In looking at the Emmy nominations, I realized I've actually seen a vast majority of the nominated shows and performers (at least on the drama side). As with the Oscars, I feel like I can actually have an informed opinion on the "races", at least in the major categories. So, why not blog about it? I'll also be providing the GoldDerby.com favorites as well, something I checked after writing my predictions.
Outstanding Supporting Actress in a Drama Series: Anna Gunn, Breaking Bad.
Gunn transformed the formerly loathed Skylar White into a truly sympathetic character, which I truly admire. In years past I'd say Hendricks, but 2013 was sadly light on Joanie. Also, why is Morena Baccarin here? (GoldDerby.com: Gunn)
Outstanding Supporting Actor in a Drama Series: Aaron Paul, Breaking Bad.
The only threat I can see to Paul is maybe Mandy Patinkin, probably the standout on Homeland this season. Jonathan Banks possibly too. But I'll go with Paul to repeat. He truly transforms Breaking Bad for the better, where a lesser actor would be a pushover. (GoldDerby.com: Patinkin)
Outstanding Guest Actress in a Drama: Jane Fonda, The Newsroom.
There is no contest here. I love Margo Martindale and Joan Cusack (who should be in supporting), but Fonda owns absolutely everything she was in on The Newsroom. (GoldDerby.com: Fonda)
Outstanding Guest Actor in a Drama... I'm not qualified to judge this one, as I haven't seen half the nominees. I'd go with Harry Hamlin from Mad Men based on the ones I have seen, though. (GoldDerby.com: Michael J. Fox, The Good Wife)
Outstanding Actress in a Drama: Clare Danes, Homeland.
I am picking this because I think she will win, not because I think she should win. Personally, I would vote for Robin Wright, someone I thought dominated the fantastic House of Cards. I'd say Danes was down from season 1 of Homeland, though I won't say she would be an undeserving winner. (GoldDerby.com: Danes)
Outstanding Actor in a Drama: Bryan Cranston, Breaking Bad.
I want to vote Jon Hamm (maybe next year). I want to vote Jeff Daniels (I really do). But I'd be shocked if Cranston doesn't win this. Cranston has said in interviews that Walt White is the role of a lifetime... and he isn't kidding. But his performance is the performance of a lifetime. I don't know if Breaking Bad is eligible next year or not, but he'll win next year, too. And can we retroactively go back and give him Damian Lewis's win from last year? I still don't get that one. (GoldDerby.com: Cranston)
Outstanding Drama: Breaking Bad.
I want to vote House of Cards. I want to acknowledge Mad Men's return to sheer greatness... but doing so would deny Breaking Bad. Again, I have no idea how the eligibility of Breaking Bad will be handled for next year's Emmys, but the first half of the final season of the show was absolutely spectacular in every way. This is an easy choice. But where is the nomination for The Americans? SNUB. (GoldDerby.com: Breaking Bad)
I wish I could make picks on the comedy side, but I don't watch as many comedies as I do dramas. Plus, I see Parks and Recreation isn't nominated for Outstanding Comedy where Girls is, so it's a flawed exercise anyway. If this was a pool and you got points for right answers, though, I'd go all in on Modern Family, because it's obviously going to win everything anyway. Veep should, though. Veep is excellent.
Sunday, September 22, 2013
Thursday, September 19, 2013
My Top TV Shows of 2012-2013
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| Artwork by Francesco Francavilla And yes, this is a spoiler for my #1 show. |
These rankings are completely subjective, a ranking of my general approval over the entire season. These are different than my Emmy picks... I'm not even considering the Emmys in this list. I simply went through the master list of shows that I watch and put them into three categories (excellent, decent/solid, and eh) without paying attention to the number of shows in each category. Then within those categories, I put them in some semblance of an order. I'm going from Emmys-to-Emmys... shows premiering between early September 2012 and late August 2013 (and in the case of shows that are still running right now, like Dexter and Breaking Bad, I'll evaluate them based on what they've aired thus far).
Without further adieu...
Official timmmc.com 2012-2013 TV Show Rankings.
23. Smash (NBC)
If this show wasn't about my beloved Broadway, I would have given this the Glee treatment and kicked it out of my life without the slightest bit of hesitation.
22. House of Lies (Showtime)
Absolutely loved the first season of this show, but the change in tone for season 2 was really off-putting. Still a show I enjoyed watching, but it was a bit more of a chore than the first season.
21. Girls (HBO)
Another case of enjoyed the first season, but the second didn't do it for me. Perhaps it's part of a larger plan, but the character development in season 2 made me want to punch someone in the head.
20. New Girl (FOX)
More of the same. I found season 1 full of charm and quirkiness, but season 2 was tiresome by the end, as they tried to make the characters actual people. Problematic.
19. Elementary (CBS)
A noble attempt to capture what the BBC's Sherlock does effortlessly, modernizing Sherlock Holmes. CBS succeeded in that, but the end result was yet another twist on the CSI formula CBS has in abundance.
18. Doctor Who (BBC America)
The early Amy/Rory episodes (save for Asylum of the Daleks) lacked focus, a trait shared with the later Clara episodes. The middle episodes, however? Good stuff. Uneven series (British!) as a whole.
17 (tie). 30 Rock (NBC - Final Season)
17 (tie). The Office (NBC - Final Season)
Both series, for me, returned to form a bit by the end of their runs. The Office, especially, should be commended for it after a run of bad stuff since Steve Carrell left the series.
16. Dexter (Showtime - Final Season)
The closing moments of episode 11 worked, and the finale may well be fantastic, but it's too little, too late for the show. It was a season of false starts, the storylines never quite building to something that would send the show off right.
15 (tie). Boardwalk Empire (HBO)
These two shows have nothing to do with each other, so they get separate blurbs. While I understood the need to tear Nucky's world down, the end result seemingly changed the character altogether. I get it, but I didn't enjoy the season as I did previous ones.
15 (tie). Downton Abbey (PBS)
To be honest, PBS is the reason this show is so "low" on my list. Had the twist at the end of the Christmas special not been spoiled by months due to PBS airing on a 6 month delay, my memories of the season might not be as tainted. Alas, that is it's reality.
14. Veep (HBO)
This is an example of a show building on a strong first season, changing tone a bit, and still getting it right. Loved Selina as a moron, loved her even more as an actual politician.
13. Homeland (Showtime)
Despite a major (and probably expected) drop off from season 1, Homeland was still a must-watch. Not many shows on this list where you have literally no idea what the end-game is, and that's great.
12. True Blood (HBO)
12? Really? I know. But I absolutely loved this season. Maybe it was the shortened length, but the re-focusing on the core characters really helped. The new showrunner also seemed to embrace the inherent cheesiness a bit more than in the past, which is certainly welcome. Fantastic rebound.
11. Shameless (Showtime)
Emmy Rossum's performance the entire season was top-notch. The show suffers a bit by Frank never changing, but his dastardly deeds went to new lengths this year. Made for delicious if nauseating TV.
10. Arrow (The CW)
Obviously, I'm a sucker for superhero fare. The split-focus storytelling gets old after a bit, but both stories are compelling enough to warrant time. And a fantastic finale certainly keeps things fresh in my mind.
9. Fringe (FOX - Final Season)
Truly fabulous finale for a truly fabulous series. Tragically disappointing ratings, but massive kudos to FOX for letting this show conclude right.
8 (tie). The Walking Dead (AMC)
8 (tie). Game of Thrones (AMC)
The genre shows packaged together. Both shows had their strengths of the season, but the actual close to their seasons were not them. Game of Thrones suffered from the let-down from the Red Wedding, and Walking Dead made the puzzling decision to let The Governor live. That said, the latter provides for some interesting stuff in the new season.
7. The Americans (FX)
Fantastic suspense, great performances, didn't get the buzz it deserved. I wonder about the long-term options for the show (like Homeland), but I'm excited to see it through.
6 (tie). The Mindy Project (FOX)
6 (tie). How I Met Your Mother (CBS)
Perhaps it was The Mindy Project's high enjoyment level that hurt New Girl. Quite possible. But I love it. Mindy Kaling is used perfectly, coming off quirky and adorable while simultaneously human. Whereas some shows had disappointing finales that leave a bad taste in your mouth, How I Met Your Mother didn't have that. In fact, the long-awaited reveal of the mother made for one incredibly long summer of waiting.
5. The Newsroom (HBO)
I didn't love the pace the overall story unfolded at, but the content of the episodes were top-notch. I know Aaron Sorkin's writing has its detractors and I fully acknowledge its faults (females, relationships, too smart, etc), I absolutely love it.
4. Parks and Recreation (NBC)
I read something at some point that P&R was on a Cheers-like run of constant laughs... and that is 100% accurate. Best comedy on television, for my money.
3 (tie). House of Cards (Netflix)
3 (tie). Orange is the New Black (Netflix)
These totally count. In both cases, I actually looked up how they ended up on Netflix, and I still don't get it. Did networks actually pass on these shows? House of Cards is great drama and better performances, and OITNB had the best blend of characters I've seen on a show in a long, long time. Top notch, both of them.
2. Mad Men (AMC)
Another return-to-form season. Mad Men set the bar really, really high in the past... and this season might have been the show's best. I could have used more Joan, but minor quibble.
1. Breaking Bad (AMC - Final Season)
The season isn't over yet, I know.... but it doesn't matter. I initially thought that there was no topping the shootout episode, but I was proved incorrect the next week. I've never watched a show that left me in physical pain before. Breaking Bad does just that, and it's a GREAT thing.
Friday, August 23, 2013
Fan Reaction to the New Batman
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| Believe in GOTHAM. |
Cast Joseph Gordon-Levitt? "But he's John Blake! Batman NEEDS to be Bruce Wayne!"
Cast Armie Hammer or Ryan Gosling? "Too young! And he's BLONDE! Terrible!"
Cast Orlando Bloom or Richard Armitage? "Is Batman a HOBBIT?!"
Cast Scott Adkins? "Who? They need an ACTOR!"
Cast Jeffrey Dean Morgan or Matthew Goode? "OMG, did you even see WATCHMEN? Terrible!"
Cast Josh Brolin? "Why so OLD?"
Cast Christian Bale? "THAT DOESN'T MAKE ANY SENSE!"
Cast an unknown? "Henry Cavill is already an unknown! BORING!"
I could continue.
But seriously... shut up. Wait for the trailer. Or, even better, wait for the actual movie.
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| Mark Waid (well, Stephen Wacker) had a premonition. Art by Chris Samnee. I freaking love their Daredevil series... |
I know this is the age of social media, where everyone can weigh in on anything immediately... but how about we sit back and let Zack Snyder and Warner Brothers do their thing? Say what you will about the finished Man of Steel product, but we can all agree they knew what they were doing casting the thing... right? While the movie isn't without flaws, the leading trio of Cavill/Adams/Shannon were pretty spot on, I'd say.
Could Ben Affleck be another George Clooney? Maybe. But why bother waiting to see? Let's just trash the performance now, no need to see it. They should just put nipples on the Batsuit and call it a day.
Sunday, June 23, 2013
REVIEW: World War Z
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| Directed by Marc Forster Watched June 23, 2013 |
Is it weird to say that World War Z is a pretty decent zombie apocalypse flick, but the worst part is undoubtedly the zombies?
Now, I don't mean the zombies themselves. They look fine. They are appropriately creepy. They aren't the same old re-hash of the zombie stereotypes (shuffling along moaning "braaaaaaains", etc). In theory, these zombies are pretty scary.
The problem with the zombies are in the execution. The whole zombie apocalypse, as told in the film, unfolds somewhat realistically. Then, all of a sudden, you meet zombies that are flinging themselves through the air, climbing all over each other to scale walls and take down helicopters, literally clicking their teeth at characters on the run. The zombies come off very campy, which doesn't juxtapose real well with the otherwise-realistic feel of the film. TV's The Walking Dead demonstrates that things like zombies can successfully populate an otherwise realistic world.... why is that not possible here?
And yes, I realize how unfair it is to compare WWZ with The Walking Dead, but it's an inevitable comparison you are sure to make if you've ever watched the show.
The film is also riddled with plot holes and massive jumps in logic... but that's pretty much a staple of big-time summer blockbusters. Sure, it makes no sense that the only person that can stop the zombie apocalypse is a retired United Nations investigator with luscious, flowing locks... but if you just accept that (along with a few other leaps), it doesn't prevent an enjoyable time. And I really did enjoy the movie. It's a great popcorn flick, full of suspense and tension and special effects and excitement. I'd recommend it for anyone that likes action suspense flicks.
But... just ignore things. Like the zombies.
Sunday, June 16, 2013
About the Ending of MAN OF STEEL...
Warning: I'm going to be discussing the ending of the film... so, obviously, spoilers abound.
I've been doing a great deal of reading on Man of Steel since I wrote my review on Friday night. All of the reviews talk about one moment at the end of the film, the moment where Superman kills Zod. I feel like I have to write a little about that, because apparently it's a real big deal.
The adage is that superheroes don't kill, and that's mostly true. In their epic battles with various villains, one of their primary concerns is to protect the innocent. And when it comes down to the ending of that final battle, the villain typically destroys himself (or herself, of course), or are merely apprehended (there's also the third option of simply disappearing.... for the convenience of a later film or story arc). There is a definite code of conduct for these characters. But in Man of Steel, in his first big battle as Superman.... the code of conduct is broken. The fist fight with Zod destroys, seemingly, about 90% of Metropolis, culminating in Superman killing Zod with his bare hands.
Now, I know, I know, the murder of Zod clearly effects Superman. After doing the deed, Kal-El lets out a visceral scream and the look on his face is clearly a "what have I done?!?" look. Naturally, Lois runs to the hero and comforts him. To be completely honest: I'm fine with the ending up until this point. I can see the worth in having Superman haunted by, essentially, the blood on his hands. As the love interest, I feel the audience would be robbed to not see Lois comforting Superman. Fine. What bothers me is what follows.
Mere moments later, we have a scene in the desert where Superman, charming as ever, tells the General that he's all-American and the people have nothing to fear about him. Where is the remorse? Apparently whatever time jump we just saw heals all wounds in our hero. Then in the next scene, the secret identity of Clark Kent, Reporter is born... and the effects are even more invisible and distant.
I understand wanting to have an uplifting ending, but I'm not so sure the ending actually given works for the character. In fact, I know it doesn't. I'm assuming the ending was done like this to give the illusion of this being a standalone film, not just a set-up for a second film. How foolish.
How would I have ended the film? I would have much rather seen the murder affect Kal to the point where he leaves Lois there in the train station (or whatever that final building was), heading straight for the Fortress of Solitude. Then they could have some other time jump to when Metropolis is on the road to recovery, perhaps dedicating a statue or something to Superman, with a voice over by Lois talking about how a hero was born... while also showing clips of Superman still struggling with his decision. Save the rest of the stuff after the murder for the beginning of Man of Steel 2.
Of course, there's nothing that says the murder won't affect him going forward; this reaction is simply based on what we saw in Man of Steel. In fact, I'd be surprised if he kills again, making the death of Zod the "birth" of Superman's code. But call me crazy, I'd like to see him in pain over what happened, not just a somewhat smug "That was unfortunate... musn't do that again!" kind of reaction. Hopefully Man of Steel 2 will address this.
I've been doing a great deal of reading on Man of Steel since I wrote my review on Friday night. All of the reviews talk about one moment at the end of the film, the moment where Superman kills Zod. I feel like I have to write a little about that, because apparently it's a real big deal.
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| Panel from Alan Moore's 1986 "Whatever Happened to the Man of Tomorrow?" Story |
Now, I know, I know, the murder of Zod clearly effects Superman. After doing the deed, Kal-El lets out a visceral scream and the look on his face is clearly a "what have I done?!?" look. Naturally, Lois runs to the hero and comforts him. To be completely honest: I'm fine with the ending up until this point. I can see the worth in having Superman haunted by, essentially, the blood on his hands. As the love interest, I feel the audience would be robbed to not see Lois comforting Superman. Fine. What bothers me is what follows.
Mere moments later, we have a scene in the desert where Superman, charming as ever, tells the General that he's all-American and the people have nothing to fear about him. Where is the remorse? Apparently whatever time jump we just saw heals all wounds in our hero. Then in the next scene, the secret identity of Clark Kent, Reporter is born... and the effects are even more invisible and distant.
I understand wanting to have an uplifting ending, but I'm not so sure the ending actually given works for the character. In fact, I know it doesn't. I'm assuming the ending was done like this to give the illusion of this being a standalone film, not just a set-up for a second film. How foolish.
How would I have ended the film? I would have much rather seen the murder affect Kal to the point where he leaves Lois there in the train station (or whatever that final building was), heading straight for the Fortress of Solitude. Then they could have some other time jump to when Metropolis is on the road to recovery, perhaps dedicating a statue or something to Superman, with a voice over by Lois talking about how a hero was born... while also showing clips of Superman still struggling with his decision. Save the rest of the stuff after the murder for the beginning of Man of Steel 2.
Of course, there's nothing that says the murder won't affect him going forward; this reaction is simply based on what we saw in Man of Steel. In fact, I'd be surprised if he kills again, making the death of Zod the "birth" of Superman's code. But call me crazy, I'd like to see him in pain over what happened, not just a somewhat smug "That was unfortunate... musn't do that again!" kind of reaction. Hopefully Man of Steel 2 will address this.
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