Posts Tagged ‘ fringe ’

The Upfronts – Fox

Fox network logoUpfront week has rolled around surprisingly quickly this year. Over the span of just four days the five major US network channels will introduce their schedules for the 2013-14 season, delivering last rights to those that have failed to bring in the ratings, offering another year to the select few and introducing those that are lucky enough to win a coveted new slot.

First up, Fox. Much of their schedule is dominated by reality shows (American Idol and X-Factor mostly) which I don’t even mention, so they have less stuff than CBS, NBC and ABC.

What’s out
fringeJust four comedy/drama cancellations from Fox this year, which is joint lowest with CW. Fringe held out longer than anyone expected and came to a very well managed end, so I can’t say I’m that sad to see it go, particularly as the last season was not its strongest. Keifer Sutherland’s Touch made it to a second season, but never seemed to get much attention either from the ratings or critics. The Mob Doctor and Ben and Kate were freshman series that never really got off the ground, and while the latter received some critical praise, it doesn’t look like anyone will really miss either of them.

What’s returning
bonesMost of Fox’s renewals are comedies (New Girl, The Mindy Project, Raising Hope and Glee) or animations (The Simpsons, Bob’s Burgers, Family Guy and American Dad). The only drama renewals are Bones and new show The Following (all be it mid-season). It would seem in a slightly desperate attempt to add some established drama to its schedules they’ve taken the rather bizarre route in renewing 24 for some sort of special run. I never liked the original, so am not particularly fussed, but it certainly drew the attention of the media.

What’s new
Almost Human – Set in 2048, police officers are partnered with ‘synthetics’. Detective Kennex (Karl Urban, Star Trek) is about as unstable a human as you get and Dorian (Michael Ealy, Sleeper Cell) is about as unstable an android as you get. The sci-fi elements look interesting and impressive and the unlikely buddy cop motif is generally a pretty reliable way to drive story. The cast is full of familiar names (Lili Taylor of Six Feet Under, Mackenzie Crook of Pirates of the Caribbean, Minka Kelly of Friday Night Lights and Michael Irby of The Unit and has JJ. Abrams (Star Trek, Fringe, Lost) as creator and Exec Producer, so expectations are high, but the trailer left me intrigued.

Sleepy Hollow – Ichabod Crane comes back from a couple of hundred years ago, comes back from the dead to continue his search for the headless horseman. Part supernatural DaVinci Code thriller and part buddy cop action comedy this could be both fun and interesting, although it’s best to ignore the ridiculous voice over on the trailer.

Dads – I’m not sure I’ve ever really found anything by Seth MacFarlane (Family Guy, Ted) funny, and this trailer is no different. Seth Green (Oz from Buffy, And other stuff) and Giovanni Ribisi (Phoebe’s brother from Friends, and other stuff) are best friends both of who’s fathers decide to come live with them. Chaos ensues. It wasn’t intolerable, I just didn’t find it funny enough.

Brooklyn Nine-Nine – This however was intolerable. A comedy about a dysfunctional New York detective squad. Andre Braugher used to be in Homicide: Life on the Street and now he’s in this?!

Enlisted – Geoff Stults (The Finder), returns home from war and is put in charge of turning a bunch of incompetent soldiers, including his two brothers, into something less embarrassing. I hated this from the second the music started.

Us & Them – Gavin and Stacey (yes, like the UK series) seem a nice enough couple who come from New York and Pennsylvania respectively, it’s just that they’re surrounded by well meaning but slightly horrific friends and family. Alexis Bledel (Gilmore Girls!) and Jason Ritter (Parenthood) are both charismatic and sort of lovely in the trailer, but the others may be unbearable. I didn’t hate it though.

Surviving Jack – based on Justin Halpern’s book I Suck at Girls, a comedy set in 90s California about a no-nonsense semi-absent father (Christopher Meloni, Law and Order: SVU) who’s suddenly forced to be the full time parent to a pair of teenagers. I chuckled a couple of times at the trailer, but also rolled my eyes a couple of times, so it averages out to a ‘meh’. Starts midseason.

Rake – a fairly standard set up, the central character is a complete disaster in his personal life but a pretty good lawyer. It’s the kind of show that lives and dies with its star, and in Greg Kinnear they have someone who is instantly likeable and left me feeling optimistic for the show. Starts midseason.

Gang Related – Ryan Lopez (Ramon Rodriguez, The Wire) is on the LA Gang Task Force but also has ties to a local gang and is torn back and forth between the two. The trailer looks very impressive, but I can’t help feeling that I’ve seen this film several times before and at best have come away impressed, but not that interested.

Wayward Pines – Wayward Pines is an idyllically perfect American town, but you can never leave. Ethan Burke (Matt Dillon) is a Secret Service Agent sent to the town to investigate the disappearance of two of his colleagues. But he soon finds himself trapped as well. The idea sounds intriguing, but with the Press Release laying the similarity to Twin Peaks on a little too much, and the dubious talents of M. Night Shyamalan attached, there’s the potential for this to go very wrong. Starts midseason, no trailer yet.

Murder Police – animated comedy about a group of inept, corrupt and lazy police officers. Sounds like the animated equivalent of Brooklyn Nine-Nine and I’m even less enthusiastic about this than I am about that. Midseason

Links
Trailers collated by The TV Addict and TV Line and schedule summaries from The Futon Critic.

2013
05/14
CATEGORY
12-13 Season
13-14 Season
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Fringe: Season 5

fringeSome series are easy to review, each season’s plays out in its own way with strengths and weaknesses on clear display and all adding up either to a positive or negative final balance. Some series are a bit trickier though, sometimes what in isolation looks like a poor season is necessary in order to set up future brilliance, look at Mad Men for example, the first couple of seasons can very easily be labelled as boring, but without them the pay offs in later seasons wouldn’t have anywhere near the impact.

Fringe definitely falls into this area. Even if you exclude the first few episodes of season 1 which were almost a different show, seasons 1 and 2 were a bit of a trudge – X-Files style monsters of the week and glacially slow teases of what the show is really about. But then… wow. Once the true ideas really get going, the thing takes off and the audience is completely immersed into alternate universes, parallel timelines and just about every other science fiction trope that is going. It’s appeared on my ‘best shows of the year’ list for the last two years and have some of the most adventurous, creative and challenging storylines I’ve seen on television, all delivered by some of the most under-rated actors of the time.

Unfortunately if I review season 5 in isolation, it just doesn’t rank as highly. It didn’t feel as fresh or extreme as the previous seasons and although what was left return was entertaining, it just didn’t soar to the same levels. It felt much more like a return to the early days of the series and each episode was a mini-mission in isolation, hunting out this or that doodad, with little linking up between them. Maybe it’s because I watched all dozen episodes in the space of just three days, but storylines like Peter’s experimentation with observer technology seemed to come and go in the blink of an eye, with no long term impact, and characters barely had a chance to make connections before they were gone.

The setting of a post-invasion future may be original for the science-fiction light television environment these days, but compared to the worlds Fringe has previously shown us, it felt very tame. Sneaking in the shadows, avoiding checkpoints, guerilla warfare and underground resistance just felt grey and predictable. Jumping into the characters futures disconnected the audience from their previously slowly developing relationships. It was hard to engage emotionally with Peter and Olivia grieving the loss of a child, when we had never seen them with said child; how could we really grasp how estranged they’d become due to their different reactions to this loss, when we’d barely had a chance to get used to them as a couple in the first place. Similarly the flip rapid cycle of Walter’s increased, forgotten and regained knowledge left me struggling to keep on top of his emotions.

But, while season 5 may not be the best season of the series, it does make an extremely satisfying conclusion for a superb series. By jumping far into the future it cements the events of previous season as world shaping, without having to actually go through a slow burn of revelation. Isolating the characters makes everything more personal for them, they only have each other to rely on, everything they know is gone and they are seemingly the last chance for the human race, so what option do they have but to be heroes? It all makes sense in the wider story that the series as a whole is trying to tell.

I’m sure there are threads that were dropped and questions that were left unanswered if you watched the series even more obsessively than I did. For me the biggest frustration was that I didn’t feel Astrid ever really got the chance to flourish in her own right. She had an incredibly beautiful relationship with Walter (I’m tearing up just thinking about their last few scenes), but I wish we got to see more of her relationship with the rest of the team and she got more moments to shine for her own skills. Likewise I really missed the alternate universe in season 5, way back when they were introduced I didn’t think I would ever come to care for them, but their absence was a real hole in season 5 and I wish they’d used them more.

Season 5 may not be as excellent as previous seasons have been, but it was a very good way to end the series, given the limited number of episodes they had available. I think the writers and producers of the show, and the executives at Fox deserve a lot of praise both for keeping the show on the air this long, and for closing it down gradually and completing the stories. I will miss the characters and the stories, there simply isn’t anything else like it on television at the moment, and the airwaves are sadder for it.

2013
01/30
CATEGORY
12-13 Season
Science Fiction
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The 2011-2012 Season

I’ve been dragging my feet on my season round-up post as I’ve been trying to polish off a few more series. But all the new stuff is starting, so the time has come to just get on with it! I’ve watched 39 series this year, last year was 28 so that’s a pretty terrifying increase! A fair number of the series are only a handful of episodes though (for better or worse) so I figure the number of episodes is about the same, somewhere around the 600 mark.

American Horror Story – S1
Awake – S1 (In progress)
The Big Bang Theory – S5
The Big C – S2
Blue Bloods – S2
Bones – S7
Borgen – S1
The Bridge – S1
The Cafe – S1
Castle – S4
Criminal Minds – S7
CSI – S12
CSI:NY – S8 		Downton Abbey – S2
Forbrydelsen (The Killing): S2
Fringe – S4 (in progress)
Game of Thrones – S2
Glee – S3 (in progress)
The Good Wife – S3
Grey’s Anatomy – S8
Homeland – S1
House – S8
The Jury
Luck – S1
Luther – S2
Mad Men – S5 (In progress) 		Merlin – S4
NCIS – S9
NCIS: LA – S3
The Newsroom – S1
Once Upon a Time – S1 (in progress)
Outnumbered – S4
Sherlock – S2
Smash – S1
Sons of Anarchy – S4
Supernatural – S7
Terra Nova – S1
Veep – S1
The Walking Dead – S2
Warehouse 13 – S3

There are a few other bits and pieces that didn’t make the list, mostly documentaries, many of them really rather excellent – Inside Nature’s Giants, David Attenborough’s Kingdom of Plants filmed at Kew Gardens, Frozen Planet, Wonders of the Universe to name a few.

BEST SHOWS
Borgen. “The Danish West Wing” is an overused label, but it’s so accurate it’s hard to resist. It’s not just the subject matter that draws the comparison, but the quality of writing and production and, sadly, the ability for it to break your heart as characters realistically, but depressingly make the wrong decisions.

Fringe. For complicated housemate related reasons I still haven’t seen the final two episodes of this series, but I can’t see how they would do anything that would mean the series drops from this list. Fringe continues to evolve into a spectacularly complex, yet completely followable series while never forgeting to actually entertain its audience with self-aware nods to the ridiculousness of the situations.

The Good Wife. A brilliant cast, fascinating storylines, sure and steady character development all polished off with sparkling dialogue makes a package that’s just a complete and utter joy to watch. In a world of mediocre network procedurals, this one is so far ahead it’s clearly in a different league.

Homeland. Another show that’s complex yet accessible. The gradual reveal and development of characters is fascinating and I was on the edge of my seat all season not knowing which way anything was going to go.

Mad Men and Awake could potentially be added to this list, but I am less than half way through each.

FAVOURITE SHOWS
The Newsroom. This show was the one I’d been most looking forward to, and I’m slightly devastated that I can’t include it in the ‘best’ category. But despite massive flaws with the characters and a preachiness that even I find rather troublesome, it’s still one of my favourite shows of the year. That may be blind Aaron Sorkin obsession, but I don’t care.

American Horror Story. A huge collection of characters and stories intricately interwoven and elegantly revealed over the span of a carefully structured series. It felt both innovative and yet thoroughly grounded in the history of the genre. I’m especially happy that each season is completely self contained, so nothing is dragged out or has the chance to get dull.

Smash. It’s original and fun, balancing cheesiness and melodrama with engaging characters and a surprisingly real feeling storyline. I’m really looking forward to next season, particularly given they’re getting rid of all the annoying characters.

Once Upon a Time. Another new show that’s original and fun. The storyline is incredibly complex yet revealed so elegantly that there’s never any difficulty keeping up. It’s beautifully designed and just a lovely series to watch.

ACTORS
I sort of covered my thoughts on actors in my Emmy post, so here are some broader thoughts.

House . Hugh Laurie gets the most praise publicly, but the whole cast of the series are absolutely superb. Robert Sean Leonard as Wilson completely and utterly broke my heart, Peter Jacobson (Taub) cracked me up, Olivia Wilde (Thirteen) stole the very few scenes she was in, and Jesse Spencer (Chase) produced one of the most satisfying character developments I’ve seen in a long time.

Homeland . One of the few things that myself and those that vote for awards actually agree on, the superbness that are Claire Danes and Damian Lewis. I however would go a lot further and also heap praise on the supporting performances by Morena Baccarin and Mandy Patinkin.

Sons of Anarchy. Award voters clearly have some kind of blind spot when it comes to Sons of Anarchy, because year after year they completely fail to register the incredible performances throughout the cast, but in particular from the female leads Katey Sagal and Maggie Siff

Katharine McPhee (Karen) and Megan Hilty (Ivy), Smash – I loved the dance the characters went on, competing with each other but respecting each other’s talents; sometimes gracious, sometimes bitchy. And boy can they belt out tunes! Also Jack Davenport (Derek) had some of the funniest lines of the year!

Fringe . The cast are good as their primary characters, but what’s impressive is that most of them then go on to play the same person in the alternate universe, each of them the same person but with slight variations. It’s astonishing, they are the same person yet completely different, it’s mind twisting and fascinating. I can’t imagine a greater challenge as an actor. While Anna Torv and John Noble rightly get a lot of praise, the performances of Jasika Nicole (Astrid) and Seth Gabel (Lincoln Lee) are just as subtle. Poor Joshua Jackson must feel rather hard-done-by without an alternate version to play with. He is pretty though.

The Good Wife – so many great performances and characters that I love from both stars, supporting characters (I could watch Josh Charles and Christine Baranski do the Will and Diane show all day long) and a dream list of guest stars (Michael J. Fox, Martha Plimpton, Matthew Perry – all playing deliciously slimy characters).

GOOD THINGS
Booth and Bones getting together on Bones. I was completely against it, but cheerfully admit I was wrong. Having them jump from no relationship at all to living together and having a baby brought a breath of fresh air to the series. It was handled with such lightness and charm, with both characters bending to accommodate the other, but not making any fundamental changes… beautifully written and acted. Here’s hoping Castle can do the same.

The end of House. A series going out gracefully and winding everything up with a collection of satisfying resolutions for all the characters. House has never been about the medicine, but about the puzzles and about the people, while I may personally wish that Wilson had a different conclusion, it all fed in so perfectly and everyone ended up where they were supposed to be.

Creativity! It felt like there was some variation with what’s on TV, not just an endless stream of interchangeable procedurals. Shows like American Horror Story, Game of Thrones, Once Upon a Time and Walking Dead (finally) are investigating what it’s like to bring non-traditional genres to television, and shows like Smash, Luck and The Newsroom brought different subjects to the screen.

Female Characters! There are plenty of people out there who have and will write far more eloquently on the plight of women in television, but this year has felt like a relatively good year. Shows are full of strong women doing their jobs, raising their families and doing so as if it’s the most natural thing in the world. Shows like The Good Wife, Smash, Once Upon a Time and Grey’s Anatomy have dominantly female casts, and almost everything else has a nice balance. Even something like Downton Abbey with its period constraints provides some wonderful roles for female actors.

BAD THINGS
Lighten up! Supernatural is superb, but it really really needs to lighten up a bit! It’s turned into something I have to force myself to watch, rather than something I really look forward to. The same argument could be made for Sons of Anarchy. Relentless depression is just not entertaining to watch, I’m not saying they suddenly need to be all sunshine and puppies, but just every now and then, let them catch a break.

NCIS . After 9 seasons, I realised there’s no point in watching this any more. The plots are utterly disposable and the characters are disastrously erratic. The last two seasons I’ve relegated it to ‘ironing watching’, but I’m even giving up on that (the show, not the ironing sadly).

Glee. I still haven’t managed to get to the end of the season having realised that I’m increasingly just fast-fowarding episodes. I just got sick to death with the terrible writing which completely undermined the charm of the characters and the talents of the actors. It just stopped being fun.

Still no spaceships. Can no one make this work?

Too short! Sherlock and Luther both had only 3 episodes, each ‘double’ length. It’s not enough. There’s the obvious problem that like a small child if I like something I want more of it, but it also really hampers the ability to get invested in characters and stories, just as you’re settling in, it’s all over and the voice over man is saying “will return in 2014”.

PS
In preparing this article, I went back and looked at my summaries of last years shows and I have to highlight the following phrase in my summary of 2010-2011’s new shows:

Superheroes are out – there was a flurry of superhero shows and none of them were any good. People keep trying to find the magic of the early season of Heroes and the massive success that’s being found by Marvel and DC Comics at the cinema, but no one’s managed it yet. Here’s an idea, stop pissing off Joss Whedon and get him to do one, after he’s done making millions with The Avengers that is.

I rejoice in my ability to predict the future and can’t wait to see what Joss does with S.H.I.E.L.D.

2012
09/19
CATEGORY
11-12 Season
Lists
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2012 Emmy Thoughts

I’d originally decided not to bother commenting on the Emmy nominations, but I’ve been so addicted watching the Olympics that I’ve barely seen anything else and hence have nothing to actually write about! So here are my thoughts on some of the major categories.

Outstanding Drama Series

  • Boardwalk Empire – The pilot was gorgeous but dull, so I didn’t watch any more
  • Breaking Bad – I still haven’t got round to catching up on this
  • Downton Abbey – I enjoyed the series, but ‘Outstanding’? No.
  • Mad Men – I’m only half way through the season, and it’s fine, but not as good as it has been.
  • Homeland – had some stumbles, but overall, superb!
  • Game of Thrones – all over the place, just too much packed in meaning a lack of depth

I think Homeland will walk it, they did overlook Fringe and The Good Wife for nominations, but I think Homeland still deserves the win.

Lead Actress in a Drama

  • Julianna Margulies as Alicia Florick, The Good Wife – Yes. Just yes.
  • Michelle Dockery as Lady Mary, Downton Abbey – she did admirably with terrible material
  • Elisabeth Moss as Peggy Olson, Mad Men – she’s always superb, but she hasn’t had much to do in the first half of the season.
  • Kathy Bates as Harriet Korn, Harry’s Law – no idea, but it’s Kathy Bates so I suspect she’s pretty good
  • Claire Danes as Carrie Mathison, Homeland – She was given some amazing material and absolutely sold it.
  • Glenn Close as Patty Hewes, Damages – Never seen it.

Of those nominees I think it will probably come down to Marguilies or Danes and I think it should and will go to Danes. Overlooked I think was Anna Torv for Fringe who played multiple versions of her character with great subtlety. Also, although I’ve only watched a couple of episodes of the season, I’d be astonished if Katey Sagal and Maggie Siff didn’t produce their usual superb performances in Sons of Anarchy.

Lead Actor in a Drama

  • Steve Buscemi as Nucky Thompson, Boardwalk Empire – Haven’t seen it, but I expect he’s very good.
  • Michael C. Hall as Dexter Morgan, Dexter – haven’t seen this season, but he’s always great
  • Bryan Cranston as Walter White, Breaking Bad – I haven’t seen any of the series, but he’s won a bazillion times already
  • Hugh Bonneville as Earl Grantham, Downton Abbey – I love him, but he shouldn’t be on this list.
  • John Hamm as Don Draper, Mad Men – I don’t think this season has been his strongest
  • Damian Lewis as Nick Brody for Homeland – stunning performance, he really kept me guessing all season

I hope Lewis wins and suspect he has a good chance. Other than Lewis my list would have been completely different – Hugh Laurie for a solid final season as House, Charlie Hunnam as Jax Tellar from Sons of Anarchy, and the impressive Jason Isaacs for Awake. I would also be very happy to see Matt Smith on the list for Doctor Who.

Supporting actress in a drama

  • Archie Panjabi as Kalinda Sharma, The Good Wife – I like her a lot, but I’ve never thought her quiet mystery really gave her enough of a range to show her talents
  • Anna Gunn as Skyler White, Breaking Bad – no idea
  • Maggie Smith as Dowager Countess, Downton Abbey – hilarious, but I’m not sure a well placed one liner per episode is noteworthy enough for an Emmy
  • Joanne Froggatt as Anna, Downton Abbey – suffering from mediocre writing making her character a bit unremarkable
  • Christina Hendricks as Joan Holloway Harris, Mad Men – I haven’t got as far as Joan’s story in the season of Mad Men, but I’m eagerly anticipating it as she’s always wonderful
  • Christine Baranski as Diane Lockhart, The Good Wife – I want to be her when I grow up, she’s fantastic, landing both the drama and the comedy, often in the same sentence

I think Hendricks will walk away with this, and although I’d like Baranski to win, I won’t be that upset if it goes that way. Overlooked – I think Megan Hilty (Ivy) from Smash was rather impressive and Lena Headey as Cersei Lannister in Game of Thrones did some great work too.

Supporting Actor in a drama series

  • Aaron Paul as Jesse Pinkman, Breaking Bad – no idea
  • Giancarlo Esposito as Gus Fring, Breaking Bad – ditto
  • Brendan Coyle as John Bates, Downton Abbey – as with Anna above, I felt the writing for this character didn’t give enough to do to be nominated for an Emmy.
  • Jim Carter as Mr Carson, Downton Abbey – ditto. I just don’t feel any of them were “outstanding”
  • Jared Harris as Lane Pryce, Mad Men – as for Hendricks, I’ve not seen the biggest moments for Lane, but I have loved Harris’ work over the last couple of seasons of Mad Men.
  • Peter Dinklage as Tyrion Lannister, Game of Thrones – the best thing about the series, hitting the drama and the humour throughout, without him the show was nowhere.

I’d be happy if either Harris or Dinklage won, I suspect it will go to Dinklage. John Noble from Fringe, Robert Sean Leonard of House and Josh Charles of The Good Wife would all have been extremely worthy nominees.

Outstanding Miniseries

  • Hemingway & Gellhorn which I’ve neither seen, nor actually heard of
  • Game Change – which I’ve at least heard of but not seen
  • American Horror Story – which was rather fun and original
  • Sherlock – which was superb
  • Luther – I missed this season, but enjoyed the previous one

I think American Horror Story will win, although my vote would go to Sherlock. I don’t think I’ve seen anything else that would count as a miniseries.

Acting in a Miniseries

Having seen so few miniseries, I can’t really comment much other than to say that the ones I’ve actually seen would all be tough to beat. Connie Britton as Vivien Harmon in American Horror Story for lead actress, the wonderful Benedict Cumberbatch of Sherlock for lead actor and his costar Martin Freeman for supporting actress. Jessica Lange as Constance in American Horror Story is a sure bet for supporting actress, edging out her co-star Frances Conroy (Moira).

2012
08/07
CATEGORY
11-12 Season
TAGS






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Alcatraz – Pilot review

In 1963 Alcatraz prison closed. But the prisoners weren’t transferred away as everyone thinks, in fact they and all the guards just disappeared. Now it seems they’re coming back and they don’t seem to have aged or rehabilitated in the intervening half century. A special team of FBI, police and civilians is formed to track them down before they commit more crimes, and to find out who took them and what they’ve been sent back to do.

This is the latest in a string of series being heralded as “the new Lost” which basically seems to mean that the story is built around a core mystery that will encourage you to spend hours picking apart all the hints. Of course of the many things studios have hoped would be the new Lost, few have succeeded and the label is as much a curse as anything else these days. Alcatraz however has the bonus of pedigree behind it – JJ Abrams produced it, there’s overlapping writers and Jorge Garcia (Hurley, one of the best things in Lost) co-stars.

The concept behind Alcatraz looks pretty good for the Lost-model – it’s got the mystery to keep you returning each week but also a good set up for episodic story-lines to keep you entertained while it taunts you with micro-hints each week. There’s a mixture of present day cops running around and shooting and gradually revealing flashbacks to fill in the gaps. The combination of true history and made up mystery is sure to be sending some hefty traffic wikipedia’s way as well.

The problem I had with the show was that the pilot didn’t feel very well put together, in particular a lot of the dialogue felt as if someone had written all the placeholder exposition and then forgotten to address the note of “make this sound more realistic before filming it”. The characters had a similar problem, as if they’d just gone with a shorthand version and forgotten to sand off the cliché corners, for example the lead character was orphaned at a young age, raised by gruff cop, grows up into ambitious young detective, bit of a loner after the death of her partner which haunts her.

Somewhere under the cliché and poor dialogue there’s some good actors struggling to get out. Relative newcomer Sarah Jones somehow managed to take the cliché ridden character and clunky dialogue and still be interesting to watch. Jorge Garcia’s very presence brings something unusual to the show, a very non-Hollywood presence. Sam Neal may only ever really play one character, but at least he does it well. The supporting players didn’t really rise above though, the villain of the week was particularly bland.

I think what JJ Abrams has done is not re-created what he did with Lost, but instead what he did with Fringe, and I mean that in both a good and bad way. Alcatraz, like Fringe, has a good foundation to build on – elements like actors, character breakdowns, mystery and episodic set up that can come together to form a really solid and interesting series. Unfortunately, just like Fringe, I think it’s got off to a really poor start with a pilot singularly lacking in any spark that makes me want to come back. The fact that I will give it a few more episodes is solely down to the fact that I fell for that misdirection with Fringe and it took me years to realise what I was missing. I don’t want to fall into the same trap with Alcatraz.

Alcatraz will be shown on Watch in the UK from March

Other reviews – I always read the other reviews after writing my own, at which point I realised that Alcatraz actually aired the first two episodes back to back as a pilot, but I’d only watched the first. I couldn’t be bothered to re-write the review, so my stuff may not tally with the reviews below.

CliqueClack – It looked captivating, unique, mysterious and … interesting. Sadly, it is none of those things to me after seeing the 2-hour premiere.

TV Fanatic -
Alcatraz hits on all the key elements that make a show great and, while not as serialized as many of J.J. Abrams other shows (Lost, Alias), it does contain plenty of factors that make the series more than just hunting down criminals each week. Fox has another winner on its hands and I’m looking forward to seeing where this show takes its characters and the fascinating mystery that surrounds them.

2012
01/29
CATEGORY
11-12 Season
Crime Procedural
Pilot Reviews
Science Fiction
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The 2010-2011 Season

As always my definitions of what counts for a season are a bit variable, pretty much anything that aired somewhere between the beginning of September 2010 and the end of August 2011 are fair game for this.

Blue Bloods: S1
Bones: S6
Brothers & Sisters: S5
Castle: S3
Criminal Minds: S6
CSI: S11
CSI:NY S7
Doctor Who 2011
Downton Abbey: S1
Friday Night Lights: S5 		Fringe: S3
Game of Thrones – S1
Glee: S2
The Good Wife: S2
Grey’s Anatomy: S7
House: S7
Leverage: S3
Lie to Me: S3
Mad Men: S4 		Merlin: S3
NCIS: S8
NCIS: Los Angeles – S2
Sons of Anarchy: S3
Stargate Universe: S2
Supernatural: S6
Terriers: S1
The Big C: S1
The Walking Dead: S1

There’s a few bits and bobs that don’t make the list – Outcasts (meh), Mad Dogs (ok), Warehouse 13 (fun but poor), Bedlam (awful), Falling Skies (still haven’t got round to finishing) more documentaries than I might expect (I remember being impressed by a lot of them but the only one I really remember is the superb Inside Nature’s Giants).

Between everything listed above and the pilots I reviewed that’s getting on for 600 episodes of television, probably about 500 hours, which given the national average is somewhere between 20 and 30 hours a week, actually is still way below ‘average’. Of course most normal people don’t watch television in the ridiculous concentrated way that I do, so I guess I shouldn’t jump up and down and declare myself well adjusted just yet.

All in all, I’ve not been massively impressed with this year. Although I found it hard to narrow down most of the categories below there were relatively few things that I’d label as outstanding. I don’t know whether this is because I’m getting increasingly hard to please in my old age or because television writers and networks are getting more willing to settle for mediocre in the tough financial times. Either way, given that several of the shows I mention below have come to an end or are looking at likely final seasons, it doesn’t bode particularly well.

Best Shows
These are the shows that are superb – with amazing writing, beautiful direction, compelling acting and thought provoking stories. The ones that the Emmy’s and Golden Globes *should* be nominating.

  • Friday Night Lights – I don’t think season 5 was the best season of the show, I never fell in love with the Lions as much as I did the original Panthers, but even with that in mind it was still one of the absolute highlights of the year and I will miss it.
    Mad Men – this show can appear very slow and dull to a casual viewer, but if you invest in it and pay attention there is such incredible depth that with a little bit of analysis and discussion you have a real sense of satisfaction fitting everything together.
  • Fringe - I rewatched a few episodes of the first season recently and who knew that the ok but unspectacular X-Files wannabe would turn out to be such a fascinating and creative story about alternate worlds literally colliding.
  • The Big C – A comedy about terminal illness, really? But it manages to combine being hilariously funny with being beautifully moving without becoming cloying or preachy. It’s one of the most uplifting things I’ve seen in a long time.
  • Stargate Universe – as far as I’m concerned season 2 was as near to my idea of perfect science fiction as is likely to be seen for a long time. It had interesting stories and ideas, but more importantly was all done with a fascinating group of characters and a lot of humour.

Favourite Shows
These are the shows that I adore. They’re the ones that I desperately wait for new episodes of, the ones that I follow on blogs, the shows that make me smile, cry, and forget that the characters aren’t actually real. Comparing these to Mad Men is like comparing apples and oil rigs, but they still deserve recognition.

  • Glee – this is far and away my favourite show of the year. It has massive consistency problems when it comes to writing and storylines, but every single episode makes me laugh, and simply hearing one of the songs on my ipod can make me forget all about my troubles and grin like a fool.
  • Grey’s Anatomy – with the exception of a questionable couple of storylines towards the end of the season Grey’s has been right back on the sort of form that got me addicted to the early seasons of the show. Even my frustrations with what I describe as poor writing choices are only because I’m so unhealthily emotionally tied to these characters.
  • Doctor Who – I’m not sure whether I’m referring to the previous season that ended at Christmas or the one that’s currently half way through (which is likely why I’m missing the season review), but it really doesn’t matter because each has been superb, somehow managing to be hugely entertaining Saturday evening family viewing, but also superb quality drama with delicate and beautiful writing. This one really could have gone in either category.
  • Terriers – This may be a partial pity vote, if it hadn’t been cancelled would I have been so passionate about it? Don’t know and never will, so it’s on this list because I thoroughly enjoyed it.
  • Downton Abbey – I’d been looking forward to the remake of Upstairs Downstairs and probably to the BBC’s consternation, this ITV almost-rip-off blew it out of the water. A great cast, hilarious writing and a lovely Sunday evening vibe to the whole thing made this a lovely piece of television to watch with friends and family.

Male actors

  • Tim Roth, (Cal Lightman, Lie to Me) –Roth’s performance was so entertaining and unpredictable that it took me three seasons to notice that the rest of the show around him was actually not very good at all.
  • Jared Padelecki (Sam Winchester, Supernatural) – I’m a Dean girl through and through, but even I have to acknowledge this season that Sam got the better material and Padelecki acted his way through Sam’s splintering personalities impressively.
  • Matt Smith (The Doctor, Doctor Who) – who knew that I’d start forgetting David Tennant. The energy and charm of Smith’s doctor is just infectious.
  • John Noble (Walter Bishop, Fringe) – Noble made it on to my list last for playing the wonderfully bonkers character of Walter – sometimes brilliant scientist, sometimes emotionally unstable child. Given that in addition to that performance he adds on the character of Walternate, an alternate universe version where he’s a terrifying politician, there was no way he wouldn’t make the list this year too.
  • Kyle Chandler (Coach Eric Taylor, Friday Night Lights) – poor coach had a miserable couple of years struggling with having to chose between the lesser of two evils over and over, nothing ever seemed to quite go his way. Chandler’s understated performances just broke my heart.

Female actors
I still find myself struggling to find 5 decent nominees for this category, I hope that it’s just a coincidence of the shows I watch, but I fear that it’s representative and that’s very troubling.

  • Laura Linney (Cathy Jamison, The Big C) – I imagine this is the kind of role that actors dream of. Linney is simply phenomenal.
  • Julianna Marguiles (Alicia Florrick, The Good Wife) – I think this season of The Good Wife lost its way a little, but that doesn’t change that this continues to be a wonderfully rounded character and a lovely performance.
  • Anna Torv (Olivia Dunham, Fringe) – I’ve found her character a bit bland in previous seasons, but this season thanks to playing multiple different characters, Torv proved that it’s the character that’s bland, not the performance. The subtle differences with her alternate universe version were fascinating, and as for her performance of being possessed by Leonard Nimmoy…
  • Connie Britton (Tami Taylor, Friday Night Lights) – like her husband, nothing ever seems to go Tami’s way, every piece of good news is balanced with a difficult decision. She’s got more stoic and resigned to this as the years have gone by, but watching her wrestle with the potential break up of her family at the end of the season felt like the world was ending.
  • Katey Segal (Gemma Teller-Morrow, Sons of Anarchy) – I very nearly put her into the group category alongside Maggie Siff’s Tara because these two women at the heart of the male oriented motorcycle club are incredible. But Segal’s performance is the more nuanced one, the balance between confidence and insecurity, cold blooded scariness and utter devotion to her family.

Casts
In cases like Tom Sellek there’s one actor holding together an otherwise mediocre group, in cases like Laura Linney, she’s clearly carrying the weight of the series and standing out from an already very good supporting team. But for these guys and gals it’s the pairings and groupings that are the standout, if I commented on one of them, I’d have to comment on them all or I’d have the guilt.

  • Grey’s Anatomy – this show has always been the gold standard of ensemble acting and character development and this season has been no different. Everyone has interesting relationships that grow and mature (if you overlook some terrible backwards steps) and all are equally capable whether dealing with melodramatic emotions, intense medical scenes or hilarious comedy.
  • NCIS LA – the season has been an exploration of what it means to be partners and each of the pairings has delivered fascinating and entertaining performances, ably supported by the centre point of Hetty, NCIS could learn a lot from its offspring.
  • Glee – although Chris Colfer is clearly my (and the writers) favourite this is a spectacularly talented bunch of kids. The movie proves that they can perform just as well live in front of thousands of people, while the tv series shows that they can also deliver even the most ridiculous of storylines compellingly. All this on a ridiculously intensive schedule, imagine what they could do with decent material and a bit of sleep.
  • Donal Logue and Michael Raymond-James (Terriers) – My new favourite partnership sadly gone too soon, but I loved the easy camaraderie and open friendship of two people who came from entirely different backgrounds and ended up exactly the same.
  • Stargate Universe – it took a while, but eventually I came to love these characters and performances, right from the flamboyant ones at the front, through to the ‘supporting’ array of scientists and soldiers who could steal an entire scene with a throw away reference to Star Wars or a perfectly timed eye-roll. A dysfunctional family, just like lies at the heart of every great science fiction show.

Notable absences
Not listing Supernatural as one of my favourite shows of the year actually hurt, but it came down to a choice between it and Terriers and Supernatural was edged out just because my abiding memory of the season is one of sadness. It all just got a bit much this season for the show to be as enjoyable as before, but while it was all done really well it doesn’t quite make it into the other category of top shows because it wasn’t quite even enough to stand alongside the other shows.

Game of Thrones and The Walking Dead – being a genre fan I also find it sad that I can’t comment on these more favourably, but just being about a different subject doesn’t give you a free pass, you still need to be good. Game of Thrones was good, it only narrowly missed out in the favourite category, but The Walking Dead just wasn’t good enough, yes it’s great to see zombies on television but it still needed to just be better – better writing, better characters, better acting – just better. My feelings on BBC’s Outcasts meanwhile were so confused that apparently I never even got round to writing a review of it… it tried hard, but it really wasn’t very good.

British TV – there are a few British series that I watched all the way through this year, and a few that were so short they didn’t make it to proper reviews, but generally I find that I really have to force myself to watch them. Partly it’s self-fulfilling, I watch mostly US stuff, so I mostly read US blogs etc and therefore mostly find out about US stuff. I often find out about British stuff a couple of episodes in and then never get round to catching up. iPlayer et al help, but it’s one of the areas that I’d like to watch more of this year.

2011
08/29
CATEGORY
10-11 Season
Lists
TAGS
















1 comment

Fringe: Season 3

It took quite a while, but Fringe finally got good. Like really good. It’s always been a moderately enjoyable show to watch, but this season it really upped its game and became something bigger. But it did so in a way that didn’t become overwhelming; it’s not a giant complex conspiracy theory, the plot is actually reasonably straightforward.

It was far from obvious from the first season, but Fringe is all about alternate worlds, two versions of the world that have become tied together and are ripping each other apart. Before the season even started the news was out that for a substantial period of time, the show would swap back and forth between the universes episode by episode. I was dubious at first, thinking I wouldn’t care about the alternate world at all, despite their familiar faces these were effectively new characters and why should I care about them instead of those I’d grown to know over two seasons?

It’s a massive credit to the writers and actors that not only was I not bored in the alterna-world, but in many ways I actually preferred it. Gradually the differences and the impacts of those differences became clearer. While our world is only just realising what’s happening and the catastrophic impacts it can have, theirs has had longer to come to terms. While our world is alternately depressed, desperate and generally a bit wound up about it all, they have accepted it and in many ways are more laid back about the situation. They continue to live their lives – somehow in this world that knows it’s fighting for its survival, Olivia is far more relaxed and fun. Our world still has its share of craziness (mostly condensed into Walter) but by comparison it all became a bit depressing and intense.

Fringe has turned into a very high quality show. The storytelling is smooth and uncomplicated, things are always moving along. There’s also plenty of creativity, with flashback episodes and even a cartoon episode; I’m not sure it always works, but I certainly appreciate the attempts. The acting is absolutely wonderful, with many actors playing two slightly different versions of themselves, sometimes in the same scene! This is a show that takes a stunning amount of care with the details – even the credit sequence changes and adapts depending on the episode.

I’m delighted that the show will be back for a fourth season, not least because the situations set up in the cliffhangers were fascinating. The fact that it was renewed (despite not spectacular ratings) really does make me feel better about the very nature of network television. I heartily recommend taking this summer to catch up on the series if you haven’t been watching, it’s a shaky, slightly unremarkable start, but once it gets going, it’s phenomenally smart and entertaining.

You can get Season 1 for just 11.9912quid, or seasons 1-3 for 48quid from September from Amazon

2011
07/12
CATEGORY
10-11 Season
Science Fiction
Season Reviews
TAGS
1 comment

Bubble Shows

Posts at Narrative Devices have been pretty few and far between recently. As I mentioned a couple of posts back I’m basically just trudging through the mid season of most of the shows, and there’s nothing particularly remarkable or blog worthy occurring in the TV world. It won’t be long though until I’m drowning in ends of seasons and the drama, cliffhangers and end-of-year report cards they bring. May will also bring the excitement of the upfronts, where networks announce what terrible sounding pilots they’ve replaced all your favourite shows with.

The biggest news as far as I’m concerned that has arrived in the last few weeks is the surprising, yet utterly wonderful news that Fringe has been picked up for a 4th season. It took me a little while to get into the show, but at some point it evolved from being an X-Files wannabe into a fascinating, complex and yet still entertaining look at alternate realities. Its renewal is all the more surprising given that it was moved into the ‘Friday Night Death Slot’ on Fox that has been held accountable for the death of shows such as Firefly, Wonderfalls, and even the Original Star Trek if wikipedia is to be believed.

So I was happy to see Fringe saved from the uncertainty of ‘the bubble list’ – the list of shows that are in danger of not being picked up for next year. Being on this list almost always comes down to a simple matter of money – how much the show costs to make/buy and how much revenue it generates from advertisers. That’s where the ratings come in – more viewers means more advertising revenue, but it’s not quite that simple. Advertisers love ‘the demo’, the 18-49 age bracket who apparently spend all the money. So you might have millions of viewers, but if you’re Murder She Wrote and they’re all over 60, no one cares.

The only other factor, besides income and expense is the age of the show. There’s a magic point at 100 episodes where the show becomes viable for syndication – the holy grail which means that it can be run over and over again by the myriad of local channels available in the US (according to wikipedia it’s 100 because this allows the show to be run daily for 20 weeks). There’s big money in there, so if you’re a bubble show in your 4th season with about 80 episodes in the bank, you’ve got a better chance of renewal than a show with comparable ratings and costs, but only 40 episodes.

Of course while all that is happening behind the scenes, the very fact that your show is on the list effects its chances of renewal. Marketing spends less money on a show and people can stop watching it – why spend time getting invested in a show that not be around next season, after all if it DOES get picked up, you can always just catch up with summer re-runs or dvds.

While Fringe has been saved, there are still plenty of shows bubbling away, but I find myself in the unusual position of really not caring whether most of them live or die. There’s a few on the list that I intend to watch when they make it over here (Off the Map and Chicago Code for example), but even those, if they’re cancelled I don’t think I’d really be that disappointed. CSI: New York is also bubbling apparently, and although I’ll continue to watch it if it airs, I wouldn’t miss it if it disappeared. Of all the remaining bubblers (sadly of course Stargate Universe has already been declared dead) there are only three I actually care about.

Lie to Me – The show itself can be a little predictable, the side characters are so far off to the side that it’s almost surprising when one of them actually speaks and the constantly changing show-runners have led to erratic direction… but Tim Roth’s performance is one of the most entertaining and interesting ones on television at the moment. I can’t work out why it doesn’t get more attention (both critical and from the ratings), I don’t think it’s ever really been marketed heavily, leaving people to think it’s “just” another procedural, if only they could do some promotion and get Roth some well deserved award nominations. I would have thought this show would work very well to support the increasingly elderly, but still Fox network stalwart – House. Unfortunately the Fox schedules are extremely tight (too many reality shows like American Idol) and with Fringe’s renewal, it’s not looking good for Lie to Me.

Supernatural - I don’t think this has been the strongest season ever, but the show and characters continue to develop in interesting directions and the writers and directors continue to find increasingly bizarre ways to push the boundaries of what a silly sounding show on the CW can actually do. It doesn’t do amazing ratings, but considering that it’s in the Friday Night Death slot on the smallest of the networks, they’re not too bad. Also it’s companion, Smallville, is ending this year, leaving CW without any well established shows. The fan base is absolutely rabid and I don’t think the CW will piss them off.

Brothers & Sisters – It’s cheesy and occasionally ridiculous, but I do love it like a comfortable blanket to be snuggled under. Fighting against it is the fact that it’s quite old and therefore relatively expensive to produce (pay rises and the like), but it does relatively good ratings and ABC where it airs have a reasonably open schedule.

I got my bubble list and information from (updated as things change) are available at TVLine and EW.com mostly.

2011
03/27
CATEGORY
10-11 Season
How TV works
TAGS



1 comment

Setting the scene… or not

I’ve got a request to make of executive producers, or creative directors, or whoever it is that makes these decisions for television – stop putting title sequences on your shows.

That’s not to say I don’t love a good theme song and credits, I really do. But there are a lot of shows out there at the moment that seem to at the last minute before the first episode is delivered for airing realise they never filled the 30second place holder where the titles are supposed to go. An executive producer throws out last minute instructions to pick a random piece of music with no tune, throw together a montage of explosions and characters looking moody “and make sure my name is big”.

In the great days of old title sequences were about setting the scene for your show, give the audience a helping hand picking up what you were trying to say. Remember all those great opening themes and voice-overs you got on things like Star Trek and The Outer Limits? It wasn’t until I thought about it that I realised how amazing the title sequence for M*A*S*H was, it wasn’t a bright chirpy tune to put you in the mood for a comedy, it was sombre and quiet, reinforcing the sadness of the drama behind the comedy. More recently, Firefly did a similar thing, reinforcing the western feel that might have been over-shadowed by the science fiction.

The primary inspiration for this article came from the fact I watched an episode of NCIS: Los Angeles, followed by an episode of Blue Bloods and couldn’t help but see that the thing the shows had in common were two absolutely awful title sequences.

Standing alone the title sequences are both awful, loud cliché music, cheesy explosions, melodramatic posing from the actors and unimaginative text. The biggest crime though is how badly they fit with their shows. NCIS will usually jump from a dramatic reveal of a murder or crime straight into loud obnoxious music, Blue Bloods will jump from gritty and modern New York straight into a title sequence from the 80s. Knowing that each title sequence is coming leaves me anxiously hovering over the remote control so that I can fast-forward (god bless Sky+) before the opening chord intrudes on my viewing.

Most shows at the moment thankfully don’t bother with titles at all, taking five seconds for a splash screen and getting on with the show. Grey’s Anatomy used to have credits but rapidly got rid of them. Maybe it’s a bit surprising that Glee, a show all about music and presentation doesn’t have a theme song, but then how could they possibly pick just one song?

Some shows manage to make a surprising impact with even the most minimal splash screens, maybe Lost is the first that really got it right, showing exactly how much can be communicated with just a chord, a font and a fade. Supernatural adopts the same system, just the shows name, a sound and a special effect, but adds a variation by changing the effect and sound each season (and the occasional extra special version – see the collection). Even Brothers & Sisters with its simple sliding text and soothing couple of bars of music sets the correct tone for the show.

I’d be remiss if I didn’t however comment on a few shows that do manage to make title sequences work. For some reason channels like HBO and Showtime really make an effort and put a lot of thought into what they want their titles to say about their shows. The majority of things that would appear on my list of favourite credit sequences past (Six Feet Under, Carnivale, Deadwood, Dead Like Me) and present (Dexter, Sons of Anarchy, Boardwalk Empire) aired on HBO or Showtime in the US. All absolutely beautiful title sequences that really suit their shows. There would be a clip of the Sons of Anarchy intro here… but there doesn’t seem to be a version on YouTube.

Lie to Me – I can’t help but smile every time that woman’s eyes light up

Big Bang Theory – I don’t watch the show (I know I probably should, it’s on my list, I just haven’t got to it yet) but I love the titles!

Fringe – the standard intro is nothing special after a couple of seasons, but this year they’ve done a few alternate versions to fit with their alternate themes, including this genius one for their flashback to the 80s episode.

(Thanks to Smashing Magazine and TV.com for their collection of links.)

2011
03/12
CATEGORY
Articles
How TV works
TAGS




3 comments

End of year report card

The start and end points for the television year is pretty fuzzy. Given that I watch mostly US shows, I tend to go by their year which runs roughly from September rather than the calendar year. So I decided that I’d count the start of the year as 1st September (and I go by American air dates, not the UK). BUT life isn’t that simple, because what do I do with shows that start in one year but end in another. For example Mad Men season 3 ran August-November 2009, running one year to the next. Then I looked at what the Emmys do and it turns out they run June 1st 2009-May 31st 2010. BUT they don’t strictly speaking pay attention to show seasons, it’s just whichever episodes ran in that time frame, which means from what I can tell – the last two episodes of the season of Glee weren’t eligible for entry as they aired in June 2010.

So after all that, I decided to hell with it and I’d count what I felt fit within 2009-2010 and be pretty much arbitrary about it.

Bones - Season 5
Brothers & Sisters – S4
Caprica – S1
Criminal Minds - S5
CSI - S10
CSI:NY – S6
Defying Gravity – S1
Dollhouse – S1
Doctor Who - 2010
FlashForward - S1 		Friday Night Lights – S4
Fringe – S2
The Good Wife – S1
Glee - S1
Grey’s Anatomy – S6
House – S6
Leverage – S2
Lie to Me – S2
Mad Men – S3
The Mentalist – S2 		Merlin – S2
NCIS: Los Angeles – S1
NCIS – S7
Outnumbered – S3
Sons of Anarchy – S2
Stargate Universe – S1
Supernatural - S5
Trauma – S1
Warehouse 13 – S1
White Collar – S1
V – S1

Top of the Class – Best Drama

  • Mad Men: For once, I’m in absolute agreement with the Emmys. Season 3 (season 4 has just started on BBC4) was a work of near perfection. The pacing, the way everything had been so carefully and subtly built up until the final episode which was one of the most satisfying hours of television I’ve ever seen. The detail of this show is incredible, it’s a slow burn, but it’s really worth it.
  • Friday Night Lights – I have a guilty relationship with this show, because despite the fact I have it ‘available’, I haven’t managed to bring myself to watch the second half of the season. This season has felt like really hard going, everybody’s’ lives really seem to suck and it’s just hard to watch. But that doesn’t make it any less superb or any less worthy of its position in the number 2 slot in the drama category.
  • Sons of Anarchy – There’s just something about this bunch of gun running, murdering, hells angels that just makes you forgive them everything they do. The closest thing I can think of to this show is Brothers & Sisters, it’s got the same sense of families fighting amongst themselves, but ultimately doing anything for each other – just with more Nazis.
  • Trauma - Maybe this show wouldn’t have made the cut if I didn’t feel bad for it being cancelled, but I really do think it was one of the better shows of the year. It’s not perfectly refined like Mad Men, but the heart and soul of it are true, the characters and relationships are interesting and different and I enjoyed every episode.
  • The Good Wife – Proving that ‘legal procedural’ doesn’t have to mean Law and Order or wanting to kill all the characters. The ensemble cast is amazing and contains some of my favourite actors, and seeing them together creating such complex characters is immensely satisfying.

Head Boy – Best Male Actor/Character (you don’t get to be a great actor without a well crafted/written character and great characters don’t survive great actors)

  • Tim Roth (Cal Lightman, Lie to Me) – I don’t understand why Tim Roth and Lie to Me don’t get more attention. In a world of dark, sober, troubled and angsty television detectives, Tim Roth lights up the room. He’s manipulative and arrogant, but he’s also a brilliant father, a caring friend and of all the investigators on television, he’s the one I’d want in my corner the most.
  • Matt Smith (The Doctor, Doctor Who) – I had my doubts, not because he was young or unknown or anything like that, but just because I thought David Tennant had created an un-equalable character. Matt Smith blew me away with his charm, his goofiness, his terrifying speeches and his ability to make a fez look cool.
  • Kyle Chandler (Coach Taylor, Friday Night Lights) – This man seems to do less acting than anyone else on television, he hardly says anything, sometimes he barely moves, but somehow you understand every single thing the character is thinking.
  • Jenson Ackles (Dean Winchester, Supernatural) – I was a bit disappointed by the season of Supernatural, but I was never disappointed with either of the lead performances. Part of what frustrated me about the season was that it was all over the range from slapstick to suicidal angst, via homicidal range and utter psychosis. Jenson Ackles nailed each of the emotions and how stubborn, but over-his-head Dean would approach each one.
  • Hugh Laurie (Dr House, House) – I didn’t like this series of House much, as per usual I think it spent too long coasting through the middle of the season and then made some dubious relationship choices. But Hugh Laurie was consistently great throughout, except for the bookending episodes, where he was absolutely amazing.

Head Girl – Best Female Actor/Character (is actress politically incorrect?)

  • Julianna Margulies (Alicia Florrick,The Good Wife) – A breath of fresh air on network television, a woman with kids, a career, issues and most importantly a personality of her own. I loved when she got drunk with Kalinda, or acted as a big sister to Cary, or didn’t quite know how to interact with Diane. But mostly I loved the way she fell back to being a college student falling for her friend and not knowing what to do about it.
  • Katey Segal (Gemma Taylor-Morrow, Sons of Anarchy) – Gemma had the epitome of a bad year on Sons of Anarchy, but through it all she was their Queen, she loves all the members of her family and fights to protect them, whether with a gun, her fists, or just by keeping a secret. Katey Segal was amazing.
  • Connie Britton (Tammy Taylor, Friday Night Lights) – The other half of the best couple on television, Tammy’s not had a great year either. But like her husband, she doesn’t have to say anything for you to understand the multiple faces the character presents to everyone, including herself. When she steals her little victories wherever she can, and fights for her kids (the whole school load of them) it makes me want to hug her.
  • Ellen Pompeo (Meredith Grey, Grey’s Anatomy) – Meredith grew up and got happy and made me love her. Last year I put her on this list partially out of pity, this year she’s there on merit, actually taking her position as ‘lead’ actress more than just being a ‘prominent female member of the ensemble’. She’s completely settled into her position as the mother of the group – her reaction to her marriage and the loss of her friends was really mature. Whiny Meredith is hopefully gone for good.
  • Sally Field (Nora Walker, Brothers and Sisters) – When Sally Field cries, I cry. When she screams, I hid under a cushion. Whether herding her unruly brood, or causing chaos all by herself, I love her to pieces.

Prefects: Boys (Supporting actors)

  • John Noble (Walter Bishop, Fringe) - Walter is crazy. Utterly and completely, self-medicatingly, one-too-many-magic-mushrooms, bucket loads of crazy. But then in alternate world Walter is utterly sane and calm and scary and slimy. Noble bounces around between Walters multiple personalities and bodies with amazing talent.
  • Chris Colfer (Kurt Hummel, Glee) – The best thing in Glee. He’s completely over the top and ridiculous to the point you almost want to throw him in a dumpster yourself, but then he does something heartbreaking. Also, he can belt out a tune like the best divas out there.
  • David Blue (Eli Wallace, Stargate Universe) – He’s exactly what the stereotypical Stargate fan would be like if they found themselves inside a Stargate series. He’s got no clue about the military, or really people at all. He’s a massive geek who breaks tension by making Star Wars jokes. He brings a bit of reality to the otherwise slightly highly strung Stargate team.
  • Cliff Curtis (Rabbit Palchuk, Trauma) – Cliff Curtis became one of my favourite actors this year playing the deeply troubled, but utterly charming Rabbit. A really fascinating character and a slightly unlikely leading man, but he was the heart of this show.
  • Enver Gjokaj (Victor, Dollhouse) – I ummed and erred between Victor and Fran Kranz’s Topher, but eventually the Doll edged out the geek because he got to play a different role (and accent) every week and nailed them all, even managing to play Topher to perfection.

Prefects: Girls (Supporting Actresses)

  • Chandra Wilson (Miranda Bailey, Grey’s Anatomy) – She wasn’t even nominated for an Emmy this year, which I was so astonished by I had to check multiple times. Bailey follows the Sally Field rules – she cries I cry, she shouts, I actually cheer out loud. Her final scene of the final episode just destroyed me.
  • Elisabeth Moss (Peggy Olson, Mad Men) – “I’m Peggy Olson. And I want to smoke some marijuana” and “Beg me? You didn’t even ASK me”. Nuff said.
  • Christine Baranski (Diane Lockheart, The Good Wife) – Although her colleague Archie Panjabi (Kalinda) got the Emmy, I think Christine Baranski was far superior if for no other reason than she seemed to be having so much FUN with the role. Not afraid to flirt with a colleague or laugh out loud at the ridiculousness of a situation.
  • Allison Scagliotti (Claudia, Warehouse 13) – like Eli in Stargate, Claudia is the voice of the fan. She’s a geek who loves a gadget and points out the idiocy of all the plans. She, and her ever changing hair colours, brings life to the show.
  • Linda Hunt (Hetty Lange, NCIS:LA) – A breath of fresh air, a bizarre mix of motherly and drill sergent that manages to make even LL Cool J quake in his boots.

Team Players (Best pairings/ensembles)

  • Callen and Hanna (NCIS:Los Angeles) – A perfect yin and yang thing of hot headedness and cool, all bundled up in a caring (but not out loud!) partnership. Who’d’ve thought it.
  • Team Free Will, Supernatural
    “This is it… Team Free Will. One ex-blood-junkie, one drop-out with six bucks to his name and Mr Comatose over there. Awesome.”
    “It’s not funny”
    “I’m not laughing”
  • Christina and Meredith (Grey’s Anatomy) – When Meredith revealed the plans for her and Derek’s dream house and pointed out Christina’s Room I burst into tears yet again. I love these two sisters.
  • The Walker Clan (Brothers and Sisters) – You can’t really break this group up. They squabble and occasionally even fight, but the group of them together and the complex relationships between all of them are amazing.

Points for effort - The home of the things that are solidly doing their job, are entertaining, and occasionally verging into brilliant, but are generally just really solidly plugging away doing what they do.

  • CSI:Original had a really solid season, settling down after the changes of recent years and just turning in an entertaining, reliable and interesting season, there’s not many shows that can say that moving in to their 11th season they’ve still got some spark.
  • Grey’s Anatomy deserves a lot of praise for bouncing back from the previous terrible season, I nearly gave up on the show, but I’m glad I didn’t.
  • Brothers & Sisters – cheesy, melodramatic, sappy and utterly sentimental – it embraces these things with such enthusiasm and does them so well, it’s hard not to love.
  • Glee – If only the quality of the plots were more consistent, this would be worthy of considerably more praise. As it is, I enjoyed most of the episodes, but ended up frustrated that it wasn’t just slightly better.

Must Try Harder

  • The Mentalist - A nice idea, a charismatic lead character… but ultimately the character development isn’t, ‘mysteries’ aren’t, and the novelty wore off.
  • Outnumbered - It was still funny, but it just wasn’t as good as previous seasons. Not least because it seemed to spontaneously stop dead, to such an extent that I completely failed to note it had finished and never got round to writing a review.
  • Science fiction – it’s not been a good year for science fiction imho. V, Caprica and Flashforward were all disappointing.
  • NCIS - Still flipflopping all over the place with a lack of consistency and character development. Maybe it’s time for this one to retire.
  • Criminal Minds – I praised the show for finally having the team come together and having an impressive group of strong female characters… then they sacked two of them.
2010
09/12
CATEGORY
09-10 Season
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