fring (Breaking Bad) Owner of the Los Pollos Hermanos fast-food chain by day, drug kingpin—well—also by day. Not only did he confront and subdue the Mexican cartel, but he also wrangled Walt into producing blue meth in bulk. And his emotionlessness and unflappability only make him even more intimidating. Played by Giancarlo Esposito.
11. Ria Torres (Lie to Me) Some characters don’t need a firearm or a killer right hook to be a badass. Ria will outwit or at least out-glare the guy across the interrogation table until he’s spilling the truth. What she lacks in training she more than makes up for in street smarts, improvisation, and spot-on instincts. Played by Monica Raymund.
12. Sarah Braverman (Parenthood) It’d be difficult to dislike any of the Braverman clan, but Sarah is especially endearing because of her self-deprecating motormouth and social inelegance. (How Gilmorean.) Her lot in life could be pitiable, but she’s a trouper—and good things come to her eventually. Played by Lauren Graham.
13. Zoe Graystone (Caprica) Zoe is a tough character to crack. Basically, the original Zoe died in a terrorist attack, but her soul lived on through her online avatar and was downloaded into a Cylon robot by her father. Boom. Three iterations of the same character, all different yet all variations on a theme. And the remaining Zoes are not particularly happy to live on in their current forms. Played by Alessandra Torresani.
14. Burt Hummel (Glee) To say he’s a supporting character is an understatement. He could not be more protective of his gay son Kurt, even if he’s still trying to find common ground with him. And not only is this journey of his interesting to watch, it serves as a road map for other parents of other Kurts out there. Played by Mike O’Malley.
15. Russell Edgington (True Blood) The millennia-old vampire king of Mississippi was the latest villain on True Blood, but he’s so maniacal, gaudy, and flamboyant that you almost wanted him to overstay his welcome if only for more ridiculousness. Played by Denis O’Hare.

Now that a whole week has passed since the airing of the 62nd Annual Emmy Awards, let’s pretend like I’m live-blogging the affair! But really, I’m just reviewing the tapes. Here are my thoughts about the events of the night, laid out on a (commercial-free) timeframe.

00:00:06 Jimmy Fallon and various television stars form a ragtag glee club and perform a rousing rendition of Bruce Springsteen’s “Born to Run.” Where else can you see Lea Michele, Cory Monteith, Chris Colfer, Amber Riley, Tina Fey, Kate Gosselin, Jon Hamm, Betty White, Jane Lynch, Jorge Garcia, Nina Dobrev, Joel McHale, Randy Jackson, and Tim Gunn in one skit—and one that happens to be hilarious? It’s a TV junkie’s dream!

00:09:03 The comedy montage features such priceless moments as the “moon landing,” Mitchell vs. the pigeon, and “two things flaming at once” from Modern Family; Larry David vs. the swan, Jerry Seinfeld’s “icon/no-con” rant, and the wheelchair makeout from Curb Your Enthusiasm; and the paintball scenes from Entourage and Glee.

00:12:12 Modern Family‘s Eric Stonestreet rightly wins for Outstanding Supporting Actor in a Comedy Series and has us all a little verklempt at the end of his speech.

00:17:26 The Office creator Greg Daniels does an uncannily good “I’m Rick James, bitch!” and 30 Rock writer Kay Cannon does a Liz-Lemon-style sexy dance.

00:21:57 Glee‘s Jane Lynch wins for Outstanding Supporting Actress in a Comedy Series, and my predictions (read: hopes) are 2 for 2!

00:28:28 The Modern Family skit is so, so funny. If you’re a fan of the show, or even if not, YouTube it. Right now.

00:31:37 Jim Parsons and Edie Falco win Outstanding Lead Actor/Actress in a Comedy Series for The Big Bang Theory and Nurse Jackie, but I watch neither! Jag!

00:36:49 The reality montage leans a little too heavily on the trashy side of reality programming, methinks.

00:39:35 The voice that introduces the Outstanding Reality-Competition Program nominees is comically gravelly.

00:40:16 One of the Top Chef producers trips (albeit hilariously) on the way up to the stage, but the jerkwad behind her a) doesn’t help her up, and b) steps over the shoe which flew off without picking it up. You can also see both Kyle McLachlan and Carrie Ann Inaba saying “Her shoe!” But, hey, hooray for Top Chef!

00:43:29 The drama montage makes me glad that its my bread and butter. Plus, it employs the ubiquitous Dragonheart theme. But man, so many good shows, so little time.

00:47:20 Team Darlton, showrunners for Lost, could really go into comedy. Boo-yah!

00:49:56 Breaking Bad‘s Aaron Paul wins for Outstanding Supporting Actor in a Drama Series, and I’m pleasantly surprised! Then, later, The Good Wife‘s Archie Punjabi wins for Outstanding Supporting Actress in a Drama Series, and I’m pleasantly surprised! Maybe the only thing you need to win an Emmy is A.P. as your initials.

00:55:08 Breaking Bad‘s Bryan Cranston wins for Outstanding Lead Actor in a Drama Series for the third consecutive time. But this year, both leads for the show won! If only they had a trophy case in the meth lab.

00:57:39 The name of Gugu Mbatha-Raw (presenter and Undercovers co-star) is so fun to say.

01:01:10 Jimmy Fallon gives an impassioned musical “in memoriam” tribute to three shows we lost this year—24, Law & Order, and Lost—in the personas of Elton John, Boyz II Men, and Billie Joe Armstrong, respectively. Good on ya, Fallon.

01:05:42 “This year’s nominees for Outstanding Lead Actress in a Drama Series all have one thing in common: they are terrifying—beautiful.” Tina Fey and Matthew Morrison’s banter is actually funny! (January Jones and Jon Krasinski, take notes!) Kyra Sedgwick wins for her work on The Closer. Again, I don’t watch the show.

01:16:01 Reliably, Ricky Gervais has the audience in stitches—and makes the ceremony a bit more Globes-ish by passing out booze.

01:27:29 George Clooney, accepting the Bob Hope Humanitarian Award, gives a graceful and articulate acceptance speech and calls for the media spotlight to shine on the right subjects.

01:30:47 Once again, the movies/miniseries montage makes me feel guilty for seeing none of the featured productions.

01:33:35 HBO’s movie Temple Grandin wins for the first of five times tonight. My mom thought this should have been the basis of a drinking game.

01:39:42 The actual “In Memoriam” montage is quite touching, especially with the addition of a weepy Jewel song.

01:52:52 Seeing him next to Alexander Skarsgård shows just how short Al Pacino, winner for Outstanding Lead Actor in a Miniseries or Movie for You Don’t Know Jack, really is!

02:01:38 Mad Men wins for Outstanding Drama Series for the third straight year. It’s undefeated! I was rooting for Lost, but hey, I can’t quibble with this outcome.

02:04:02 Modern Family wins for Outstanding Comedic Series. I certainly can’t quibble here, either! And this year’s ceremony draws to a close. Well done, NBC! Well done, Jimmy! I’ll be excited to see how next year’s broadcast tops this year’s.

For those of you wondering where the latest installment of my Lost re-watch is, don’t fret. I’ve decided to take a two week hiatus after every two seasons just to publish a few other non-Lost stories for the non-Lost fans. (Blog post variety is the spice of life.) And here it is Emmy time again! As I said last year, I’m not predicting the winners here, mind you, but stating for whom I’m rooting. I haven’t seen all of the nominated shows and performances, but from what I have seen, here are my picks for some of the top categories.

Outstanding Drama Series
Lost

I know, this post was supposed to be non-Lost, right? But this show should be commended for providing a powerful and daring end to the Island saga—and one that was incredibly satisfying emotionally (if not mythologically). And as far as cultural touchstones for the decade go, Lost tops this particular list of nominees.

Outstanding Comedy Series
Modern Family

Based on the per-episode number of laughs-out-loud, this show takes the cake. If there were a category for comedic drama (or dramatic comedy, rather), then I’d give that award to Glee.

Outstanding Lead Actor – Drama Series
Matthew Fox (Lost)

His performance in the last hour of Lost alone merits this award, I think. Re-watching the show, I’m struck by how good of an actor he is in all scenarios. If he ever missteps, I certainly never notice.

Outstanding Lead Actress – Drama Series
Julianna Margulies (The Good Wife)

The show itself is a fascinating look into one person’s struggle to forgive and another’s struggle earn forgiveness. And Margulies—playing the former—is the anti-scenery chewer: she’s all internal, and yet we can somehow sense and understand every emotion.

Outstanding Lead Actor – Comedy Series
Matthew Morrison (Glee)

I half-hope Larry David wins, but Morrison’s combination of humor, emotion, singing abilities, dance movies, and—yes—hair gel is entirely far too winning to ignore.

Outstanding Lead Actress – Comedy Series
Amy Poehler (Parks & Recreation)

It’s a crime that the show as a whole wasn’t nominated, but I think a win for the much-deserving Poehler would adequately reward Parks and Recreation‘s second-season reinvention into a show that is equal to (if not superior to) its predecessor, The Office.

Outstanding Supporting Actor – Drama Series
Michael Emerson (Lost)

Again, I gotta stick by my love for Lost on this one. Emerson is an awe-inspiring actor, and somehow he and the writers transformed Ben from the show’s greatest villain to a tragic soul desperate for redemption who actually becomes likable as a person by the end.

Outstanding Supporting Actress – Drama Series
Elisabeth Moss (Mad Men)

I’d be happy if any of the actresses nominated in this category won, but I think Moss showed the most range this past season. Peggy is coming into her own as a near-equal to the agency’s partners, yet Moss still plays her with the perfect amount of dorkiness and vulnerability.

Outstanding Supporting Actor – Comedy Series
Eric Stonestreet (Modern Family)

It’s so hard to choose between the three Modern Family actors nominated, but I think you’d be hard-pressed to find any fan of the show who doesn’t list Cam among his or her favorite characters.

Outstanding Supporting Actress – Comedy Series
Jane Lynch (Glee)

No question. Sue Sylvester is the bitchiest, most fiendish, and most quotable characters to grace the small screen in years. Good on ya, Jane Lynch.

Outstanding Reality Competition Program
The Amazing Race

I know this show has won so many times before, but it’s just so thrilling, amusing, and even educational at times. I mean, who doesn’t want to compete on this show?

]]> http://primetimely.com/2010/08/2010-emmys-my-winners/feed/ 1 http://primetimely.com/2010/06/2010-pilot-watch-losers/ http://primetimely.com/2010/06/2010-pilot-watch-losers/#comments Wed, 16 Jun 2010 18:59:52 +0000 Dan Clarendon http://primetimely.com/?p=473

Now that we’ve seen what shows will be on the air come fall, let’s get out our hankies and share a moment of silence for those that won’t—or, at least, those that sounded promising. It seems unlikely that any of the series below will make it to our living rooms, and that’s a damn shame. Not having seen a frame of any of these shows, I base my judgment solely on the synopses and cast information. Yes, I am a by-the-cover book-judger.

• The Rockford Files Wha’ happen? This show had so much buzz going into pilot season. People love them a good remake, and this one seemed likely to fit the bill. Re-imagined by House creator David Shore, this version starred Dermot Mulroney (The Family Stone), Beau Bridges (The Fabulous Baker Boys), and the effin’ ineffable Alan Tudyk (Firefly). So why did NBC give it the ole heave-ho?
• Untitled Medical Project First of all, who wouldn’t watch a show called Untitled Medical Project? John Wells, you rebel! But seriously, I know we already have umpteen medical shows on the air. (Well, umpteen minus Trauma, Mercy, Three Rivers, and Miami Medical. Peace out, guys!) But what set this one out from the pack is its cast, which I can only describe as eclectic. Sissy Spacek (In the Bedroom), Janeane Garafalo (Reality Bites, other greatness), Skeet Ulrich (Jericho), Amy Smart (The Butterfly Effect), and Jay Hernandez (World Trade Center). I think that lineup sounds more awesome than CBS gave it credit for.
• Cutthroat “By all appearances, Nina Cabrera has a perfect life: a fantastic home in Beverly Hills, three beautiful children, great cars, great clothes. But… Nina Cabrera is also running a multi-million dollar Mexican crime syndicate.” So this ABC drama was like Weeds, but with crime instead of… weed. But with cast members like Mia Maestro (Alias), Peggy Lipton (Twin Peaks), and Francis Capra (Veronica Mars), I could have dug it.
• Tax Man This multi-camera sitcom revolved around the titular character trying to justify his reviled job, and I say kudos for trying to make a mundane setting like the IRS funny. Plus, awesome cast: Martin Short (SCTV), David Krumholtz (Numb3rs), Kerri Kenney (Reno 911!), Judy Greer (Arrested Development), and Orlando Jones (MADtv). But it must not have been funny enough for FOX’s standards. Alas.
• Our Show This single-camera comedy had one of the best premises I’ve ever heard—and one that I wish I had conceived, damn it! In this single-camera comedy, “a group of sci-fi fanboys in a small town shoot their own version of a canceled TV show.” Maybe it’s better that NBC didn’t pick this up, though—because had it gone on-air and then been canceled, would small-town fanboys have tried to shoot their own version of Our Show? Ah, the exponential meta-ness!
• The Strip This NBC sitcom focused on “a former child star turned Hooters-style bar owner on the outskirts of Las Vegas.” Funny enough premise, but it comes from the minds of Thomas Lennon and Robert Ben Garant, who were genius enough to come up with Reno 911! (The exclamation point is part of the show title. No, really. But I probably would have added it in anyway.) They also starred in the pilot along with former Reno co-star Cedric Yarbrough and former MTV VJ Dave Holmes, who incidentally also appeared on Reno. Bring on the next great Nevada comedy, guys!
• Nomads I’ve said it before, and I’ll say it again. I’m excited about any show about the CIA. Even if the premise—broke, young backpackers earning money by doing covert missions—is wildly implausible. However, the CW, in its infinite wisdom (and yes, I’m still bitter about the untimely end of Veronica Mars), decided not to let us see how this one played out. Because they apparently needed that hour for Shedding for the Wedding. Ugh.
• Beach Lane Matthew Broderick. Small-town newspaper. Irresponsible millionaires. The Hamptons. Sounds like an enjoyable show to me. But NBC wasn’t on board.
• Matadors ABC described this show as a “sexy, absorbing legal procedural with epic sweep and a powerful Romeo and Juliet love story at its heart.” (Procedural? Sexy? ¿Qué?) Again, I turn to the cast: David Strathairn (amazing in Good Night, and Good Luck), Zach Gilford (apparently amazing in Friday Night Lights), Stephen Lang (bad-ass in Avatar), and Kiele Sanchez (eh, not so likable in Lost).
• The Station Hey, reader, remember when I said above that I’ll watch any show about the CIA? This one, though, is a bit kooky. FOX described it as a “workplace comedy which takes place in a covert CIA office in South America.” What an improbable mix of words in that sentence! I was intrigued. FOX wasn’t. (Even with John Goodman in the cast.)

Katherine Heigl, best known for her award-winning turn as Dr. Isobel Stevens on Grey’s Anatomy, has given us several reasons lately to dislike her. Two years ago, she opted to not compete for an Emmy, citing poor material that season on Grey’s. Last year, she griped to David Letterman last year about long days on the set—when apparently it was her movie-promoting schedule that caused the cram. And this year, she abruptly left the show to which she owes everything after finding success as a big-screen A-lister.

Katherine Heigl was actually the reason I started watching Grey’s five years ago, having been a fan of hers from Roswell. But all of those comments and actions alienated me and a lot of other fans. I didn’t even bother considering the possibility that they were taken out of context—that maybe there was another side of the story. But for the most part, there wasn’t.

And remarkably, Heigl practically admits as much in an interview with Michael Ausiello of Entertainment Weekly. She takes full responsibility for those incidents. She understands her mistakes and why she’s perceived as, in Ausiello’s words, an “ungrateful diva.” And she apologizes to her fans in a way that seems humble and sincere.

She apologized for making her gripes with the writers of Grey’s after Season 4 public knowledge, saying, “I ambushed them, and it wasn’t very nice or fair.” She apologized for her comments on Letterman, saying that she didn’t realize at the time that the schedule was compressed to accommodate her press tour. And she apologized for the abrupt end to Izzie’s storyline, explaining that she’s leaving to spend more time with her newly-adopted daughter. ”And even though I know I’m disappointing the fans,” she says, “and I know I’m disappointing the writers and my fellow cast members and the crew, I just had to make a choice. I hope I made the right one…. It sucks. You wish you could have it all exactly the way you want it. But that’s not life.”

Her most telling response, however, was when Ausiello asked her about her reputation. “The ungrateful thing bothers me the most. And that is my fault. I allowed myself to be perceived that way because I was being whiny and I was griping and because I made these snarky comments. So much about living life, to me, is about humility and gratitude. And I’ve tried very hard to have those qualities and be that person and I’m just so disappointed in myself that I allowed it to slip.”

The excerpts above are only a fraction of the entire interview, all of which is an interesting read. I don’t hold any grudges toward her after reading her reflections—I’m a fan of hers again. Of course, the cynical side of me says that she could just be reciting lines provided to her by someone skilled in image rehab. But my intuition says that these words are hers—this is how she really feels.

And I respect her for owning up to her past mistakes. She didn’t try to pawn them off on other people (like Chloë Sevigny did after criticizing the latest season of Big Love). I hope her efforts at atonement don’t go unnoticed. But even if they do, as long as she upholds the humility and gratitude she claims to value, the public will forgive and forget—and focus on her talent.

1. Breaking Bad
2. Mad Men
3. Lost
4. Battlestar Galactica
5. 30 Rock
6. True Blood
7. Modern Family
8. Fringe
9. Glee
10. Dollhouse

Aloha, dear TV junkies.  I may be on vacation, but thanks to some coffeshop wi-fi, I’m still able to update this here blog with cinnamon-bun-sticky fingers.  Surely you didn’t think I’d forgotten about honoring the best small-screen moments of 2009!  Listed below are my favorite episodes across the airwaves from all of last year.  Is the list comprehensive?  Maybe not.  Does the order tend to be arbitrary?  Perhaps.  But still, I believe this to be a pretty good representation of 2009′s highlights.  Writers and directors of the below episodes, I raise my iced-coffee cup to you.

1. Battlestar Galactica “Daybreak, Part 2″  No matter if you loved the end or hated it, the final two hours of this show boldly went where no show has gone before. A catastrophic first hour was followed by a contemplative second. The epic space saga went out with a bang and then a whisper.
2. Mad Men “Shut the Door, Have a Seat”  After an intense season of smoldering interpersonal drama, this episode was one of the most light-hearted and cathartic. In the vaguest terms I can use, Don closed some doors and opened others. He reinvented himself, and the show was reborn anew.
3. Breaking Bad “Phoenix”  Often the penultimate episode of a season is just as climactic as the finale, as proven by Breaking Bad. Without spoiling anything, it was Walter White’s inaction during a gut-wrenching dilemma that made this episode so powerful.
4. Glee “Sectionals”  Between Mercedes’s powerful “And I Am Telling You” rendition, Rachel’s “Don’t Rain on My Parade” showstopper, and the club’s “My Life Would Suck Without You” dedication, the musical numbers in this fall finale were brilliant enough to tide us over until the show’s return in spring.
5. 30 Rock “Apollo, Apollo”  It’s hard to top Jack Donaghy’s excitement-puking and Kenneth’s Muppet-vision, but what made this episode the best of its season was the Polish singles’ line commercial that a young Liz Lemon debased herself by appearing in. Remember, just call 1-800-OKFACE.
6. Dollhouse “Omega”  After the startling return of rogue-doll Alpha at the end of the preceding episode, this episode shows the making (read: programming) of a maniac. The Dollhouse made its bed, and now it might have to die in it!
7. Breaking Bad “Negro y Azul”  Any episode that starts with a mariachi band and ends with an exploding turtle surely deserves a spot high on this list.
8. Lost “Dead is Dead”  It’s Judgment Day for the conniving Benjamin Linus as “the Island” takes him on a painful trip down memory lane. By the end, his relinquishing of power leaves him impotent… and dangerously desperate.
9. Glee “Pilot”  FOX was so excited about this episode, the network aired it four months before the series even started. With the well-crafted song-and-dance numbers, the satirical commentary on the high school food chain, and the hilarious immaturity of the show’s adult characters, I could not stop believing that Glee would be a hit.
10. Grey’s Anatomy “Here’s to Future Days/Now or Never”  This show may be showing its age, but watching the end of this fifth-season finale was tantamount to mainlining adrenaline when the identity of the heroic (and doomed) John Doe was realized.
11. Californication “The Apartment”  A day of reckoning comes for Hank Moody when all the major players in his life coincidentally convene under one roof. In true farce-like fashion, he scrambles to accommodate his girlfriend, his mistresses, his mistress’s husband, his daughter, his best friend, a few random prostitutes, and Rick Springfield, all the while trying to keep his indiscretions under wraps.
12. Modern Family “Pilot”  The premise is simplistic—the daily travails of three families that are “nuclear” for the new millennium—but the writing and acting is refined. Oh, and the show happens to be hilarious. With this episode alone, this show skyrocketed to the elite of half-hour comedies.
13. So You Think You Can Dance “Top 20 Showcase”  This was an episode without missteps—just the top twenty competitors dancing in their own genres, resulting in routines that were almost unmatched by the rest of the season. (Almost.) What was otherwise a filler episode turned into the best hour of the season.
14. Fringe “There’s More Than One of Everything”  John Noble’s most impressive acting came when his character revisited the memories of a beach house with his son. And the alternate-reality story thread tangles as Olivia finds herself in the most improbable of locations in the ballsy cliffhanger.
15. Lost “The Life and Death of Jeremy Bentham”  At last, we discover how He Who Shall Be Named Jeremy Bentham died. Frustrated by his failure to get the gang back together and feeling spurned by destiny, he decides to take his own life. But his real cause of death, which we find out minutes later, is even darker.
16. Parks and Recreation “Beauty Pageant”  One of the first episodes of the season, this installment solidified Parks and Recreation’s status as suddenly brilliant. Example Leslie Knope line: “This [mural] depicts a famous fight between Reverend Bradley and Anna Beth Stevenson, widowed mother of seven. The original title of this was ‘A Lively Fisting.’ But, you know, they had to change it… for obvious reasons.”
17. Damages “Trust Me”  Flash-forwards as a narrative technique are a hot ticket right now, but Damages uses them in a brilliantly manipulative way, revealing a little more of certain scenes in each episode. And in “Trust Me,” all the cards are laid out in this punch-out ending to a gripping season.
18. True Blood “I Will Rise Up”  It started with an act of terrorism perpetrated by humans and ended with an act of tenderness by a human—Sookie Stackhouse—surprising the millennia-old Godric, who had seen the worst of our race’s behavior in his lifetime. Plus, this episode featured another dialogue gem from Lafayette: “I don’t know what you is, but I’m feelin’ you, and you a soulless bitch.”
19. Top Chef “Finale, Part 1″  No matter what you thought of this season’s winner (or even the order of the runners-up), all Top Chef viewers could agree that Keven, Jennifer, and the Voltaggios were the four best contenstants. And to see them duke it out in Napa Valley (aboard a moving train, no less) was a treat.
20. Lie to Me “The Core of It”  Like Parks and Recreation, this procedural drama also came back from its hiatus creatively reinvigorated. In this episode, Cal Lightman and his group have to contend with a murder witness with multiple personalities. Not only do they have to figure out which of her multiple personalities saw the crime, but they also have to find a way to trigger that personality. Guest star Erika Christiansen is scary-good as Sophie/Trisha/Jessie/RJ.

Because it’s the end of the year (and of the decade), every TV critic is releasing best-of lists. And I am no exception, though small-potatoes I may be. Ergo I announce the First Annual Primie Awards! And the first category honors the 15 characters whom I appreciate most, in descending order of awesomeness. Frankly, the shows below would just be suckier without them!

1. Sue Sylvester (Glee) When Sue swaggers onscreen in one of her splashy tracksuits, you know that she’s say something both wildly inappropriate and gut-bustingly funny. The malicious comments she deploys in her jihad against McKinley High’s glee club almost makes you root for her. Played by Jane Lynch.
2. Ron Swanson (Parks and Recreation) The reluctant supervisor of Pawnee’s parks department had a breakout season that had him facing off with his domineering ex, presiding over the breakfast buffet at a strip club, enjoying a shoe-shining a bit too much, and having his scalp leaded with buckshot. Played by Nick Offerman.
3. Walter Bishop (Fringe) Last season, we saw the charming kookiness behind Walter’s mad-scientist-ness.  Now we’re seeing the vulnerability behind that charming kookiness. What layer will be unearthed next? Played by John Noble.
4. Starbuck (Battlestar Galactica) Love her or hate her, you have to acknowledge that Starbuck’s so-called destiny directly influenced the fate of humankind… in a way that’s very open to interpretation. Played by Katee Sackhoff.
5. Manny Delgado (Modern Family) One of the youngest and yet most mature members of the Pritchett clan, Manny is wise beyond his years—and quite the fencer, too. Played by Rico Rodriguez.
6. Benjamin Linus (Lost) In a show that specializes in shades of gray, it’s no surprise that Ben isn’t relentlessly villainous. We’ve seen glimpses of his humanity. But just before we start to like him, he does something like staging a character’s suicide—and we’re reminded of how much we hate him (and love to hate him). Played by Michael Emerson.
7. Arizona Robbins (Grey’s Anatomy) She’s often viewed as the happy-go-lucky pediatrics doc, but between her anguish over little Wallace and her blurting out “I love you” to Callie in the episode “Invest in Love,” she won me over. Played by Jessica Capshaw.
8. Troy/Abed (Community) Some of the funniest moments of Community came in the final minute of each episode when the credits were rolling—an end tag that became the Troy and Abed Show after the hilarious Spanish 101 rap (a.k.a. “La Biblioteca”). Community has been uneven so far, but Troy and Abed represent reliable comedy. Comedy you can believe in! Played by Danny Pudi and Donald Glover, respectively.
9. Saul Tigh (Battlestar Galactica) For reasons too spoilery to reveal here, ole One Eye Tigh had some of the most tumultuous internal conflict in Battlestar’s final season. Let’s just say that he found himself intimately associated with those who were once his enemies. Played by Michael Hogan.
10. Jenna Maroney (30 Rock) Ditzy fame-whore Jenna is everything that Liz Lemon isn’t, but just as much of a dysfunctional human. Her constant oversharing gives us mere glimpses into her bizarre life. (For example: “The reason I speak with a slight English inflection in my voice is because I lost my virginity to the My Fair Lady soundtrack.”) Played by Jane Krakowski.
11. Lester Patel (Chuck) Lester went from neurotic tech nerd to neurotic tech nerd and rock star with the debut of cover band Jeffster, performing awesomely bad versions of 80s classics like “Africa” and “Mr. Roboto.” True, Lester is only one half of Jeffster, but his bandmate Jeff is just too out-there for this list! Played by Vik Sahay.
12. Victor (Dollhouse) Besides a few face slashes here or there, Victor is the doll with the most fun: his “imprints” involve bedding boss Adelle DeWitt, acting like an exact clone of tech-whiz Topher, or channeling his inner sorority girl. And hey, those cuts healed remarkably fast, didn’t they? Played by Enver Gjokaj.
13. Hoyt Fortenberry (True Blood) As one of the only truly good residents of Bon Temps, Hoyt became more than just a background player this season when he fell in love with newly-vampirized Jessica, much to the dismay of his oppressively devout mother. His evolution from (momma’s) boy to man was great to see. Played by Jim Parrack.
14. Walter White, Jr. (Breaking Bad) His relationship with his emotionally-elusive dad is tenuous, but Junior still went to incredible (and touching) lengths last season to raise money for Senior’s cancer care. Played by R.J. Mitte.
15. Anna (V) Leader of the Visitors, Anna is alternately calculating, eloquent, manipulative, and alluring. A wolf in sheep’s (well-tailored) clothing. Played by Morena Baccarin.

Note: The following post first appeared as an article by the same name in The Climax, Hampshire College’s newspaper. Also, some of these micro-reviews may exceed 140 characters—my bad!

I am a student of television. Writing television scripts is my Division III [a senior project, in Hampshire speak]. So I have no shame in the fact that I watch all of the shows below religiously. I study the craft, folks. That’s a lie—I am ashamed of some of them, but I’m feeling forthright in my fourth-year-ness. Anyway, I only assumed that I couldn’t review all my shows for The Climax before I graduate. And then it occurred to me: I could review each in 140 characters or less. (Arbitrary number, I swear.)

• 24 Some seasons fire on all cylinders, and some make you want to shoot yourself in the kneecap. But I’m still a fan of the Bauer Power Hour.
• 30 Rock Is Tina Fey God? Even if not, this show is in my pantheon. 22 Emmy nominations this year alone. What the what?
• The Amazing Race A competition show and a geography lesson all in one. Plus the race just looks like such a globetrotting thrill.
• Breaking Bad Brilliance you’ve likely never seen. Bryan Cranston (as a reluctant meth dealer) and Aaron Paul (as his witless lackey) are a wondrous team.
• Brothers & Sisters Created by playwright Jon Robin Baitz, powerful character drama pervades this series about the virtues and frustrations of family life.
• Burn Notice Ex-spy Michael Westen is a MacGyver for the new century. Plus he narrates his creative process! Plus Bruce Campbell plays the sidekick!
• Californication Man-child Hank Moody is David Duchovny’s (comedic) role of a lifetime. And the show featured Hampshire band Bubonic Souls last week.
• Chuck Put a self-described nerd in a world of government conspiracies and sexy secret agents, and hilarity ensues. Such a lovable show.
• Community A comedy about a community college study group that’s not quite up to snuff but getting better each week.
• Curb Your Enthusiasm Schadenfreude at a fever pitch. Larry David is such an incorrigible ass, but you can’t help siding with him in all of his curmudgeonliness.
• Damages Vicious legal thriller with Glenn Close and Rose Byrne. Season 2′s powerhouse cast included William Hurt, Marcia Gay Harden, and Ted Danson.
• Desperate Housewives What do I have in common with middle-aged, lovelorn women? Uh, not much. But this show is still a fun look at the seediness of the suburbs.
• Dollhouse Engineered personalities, ethical perversions, and intense action make this (cancelled) show radically different. Well done, Joss Whedon.
• Entourage Not the sharpest tool in the shed, but still a comical insight into the biz and a testament to lifelong friendship. (“Lloyd!”)
• FlashForward An ambitious fate-vs.-free-will drama with a laudable cast. But can its premise sustain it for more than this season?
• Flashpoint This Canadian import, about a hostage negotiation team in Toronto, is edge-of-your-seat tense. Plus Veronica Mars’s dad is the lead!
• Fringe Like The X-Files, only with a more mind-warping mythology and the addition of one raving-mad, madly-funny scientist. Freaky good times had by all.
• Glee This high-school satire is so much fun, thanks to a stellar cast, its show-stopping covers of pop songs, and the incomparable Jane Lynch.
• The Good Wife What makes this legal drama intriguing is that the protagonist—played by Julianna Margulies—is the jilted wife of an adulterous politician.
• Gossip Girl Used to be a salacious indulgence. But they had to match everyone up in an endless cycle of hook-ups and break-ups. What a mess.
• Greek If Gossip Girl had a sharper, wittier, more accessible, yet less popular twin sister, her name would be Greek.
• Grey’s Anatomy Melodramatic, yes, but the relationship drama is sophisticated and smartly executed. But its hard to watch if you’re single, dammit!
• Heroes Holy Hiro, what the hell happened to this show? This once-great serial has suffered bloated storylines and botched mythology. Shut it down.
• Lost The most revolutionary show on this list, nay, of the decade. Season 5 was a creative resurgence that was so awesomely challenging to watch.
• Lie to Me An unconventional procedural drama that’s proven to be surprisingly un-formulaic. And Tim Roth doesn’t even have to use an American accent!
• Mad Men If you’re not in love with this elegant, introspective, and smoldering drama, you just haven’t seen enough of it.
• Men of a Certain Age Three old friends have midlife revelations. This show just started, but I like what I’ve seen. It’s like Garden State—plus twenty years.
• Modern Family Funniest new show of the season. Believe it.
• Nip/Tuck Not as deeply cutting as it was in its youth, but now it’s superficially fun and bat-shit crazy. Can’t complain too much.
• The Office Just when I think it has lost its mojo, it pulls a “Koi Pond” episode or “Subtle Sexuality” webisode to remind us all of its wit.
• Parks and Recreation Started off as an Office clone but came back roaring in its second season. Now it rivals its predecessor for laughs.
• Private Practice A spectacular cast and interesting storylines, but I still wish Addison would go back to Seattle Grace. Maybe everyone can go along!
• Project Runway I’m probably not the right demographic for this catty show, but who cares. I just hope Tim Gunn would approve of my wardrobe.
• Smallville Never “super” but never terrible, Smallville is reliable entertainment even after eight years. One of the only good things the CW can offer.
• So You Think You Can Dance The most legit and diverse dance competition. The talent gets more absurd each season. YouTube “Ellenore & Jakob – Contemporary” for proof.
• Top Chef In a world of hamburger reality shows, Top Chef is a filet mignon with escargot, grilled ramps, chanterelle mushrooms and yuzu—i.e. refined.
• Top Chef Masters The nation’s top chefs compete. Of course it’s good.
• True Blood I reviewed this show already this semester! Suffice it to say, it’s addictive.
• Ugly Betty In this refreshing comedic drama, Betty maintains a beautiful can-do spirit as she navigates the (hilariously) bitchy world of fashion.
• V This series about tensions between humans and alien “Visitors” is off to a promising start, but lamely, we only get four episodes this year.
• Warehouse 13 Undecided about this show. I dig the whole “America’s attic” notion and the leads’ chemistry, but some of the episodes have been, uh, hokey.

Lately I’ve really gotten into The Amazing Race. Add it to the elite list of reality shows I find respectable. I have to say, I’m seduced by the globe-hopping adventure aspect. (Maybe it speaks to my love for Where in the World is Carmen Sandiego?) I mean, who wouldn’t want an all-expenses-paid whirlwind tour around the globe? Sure, participants don’t exactly get a chance to sight-see. But what is sacrificed in the quality of their tour stops is compensated by the quantity. Already this season, participants have been to Tokyo, Ho Chi Minh City, Phnom Penh, Dubai, Amsterdam, Stockholm, and Prague. And at each stop, the participants—and we, the viewers—learn a bit about the region’s culture, history, and geography. (Hey, sounds a bit like Carmen Sandiego!) What else is fulfilling about The Amazing Race is that the competition (usually) a bonding experience for the teams—by the end, at least. During the race, yelling, arguing, bickering are par for the course. But by the end, the couples or friends or relatives are usually much tighter than they were before crossing the starting line. So, with exotic locales, enjoyable challenges, and tearjerking moments, what’s not to love? I’m only sorry I’m getting onboard now, during the 15th season. But if the show remains as enlightening as it is entertaining, here’s to another 15 races.

“Firefly is about nine people looking into the blackness of space and seeing nine different things.”

That’s apparently how Joss Whedon—creator of Buffy, Angel, and Dollhouse—pitched the show to Fox back at the beginning of the decade. Now, as we approach the end of the decade, I’ve finally watched it on DVD. And while I didn’t love it as arduously as others, I do understand the appeal.

That pitch above is apt, because the main characters—the crew and passengers of the Firefly-class spaceship Serenity—and specifically the differences between them are make the show. Granted, the concept is cool: the show is a hybrid of two genres, sci-fi and western. Aside from the aesthetic appeal of the mash-up, it also united our past and a (possible) future to comment upon our present.

The show is set in the future, after the two remaining superpowers on “the Earth that was” tried to unite all of mankind under one government called the Alliance. Captain Malcolm “Mal” Reynolds (Nathan Fillon) was a war hero of the failed resistance and now commands Serenity. Zoe Washburne (Gina Torres) served alongside him in the war, and the two share a camaraderie that not even Zoe’s husband Hoban Washburne (Alan Tudyk), pilot of the ship, can compete with. Also on the crew are mechanic Kaylee Frye (Jewel Staite) and the duplicitous Jayne Cobb (Adam Baldwin). Inara Serra (Morena Baccarin) rents one of the ship’s shuttles for her business as a “Companion”—i.e. a classy prostitute. And the ship’s passengers include Shepherd Derrial Book (Ron Glass), quite literally a man of the book; Simon Tam (Sean Maher), a young doctor; and River Tam, Simon’s tortured younger sister. The gang runs smuggling operations on the Serenity—often philanthropic, usually greedy—and try to stay one step ahead of the Alliance.

The show lasted for 11 episodes on Fox before getting the boot, and to say it got a raw deal from the beginning would be an understatement. Not only was the pilot episode, with all of its character introductions and backstories and other useful information, not shown until near the end of the run, but the rest of the episodes were switched around so much that it’s a wonder anyone followed the storyline. Nevertheless, the fan reaction was so avid that feature film Serenity and two comic-book series were released to fill the void. And all 14 episodes are available on DVD and Blu-ray.

I haven’t seen Serenity yet, so I don’t know the complete story, but I can comment on what aired on television. I’m interested to read that fans disputed its branding as an action-comedy instead of a character study. I am more of the mind that it straddled the line. Yes, it had weighty, emotional moments and interesting internal conflicts; but I remember it more for the rollicking adventures and clever schemes and general badass-ness. I haven’t seen a lot of Whedon’s work, so maybe I missed his emphasis on the human condition. But with Dollhouse, the character-driven storylines came into play later in the first season, so maybe the same would have happened with Firefly. Maybe it was just gearing up to really plumb the depths of these characters’ psyches.

I think Whedon was successful in his mission to show nine very different people and their different outlooks on life. I have nothing but love for The West Wing, but I had to admit that my screenwriting professor is right in her assessment of that show: everyone is playing the same character. This isn’t the case with Firefly. They’re not one big, happy family. They work together and fight the same fight, but they all have their issues, with each other and with themselves. And this is exacerbated by the fact that they can’t escape from each other, lest they jettison themselves out into space. I have to say, too, that I think the cast owned their roles. The casting is spot-on. At the time this aired, they were all still flying under the radar but now they’re finding success on other shows. (In fact, we just saw Baccarin and Tudyk last week on V.)

And Whedon sure knows how to sustain a suspenseful, twisting story. From the work of his that I’ve seen, I think he has mastered the “WTF” moment. When you watch as much television as I do, it’s easy to spot a lot of twists coming. But with these episodes, I was pleasantly surprised that I was being surprised again and again!

The series was smart, inventive, well-acted, and a lot of fun. So why don’t I love, love, love it as so many others do? Good question. My only guess is what I’ve deemed Dark Knight Syndrome: it’s been so hyped up by friends of mine that it could never have lived up to my expectations. I was doomed to only like it from the start. Alas.

So I will not overhype it for you. Watch it. You may enjoy it. Heck, you may even love it. If not, at least you’ll at least know what good (and underrated) television looks like.