Tag: Modern Family

The Best TV of 2010 – A Repeat Viewing Part 2

SCENE-SATIONAL

All of these selected moments made a truly lasting impression on me this past year: a show-stopping dance number directed by a personal creative hero, a shocking action sequence that takes its time building the tension before exploding, and two wonderful character-revealing comedy sequences. The shows herein are amongst my favorite currently on air, representing an eclectic taste but akin in delivering top-notch entertainment, creating some of the most indelible characters and scenes for them to play in.

And now the best pieces of a whole.

Glee Safety Dance Flash Mob, “Dream On” – A show filled with many memorable moments, this choice is probably due to my bias of all things Joss Whedon, He Who Can Do No Wrong. However, it is a wonderful sequence that not only further demonstrates Whedon’s creative acumen (cannot gush enough about his choice to cut in shots that look like clips from the inevitable viral video this flash mob will become) it was also a beautiful piece for supporting character Artie who features mostly in the background, save for the occasional need of a little R&B flavor in some songs (see “Billionaire” or “Umbrella/Singin’ in the Rain”). Kevin McHale got to show off some serious dance skill that obviously couldn’t happen due to his character’s confinement to a wheelchair, and with the episode’s dream theme we thankfully (or heartbreakingly) get to watch Artie experience his deepest wish.

Breaking Bad – Parking Lot Shoot-Out, “Ambush” – How much praise can I heap on Breaking Bad in general? Suffering from what I call the “middle child syndrome,” this AMC drama has found much critical, and award-winning, praise but seems to consistently fall in the shadow of its big brother Mad Men. Both dramas deserve equal accolades, but what Breaking Bad has over Mad Men in spades is the ability to create tense scenes where the audience too-often questions whether the characters they’ve invested so much in will be making it out of any given episode alive. And this is the crux of what I’ve decided is the best scene from a one-hour drama in 2010. The actions of anti-hero lead, Walter White, in the previous season – killing New Mexico’s leading drug kingpin – brought in two of the scariest hitmen television has ever seen, The Cousins. It seemed no one was safe when these twin cold-blooded killers were around, and this scene with Walt’s DEA brother-in-law set in their sites was literally the most breathtaking moment I’ve witnessed on TV.

Modern Family – Song for Lily, “Dance, Dance Revelation” – It’s near-impossible to single out one definitive moment of Modern Family as being the greatest. Absolutely every character is given a chance to shine with every actor stepping up and knocking a performance out of the park, making it the definition of a stellar ensemble show. Saying this I will admit to playing favorites, and it’s that favorite character who provides the majority of my enjoyment when watching. Only because his defining episode, “Fizbo,” aired in 2009 I’ve chosen this scene from late 2010 as his best, demonstrating why Cam is both the heart and funny bone of the show.

Parks & RecreationRon’s Whiskey Harp, “Sweetums” – Another show that contains the best ensemble comedy group assembled on television, Parks & Recreation came into its own during the show’s sophomore year thanks in large part to how the characters’ relationships were continually made real and interesting as each episode progressed. Again, my urge to play favorites wins out as I highlight the MVP character of the show, Ron Swanson. The dynamic between Ron’s Director of the P&R department and his Deputy Director (and show lead) Leslie Knope is second only to the stellar team of 30 Rock‘s Jack Donaghy and Liz Lemon. This sequence demonstrates Leslie’s constant need to play by the rules coming to blows with Ron’s equally constant need to maintain an upper-hand and most importantly always be right. Both go way too far to prove their points, but ultimately we see that they want to project a strong image of themselves out of their underlying respect for each other.

2010 62nd Annual Primetime Emmys Post-Show Recap

As stated in a post regarding last year’s Emmys, me and awards show have a love/hate relationship – I love them and they seem to hate me, or rather me and the collective viewing audience. Uninspired would best describe  them of late, but Academy of Television you actually kept my rapt attention this year. It might be because I didn’t watch them live, but the pace overall for the Emmys telecast was brisk, peppered with many worthy laughs and filler moments that weren’t completely eyeroll-inducing. I credit a lot of this to the stellar hosting job executed by current Late Night helmer Jimmy Fallon. From the amazing Glee-ful opening with four of the hot show’s stars, Tina Fey, Jon Hamm, Joel McHale and more joining him in belting out a Springsteen classic, through his moments introducing the various genres with the help of nominees Amy Poehler, Stephen Colbert and Julianna Margulies in the audience and even the “Shows We Lost” montage he never failed to entertain.

Naysayers can say nay about his time on Saturday Night Live – his were never peek performances like Will Ferrell, usually breaking character first and unable to deliver most of his lines laugh-free – but I was always a fan and thought he had his best years behind the Weekend Update desk. It also didn’t hurt he pulled duty next to my Fey-vorite.

He’s also no slouch when it comes to the melding of music and comedy, which seems to be all the rage these days thanks to belle of the TV ball Glee. My first memory of Fallon was his dead-on impersonation of Adam Sandler, another SNL alum known for wacky comedic songs, and a couple of years into his stint on the seminal sketch show he released an album with a track I still frequently revisit, “Idiot Boyfriend.” Just try not to smile at the hilarious video below co-starring then-up-and-coming-now-It New Girl Zooey Deschanel.

Knowing Jimmy had the ability to MC as shown by the success of his talk show’s first year it wasn’t a surprise when he was tapped to take the reins of the Emmys hosting gig, but I had further confidence he would deftly lead the telecast by the sheer merit of his work back in 2002 at the MTV Video Music Awards. That opener still sticks out as one of the most memorable beginnings to an awards show of all time and had yet to be topped on my list of favorites until Fallon, Fey & the Glee gang’s “Born to Run” performance.

The buzz and ratings after Sunday both suggest that Neil Patrick Harris and Hugh Jackman aren’t the only song-and-dance men to call on if you want to have a successful live show telecast.

Not to forget about the awards part of the show, Glee took home a couple of high-profile wins with Jane Lynch nabbing Best Supporting Actress in a Comedy and Ryan Murphy getting Best Director for the top-notch pilot episode. Mad Men continued its drama domination with their third-straight year of trophies for both series and writing, and freshman favorite Modern Family went away a big winner with Best Comedy and Writing for its pilot as well as a pleasant surprise with Eric Stonestreet taking home a Supporting Actor in a Comedy trophy for his phenomenal work as Cam in the ensemble sitcomAn additional surprise win in an acting category went to Aaron Paul getting a much-deserved statue for his supporting role along-side fellow winner and co-star Bryan Cranston for AMC’s needs-to-get-more-recognition drama Breaking Bad.

Major category winners:

Comedy

OUTSTANDING COMEDY
Modern Family

OUTSTANDING ACTOR IN A COMEDY
Jim Parsons (The Big Bang Theory)

OUTSTANDING ACTRESS IN A COMEDY
Edie Falco (Nurse Jackie)

OUTSTANDING SUPPORTING ACTOR IN A COMEDY
Eric Stonestreet (Modern Family)

OUTSTANDING SUPPORTING ACTRESS IN A COMEDY
Jane Lynch (Glee)

OUTSTANDING GUEST ACTRESS IN A COMEDY
Betty White (SNL)

OUTSTANDING GUEST ACTOR IN A COMEDY
Neil Patrick Harris (Glee)

OUTSTANDING DIRECTION IN A COMEDY
Ryan Murphy (Glee)

OUTSTANDING WRITING FOR A COMEDY
Christopher Lloyd and Stephen Levitan (Modern Family)

Drama

OUTSTANDING DRAMA
Mad Men

OUTSTANDING ACTRESS IN A DRAMA
Kyra Sedgwick (The Closer)

OUTSTANDING ACTOR IN A DRAMA
Bryan Cranston (Breaking Bad)

OUTSTANDING SUPPORTING ACTRESS IN A DRAMA
Archie Panjabi (The Good Wife)

OUTSTANDING SUPPORTING ACTOR IN A DRAMA
Aaron Paul (Breaking Bad)

OUTSTANDING WRITING IN A DRAMA
Erin Levy and Matthew Weiner (Mad Men – “Shut the Door, Have a Seat”)

OUTSTANDING GUEST ACTOR IN A DRAMA
John Lithgow (Dexter)

OUTSTANDING GUEST ACTRESS IN A DRAMA
Ann Margaret (Law & Order: SVU)

OUTSTANDING DIRECTION IN A DRAMA
Steve Shill (Dexter)

Variety, Music or Comedy

OUTSTANDING VARIETY, MUSIC, OR COMEDY SERIES
The Daily Show With Jon Stewart

OUTSTANDING DIRECTION IN A VARIETY, MUSIC OR COMEDY SPECIAL
Bucky Gunts (The Winter Olympics)

OUTSTANDING WRITING IN A VARIETY SHOW
Dave Boone and Paul Greenberg (The 2010 Tony Awards)

TV Movie, Miniseries or Dramatic Special

TV MOVIE
Temple Grandin (HBO)

MINISERIES
The Pacific (HBO)

OUTSTANDING ACTOR IN A TV MOVIE, MINISERIES OR DRAMATIC SPECIAL
Al Pacino (You Don’t Know Jack)

OUTSTANDING ACTRESS IN A TV MOVIE, MINISERIES OR DRAMATIC SPECIAL
Claire Danes (Temple Gradin)

OUTSTANDING DIRECTION IN A TV MOVIE, MINISERIES OR DRAMATIC SPECIAL
Mick Jackson (Temple Grandin)

OUTSTANDING ACTOR IN A SUPPORTING ROLE IN A TV MOVIE, MINISERIES OR DRAMATIC SPECIAL
David Strathairn (Temple Grandin)

OUTSTANDING ACTRESS IN A SUPPORTING ROLE IN A TV MOVIE, MINISERIES OR DRAMATIC SPECIAL
Julia Ormand (Temple Grandin)

OUTSTANDING WRITING IN A TV MOVIE, MINISERIES OR DRAMATIC SPECIAL
Adam Mazer (You Don’t Know Jack)

OUTSTANDING REALITY SHOW COMPETITION
Top Chef

Concerning Happy Town

As the fall television season progresses there are shows that have been flourishing (huzzah Modern Family!) and some that are floundering (yikes, who green-lit Hank?). We’re quickly approaching the ever-important November sweeps which is a time when networks will begin to unveil promos for their mid-season replacements poised in the wings to take over for these latter-categorized series which won’t see new episodes past the holidays. One such show ABC has on deck puts me at odds on where to place a yay or nay vote of support – Happy Town.

Happy Town soon to be on ABC

Now, being an avid proponent of shows in the mystery genre I whole-heartedly endorse bringing stories of intrigue to the television viewing audience – I’ve been fully engrossed in the on-going trials of Lost since its inaugural year and the new Flash Forward has also hooked my interest. So it seems Happy Town should be right up my alley if what is presented in the synopsis suggests is true. However after viewing the trailer/promo I found myself turned off, and frankly appalled, by the tactics and slant used to entice a potential audience.

Where to begin with this critique? First, “From the network that brought you Twin Peaks.” Wow. If you’re going to lead with that you better have the huevos to back up those convictions. Just because a show is set in a small, seemingly idyllic northern town that gets rocked by a murder it does not mean you can evoke the name of a series as complex, riveting, quirky and twisted as Twin Peaks in order to sell it. And sell the hell out of it you could, if the rest of the promo delivered on such promises. This one fails spectacularly in several areas.

The editing and music choices are equal parts mediocre, unimaginative and misguided in setting the tone. The odd choice to use a charming tune at the top with close-ups of a wide-eyed ingenue basking in the feeling of new beginnings makes me think of scenes from the defunct, dramatic series October Road – which makes sense as that short-lived show features  prominently on the resumes of Happy Town creators Josh Appelbaum, Andre Nemec and Scott Rosenberg. I’m confused, did they purposefully choose to mimic their last endeavor or did some leftover material accidentally get pulled into the cut?

On the topic of show runners, with the less-than-stellar October in their past I’m not feeling a huge sense of security that this team will be able to successfully head up a series in the vein of top-notch mystery man J.J. Abrams. While this group is counted amongst the players of Team Abrams their credits with him include the fourth and fifth seasons of Alias, widely considered the weakest of the ABC spy drama.

I will hold my final opinion for Happy Town the series until after a viewing of at least an episode or two, but I was not impressed by dialogue nor the uninteresting (creepy?) scenes contained within the promo. The one aspect that carries any clout is the cast (hello Frances Conroy and Amy Acker), I just hope that these talents won’t be completely wasted with what appears to be lackluster writing.

My opinion on this promo, however, is most assuredly concrete and nothing but disappointed. This is the initial venue to highlight the best of your series and set the appropriate tone. Don’t just give me a by-the-numbers intro if the very first image you use involves the words Twin Peaks, which are sacred ones. Thou shalt not take the Lynch name in vain. Deliver the goods, or find another angle to hawk your wares. Granted promos can only be as compelling as the material they have to work with, so perhaps this is by all accounts a good indication of what we should expect for this series: bland masking as bold.

I remain,

Highly Chagrined.

David Lynch

Fall Premieres – Something for Everyone on Humpday

We’re halfway through a heady premiere week and Wednesday brings almost as many series premieres as season premieres. ABC, the network that continued to give us According to Jim even after we kept repeatedly screaming “Uncle!” tries to get back into the comedy game with two new laffers (one I’ve got more faith in than the other, even with the clout of a former Friend) and what might be a laughable attempt at offering a “new” adaptation of a story we’ve already seen twenty years ago in book and movie form. CBS has an “if it ain’t broke, don’t fix it” attitude with its unchanged midweek line-up. NBC gives us something old and something new.

Arresting Possibilities

Modern FamilyIt’s been some time since ABC has made me laugh (in a non-scoffing way) and it seems to have redeemed itself with half-hour comedy Modern Family, which I am giving the highest TVOYOT honor –  an immediate Season Pass. The variety of clips seen in their ads have all provided decent chuckles and a few hearty laughs, which I always take as a good sign that it won’t be one-note. On the surface Family seemed a bit mediocre, average at best (although seeing Ed O’Neill again on a weekly basis in a role that seems like an aging Al Bundy was an intriguing concept). While not being outwardly obvious in its dysfunctional humor, upon further inspection the tone bears a striking resemblance to that of the amazing Arrested Development and the characters as well-developed as the Bluth clan.

And Rebecca Romijn as Cher?

I will admit to being morbidly curious as to how a new vision of The Witches of Eastwick(always an enjoyable repeat viewing, who can resist Nicholson mugging as the devil opposite top-of-their-game Cher and Susan Sarandon)will play as a series. The fact that the first attempt just a few years after the movie was a hit (circa 1987) never took off, classified on IMDb as an “unsold pilot,” is a prime indication that Eastwick might not be long for the television world. Seems like the alphabet network slapped this one together quickly to cash in on the supernatural craze with this yawn-worthy Lipstick Witchcraft Mafia.

Worth a Season Commitment

  • 9/8c – Modern Family, ABC (series premiere)

Checking Out Once (Expect to Be Checking Out Quickly)

  • 9:30/8:30c – Cougar Town, ABC (series premiere)
  • 10/9c – Eastwick, ABC (series premiere)

Not For Me Before, Not For Me Now

  • 8/7c – New Adventures of Old Christine, CBS
  • 8:30/7:30c – Gary Unmarried, CBS
  • 8/7c – Mercy, NBC (series premiere)
  • 9/8c – Criminal Minds, CBS
  • 9/8c – Law & Order: Special Victims Unit, NBC
  • 10/9c – CSI: NY, CBS