Tag Archives: TV Recap

Breaking Bad “To’hajiilee” Review (5×13)

9 Sep

350

Walter White has given up. We’ve seen the cracks in his facade, most noticeably last week, with his flustered demeanor around Skyler and Walt Jr. However, this episode marks the true downfall of the cold, calculating Heisenberg. Or is it?

In a way, it is. Even though he once again finds luck on his side, it’s all due to a rag-tag group of Nazi lovers that are nothing like the foes he deems worthy to oppose. If he ends up having to face off with them for his life, it’d be a final middle finger from everyone to Heisenberg. It would be strangely fitting that he’d fall to the hands of real criminals.

Nevertheless, the episode is a perfect encapsulation of the road Walt’s been heading down. Cranston does tremendous work with Walt’s facial expressions, conveying both a sense of finality and of relief. His rage is transformed into something quieter as he realizes that he’s trapped. He’s betrayed by the sight of Jesse stepping out of that vehicle. He’s underestimated Hank, Jesse, and Gomez, and he just can’t take it anymore.

Now, this is much like Jesse, who has used up every ounce of effort to take down his former boss. He allows himself a small smile as Walt is arrested, yet he’s also astonished at how everything has turned out. How can a nobody like Jesse Pinkman outsmart a criminal mastermind like Walter White? How can Jesse be Walt’s greatest weakness? Those are understandable questions, but the answers have been telegraphed since the start of the season. The first eight episodes were all about Walt’s victory lap, but recently, he’s started to outsmart himself. As he races through the desert (in an expertly directed scene by MacLaren), he’s so overcome with rage that he starts screaming at Jesse. Everything is crashing down around him as he speaks, and he reverts back to his “family” excuse; he tries to hold family and his cancer over Jesse’s head, but he’s too angry to see that it won’t work. Much like his excursion to Brock’s house, Walt still believes in the fact that others care for him. The thing is, everyone else has already figured out his tricks.

9819fb76-554c-1fb3-d8b6-ef28fc989127_BB_513_UC_0204_0313

That doesn’t mean they’ll be successful, though. The final shoot out is telegraphed throughout the episode, and when Hank picks up that phone to call Marie, we know something’s going to happen. His smugness level is off the charts. He’s waving to Walt, professing his love for Marie, and is smiling gleefully. It’s the mark of a man that can just taste that sweet, sweet success. He is so in the moment that he doesn’t stop to think about his career. This revelation will ruin his life, but he’s won, so he pushes that off to the side.

Then, everything explodes. The smash cut to black prevents us from seeing what has transpired, but we know that nothing will ever be the same.

Grade: A

Other thoughts:

-Walt Jr’s delight at seeing Saul is absolutely priceless.

-“Don’t drink and drive, but if you do, call me!”

-It’s ironic how Walt reverting back to his old ways is actually what helps him get away. He agrees to one more cook, and that earns him the services of the Nazis.

-The cold open is hilarious. We can clearly see that it’s not blue, but Todd trying to say it is is a thing of beauty. Speaking of, the way Todd shoots all nonchalant during the shootout scene is a funny shot amidst an intense atmosphere. He may seem like a light-hearted character, but in reality, he’s terrifying. He has absolutely no morals, and he’s essentially a machine.

-I forgot to breathe during that last segment.

-Brock knows! If I was him, I’d make sure those Fruit Loops weren’t laced with ricin.

-It’s been wonderful to watch the work of Michelle MacLaren. She will continue doing amazing things with the camera.

-“Remember, where we used to have cookouts as a family?” Hank has turned the tables.

-Oh, Huell. You’re awesome.

Credit to AMC and Breaking Bad for all pictures. I own nothing.

Strike Back “Shadow Warfare, Episodes 3 and 4” Review (3×03, 3×04)

7 Sep

627-6IF YOU’RE LOOKING FOR MY SEASON FINALE (EPISODE 10) REVIEW, HERE IT IS: https://polarbearstv.com/2013/10/19/strike-back-shadow-warfare-episode-10-review-3x104x10/

Strike Back might just be the most entertaining show on television. It’s expertly paced, the characters are well fleshed out for what is predominantly an action-softcore hour, and the action sequences are better than those in many movies.

I’ve found that it’s much easier to review 2 episodes at once, as the seasons follow a 2-episode arc alongside an overarching storyline. Also, I can’t really judge an unfinished arc, as the first hour is usually a set up for the second. As a result, if you check back in next week for the episode 5 review, it won’t be there. I’ll be reviewing episodes 5 and 6 after the end of 6, 7 and 8 after the end of 8, and so on.

Anyway, back to the episodes. Introduced in episode 3 is Dougray Scott’s Leatherby, a charismatic, entertaining, and violent villain that is an absolute blast to watch. In addition, Kamali’s daughter, Ester, becomes a factor, giving us more of an insight into his motivations and his mental state. In fact, these two episodes build up the parallels between Kamali and Rachel Dalton (Rhona Mitra), both inherently tragic characters that we come to sympathize for. Both have to make decisions that transcend their adherence to the rules of their respective organizations (Kamali and his daughter, and Dalton and al-Zuhari’s wife). Both, in a way, succeed, as Dalton’s suspicions are validated and Ester is removed from harm’s way. Both, in a way, fail, as they both wind up getting shot. Dalton already failed, though.

What do I mean by this? Well, her arc this season has been one of self-destruction, causing her to become unhinged and desperate, determined to find and kill those responsible for Baxter’s murder. The waterboard sequence is tough to watch, and it’s a prime example of watching someone unravel before your eyes. Her death has been telegraphed since the start of the season, and when it finally comes, it’s handled extremely well. The show does a great job of maintaining that level of suspense, inducing a sense of both uneasiness and hope. We have a sense that she’s going to meet her demise, but we also have a feeling that Stonebridge and Scott will once again save the day.

Alas, that does not happen. It’s a smart way to end her arc and introduce a strange new one. She’s killed off by an IRA assassin, a new, mysterious threat to Section 20 that I’m interested to find out more about. Speaking of smart ways to end arcs, Leatherby is also killed off. I have to commend the writers for sticking to their original format and preventing him from overstaying his welcome, but also can’t help but wish his storyline had been expanded upon over a greater number of episodes. We’d be able to get a more nuanced look into his personal life, especially in regards to his boyfriend Fahran. Instead, he’s over the top in general Strike Back fashion, which is still fine. The relationship is still handled with the right amount of complexity, and it ends tragically.

Strike-Back-Season-3-Episode-2-Preview-Scene

The pacing in these two episodes is extremely well done, and I’m impressed at the number of storylines they weave together throughout the two. For example, they throw in Scott’s relationship with Ester, reflecting his nagging feeling of need and the fact that he has not family. Everything these two do is, to quote Leatherby, “Fun”, but it prevents them from really settling down. Still, it’s all fun. These two episodes move at breakneck speed, jumping from action scene to action scene, whether it be a chase through a minefield or a shootout in the street. They are showcases for the brilliance of this show.

Grade: A- (Episode 3: A-     Episode 4: A)

Other thoughts:

-I’m sad to see Rhona Mitra go. That picture above explains why.

-The minefield sequence is a perfect example of why this show is so endearing. It expertly blends humor and action into one thrilling sequence.

-“You should really teach English as a second language.” -Stonebridge, after Scott stabs a guy.

-The music and the close-up of Leatherby’s face before he shoots his boyfriend is kind of unnecessary.

-See you in 2 weeks.

Credit to Cinemax and Strike Back for all pictures. I own nothing.

Wilfred “Regrets” Review (3×13)

6 Sep

627-3

Well, that was…interesting. The final shot of the third season of Wilfred is of Ryan in a forest, unearthing a statue of a man in a dog suit. It’s a moment that’s perfect for a cliffhanger, intended to be intense and mysterious. However, it comes across as tacky and unnecessary. Let’s break down why.

Ryan’s dad has always been a fundamental part of the show, even without his physical presence. He’s been hovering over these characters’ heads, influencing Ryan’s life in ways Ryan himself does not want to admit. Wilfred is important, but he may very well be a manifestation of Ryan’s inability to let go of his childhood. The series is about him maturing as a person, and his dad has impeded that natural progression of events.

This is exactly why I was excited to hear that his dad would be brought into the fold this season. However, I feel like the writers only scratched the surface with this relationship; it was a unifying storyline, but it jumped around the other side stories way too much. The weaving was less effective in this season.

That’s not to say I didn’t enjoy the season (there are a few absolutely amazing episodes), or the episode. I love Wilfred’s reunion with Ryan, as it conveys true sadness on both of their parts. It’s heartbreaking and endearing, and it reminds you why you’re watching this show. The Jenna stuff, on the other hand, feels a bit generic, just like the rest of the season. The show pushed the boundaries in seasons 1 and 2, and I feel like they took a step back here.

As for the decision to kill off Ryan’s dad, I’m left disappointed. I guess that it is a smart move on the part of the writers, as they can maintain the ambiguity they’ve created with the character. However, it comes across as an avoidance of Ryan’s father issues. I hope that next season, the writers focus on him coping with the death, and not with the new overarching mystery. I don’t think that will happen, but I’d really love it if Ryan worked to make himself better. If that means the series has to end, then so be it. I want to see a natural progression of events, not some meandering plot that dances around a big mystery the whole season.

It’s not a bad episode. I’ve made it out to be worse than it really is, but that just stems from disappointment.

Grade: B

Season Grade: B

Other thoughts:

-So Ryan’s roommate is a spy! Okay.

-We also find out that the pro bono division managing job is actually real. It’s an interesting decision that I hope will be handled well next year.

-“What’s next, landscaping camp?”

-“At first I thought it was you, but then I thought about what you look like, and act like, and how you struggle with dandruff and stuff, and honestly I just burst out laughing.”

-Renewal is not a given. The show has been struggling, especially without Louie as a partner, but I hope FX allows it to end on its own terms. Hopefully I’ll see you all back here next year for season 4.

Credit to FX and Wilfred for all pictures. I own nothing.

The Bridge “The Beetle” Review (1×09)

5 Sep

627-6

The first few minutes of this episode of The Bridge is devoted to a flashback, one that takes us right into the tragedy of the car crash that claimed David Tate’s family. The camera focuses on his tear-drenched, anguished face, and we hear his miserable screams as he watches his family getting pulled out of the car. It’s almost as if we’re in a dream, and we feel his pain. The scene lasts for a few minutes, but lingers for even more than that.

The main plot involves Tate’s kidnapping of Marco’s family, one that anchors a tightly plotted, intense episode. It seems as if the writers have committed to the revenge storyline, which, as I said last week, certainly limits the scope of the show. However, a commenter pointed out that it’s always possible that Tate isn’t ‘The Beast’. I’m dubious that there would be this much misdirection near the end of the season, but who knows? The reason given for his murders, though, is satisfying, as it combines elements of his personal life with the political ramifications of certain actions taken by the police departments.

Anyway, the episode really attempts to humanize Tate, a task done so both by the opening sequence and a scene on a playground. No, the scene in question does not involve Tate yelling “Yaaaaaay!” as he rides down a slide backwards. It involves him pouring out his heart to Alma, and he does so even with the knowledge that he intends to kill her. The pain in his eyes is genuine. Everything he says is true. He’s a desperate, vulnerable man that has been forced to resort to revenge to give him purpose. It’s only fitting that Alma, a vulnerable woman cheated on by her husband, would be so drawn to someone like Tate. They share a common bond of loss, and it gets her into trouble.

Side plots once again involve Linder and Charlotte, both dealing with death in their own ways. They also both look for advice, Linder in the form of a ranch owner and Charlotte in the form of Cesar. They both have to ask if their murder was justified, and they both have to grapple with their moral values.

The character moments in this episode work for me, but yet again, the plot is questionable. For example, take the final scene. How does Tate know when and where Gus is going? The final scene feels contrived, especially as a way to juxtapose with the opening. Tate lost his son, so he’s now going to take Marco’s son.

For the most part, the episode works for me. It contains a very well-constructed central plot with great character development and some questionable plot points, but it’s very enjoyable.

Grade: B+

Other thoughts:

-I guess a tracker, maybe?

-On Charlotte’s plot: I’m glad we got more advancement here, and I’m excited about her team-up with Cesar.

-“MILF? I don’t have children.” Sonya, you are amazing.

-Demian Bichir did great work again. He portrayed a desperate, determined man very well.

-Linder and the ranch guy’s conversation about food and death was one of the weirdest, yet most hilarious, things I’ve seen on television this year.

Credit to FX and The Bridge for all pictures. I own nothing.

It’s Always Sunny in Philadelphia “The Gang Broke Dee” Review (9×01)

5 Sep

627-8

Ah, it is great to have Sunny and all its brutal, yet hilarious, gang antics back on our television screens. I still don’t quite understand the necessity of three FX channels, but there’s nothing I can do about that.

Anyway, this episode is a hilarious kick off to this penultimate season, showcasing the talents of Kaitlin Olson and Glenn Howerton in particular. The episode starts off with Dee in the bar, drunk and depressed, and the rest of the gang trying to remedy that. However, these people never really produce anything good from their ideas: more often than not, the situation becomes a huge fiasco that spirals downward endlessly.

This isn’t exactly where this episode goes, though (at first). Dee becomes increasingly popular as a stand up comic, delivering sound effects and vagina jokes galore. Dennis, meanwhile, is preoccupied with making sure Dee finds an “average guy”, trying extremely hard to convince himself that she isn’t abandoning him for better opportunities. It’s kind of a depressing arc, but Howerton plays it extremely well.

It all leads up to that final scene, one that completely surprised me in terms of its cruelty and unexpectedness. The gang reveals that everything that happened was a hoax, designed to really crush Dee’s spirits and get her to embrace her true “average-ness”. The true brilliance of this, though, is that it happens to have a more profound impact on Dennis, leaving him a blubbering mess. It’s the capper to, as I said before, a depressing arc, but the show weaves in comedy so well that it really just becomes what it always has been: It’s Always Sunny in Philadelphia.

Grade: A-

Other thoughts:

-Olson’s dry heaves and her blowup at the end are things of beauty.

-The rest of the cast still got in some great lines, though. Charlie’s delivery of “Did you kill yourself, Dee?” was pitch perfect.

-“She said vagina! It’s funny because a woman said it!”

-“Dee. Dee. Dee. Dee. Da. Da. Da. Da. Dee. Da. Dadedadedade……etc.”

-I couldn’t help but think of Breaking Bad with the whole Walt business. Also, Huell was there!

-“She knows your goddamn name, Walt.”

-“The crabs have machine guns now. That makes sense.”

Credit to FXX and It’s Always Sunny in Philadelphia for all pictures. I own nothing.

Breaking Bad “Rabid Dog” Review (5×12)

2 Sep

627-4

“Deep down, he really loves me.”

This is a facetious line said in passing by Saul Goodman, but it is extremely interesting in the context of the other characters. For example, does Walt really care about Jesse? Deep down, do the experiences they’ve shared transcend the suffocating nature of Walt’s current situation? There’s no question that Walt has looked at Jesse as a son, but does he still? That’s something to be debated upon, but I’d argue that it isn’t until he picks up that phone, and the end credits roll, that he truly turns on Jesse. He’s been heading down a path in which his paternal feelings have become feelings of necessity, as his whole family’s been turning on him.

As for Jesse, all throughout this process, his mind is telling him that Walt doesn’t care at all. Walt’s burrowed deep into his brain, filling him with fear and paranoia. He doesn’t look at Heisenberg as a father figure, but he looks up at him; he believes that Walt’s the devil, capable of anything and everything. This is exactly what’s gnawing at his mind as he walks through that plaza, in a scene reminiscent of “Half Measures”: the same angle, the same expression on his face, and the same feeling of “This is the longest walk ever.” Everyone around him is appearing and disappearing, reflecting those “godlike” qualities he’s so afraid of. Then, he’s able to fixate his attention on one person, causing him to completely change his mind and threaten Walt over the phone. Sure, that creepy guy standing there in the plaza is a plot contrivance designed to increase tension, but it works because it gives Jesse a new direction to take.

Let’s back up a bit, though. The set up for that final sequence is extremely interesting; it’s full of conversation, but those conversations shake up the character dynamics. First, we see Walt trying to explain to Skyler and Walt Jr. why exactly gasoline is all over the floor. Then, we see Walt and Flynn bonding by the pool, and later, we see Walt continuing to avoid telling Skyler the truth. Heisenberg’s always been a cold, calculating man, capable of creating an elaborate plan months in advance. However, when he’s confronted by Flynn and Skyler in this episode, he’s shocked. He’s flustered. He’s confused as to why his lies aren’t being lapped up. He’s starting to crack. It’s chilling, though, that in the same episode that Skyler puts off confronting Walt because of the presence of Walt Jr., the father and the son get closer than ever before.

Then, we have Hank. He’s become embroiled in his quest, and he’s entirely willing to bring Jesse down if that means nabbing Heisenberg (ironic, isn’t it, how only Walt seems to care about Jesse in this episode?). His way of responding to Walt’s “confession” is to acquire a confession of his own. However, Jesse’s the voice of reason here. He has no legitimate proof of Walt’s criminal activities, and his full and honest confession has less of an effect than Walt’s “manipulating the truth” confession. We see two different men in these videos; Jesse’s slouched and mumbling, but Walt’s staring straight into the camera, exuding power and confidence.

Breaking-Bad-Rabid-Dog-575x365

So, that brings us back to Jesse’s final decision. We don’t know what it will be. Perhaps he’ll claim to be Heisenberg, or perhaps he’ll move to Alaska and build a snow fort. One thing is for sure, though: Walter White cannot be a part of him any longer.

Grade: B+

Other thoughts:

-The episode is “Rabid Dog”, drawing comparisons to Season 4’s “Problem Dog.” It was an episode in which Jesse had to explain why he killed Gale, and this episode serves as a complete shift from that, as Jesse’s now the one being treated like a dog. Who is the dog? Jesse could be, but it can just as easily be Hank.

-“Okay, but, say, you know, just for the sake of argument, the kid’s not in the mood for a nuanced discussion of the virtues of child poisoning…”    Oh, Saul. You’re amazing.

-The shot of Jesse out cold in Hank’s bed is a powerful image. He’s lost, beaten down, and emotionally drained.

-Of course, he wakes up to a picture of Walt as Santa. His reaction to that is golden.

-When Jesse’s phone went off, I thought that we were going to get a montage of Marie making lasagna. Maybe next week.

-Marie goes to therapy, and we see more purple stuff.

-The directing of the show always impresses me, and Breaking Bad directors in particular are brilliant at “hallway shots.” The framing, the pull backs, and the zooms are pitch perfect, and I’d like to point out the scene after Jesse wakes up. He’s at one end of the hallway, and Marie’s at the other end. It’s a wonderful shot.

-The B+ doesn’t mean the episode is bad, but I think it does move a bit slow. However, that’s what piece-setting episodes do, and while the episode is less compelling than the last three, it sets up for what should be an explosive episode 5.

Credit to AMC and Breaking Bad for all pictures. I own nothing.

The Bridge “Vendetta” Review (1×08)

29 Aug

david

“You’re contaminating the crime scene!”

One of the most appealing aspects of this show, aside from the location, is the all-encompassing, mysterious, political agenda-seeking aura of “The Beast”, the killer that, before tonight, had not been revealed. Putting a face to the name is an interesting choice, especially with four episodes remaining in the season. Of course, that’s not to say I’m not intrigued or appreciative; too many shows rely on their penultimate and final episodes to bring out the big guns, and I’m looking forward to see how The Bridge handles this situation.

Personally, I’m mixed on the actual reveal. Here, we have a sudden and complete reversal of the thematic essence of the show, instead tailoring the killer’s motives toward personal reasons. I like how several characters play a part in the creation of this murderer, strengthening the interconnectedness of those involved. However, I feel as if a chunk has been taken out of the show’s attempt at world-building. Sure, it’s never really about the mystery, but the mystery’s absolutely necessary. It propels the plot, affecting the characters and highlighting their places in this world in relation to the murder. Of course, the ends can always justify the means. We’ll have to see.

In terms of other storylines, Linder’s haunted by Galvan’s face during his dreams involving a Latina in a bikini giving him milk (that sounds strange when I write it). We don’t really know much about him yet, but we do know his actions are weighing on his mind. It will be incredibly interesting to see how, and if, Galvan, Linder, and Tate all interact. They should put them all at a dinner table or something.

The other main subplot involves Charlotte, a character I really just have no interest in. I hope they start distancing her from Ray, which I think is already set in motion; I want to see her character become her own self, and more fleshed out. Then I can be invested.

Some unifying themes across this episode are ones of escape and influence. Marco can’t escape from his realization at the end, and he’s trapped between the influence of his family and the influence of his job. Linder can’t escape from Galvan or his influence. Charlotte wants to escape, but is trapped by the influence of men in her life.

627

All in all, it’s an uneven episode of The Bridge, but it’s generally compelling and it sets a new path for the show to take.

Grade: B

Other thoughts:

-The conversation between Gus and Sonya is a nice, quiet moment, and also reflects the themes of escape and influence. She can’t escape from her disorder, and she’s unable to fully grasp her true situation, however much of an influence it has on her.

-Wow, you can slice open someone’s neck, stand behind them, lay them down, and not get blood on your clothes? Nice!

-The opening scene was fun.

Credit to FX and The Bridge for all pictures. I own nothing.

Emmys Dream Ballot+Predictions-Outstanding Supporting Actor in a Comedy Series

29 Aug

Welcome to my coverage of the 2013 Primetime Emmys. As it’s only a month away, I’ve decided to start a series in which I offer up my dream ballot for each major category. Then, I’ll look at the actual Emmy ballot and offer a “Who should win?” and a “Who Will Win?” for each. I hope you enjoy! Today, we’ll be looking at….

OUTSTANDING SUPPORTING ACTOR IN A COMEDY SERIES

Dream Ballot

Nick-Offerman-of-Parks-and-Recreation_gallery_primary  NICK OFFERMAN, “Parks and Recreation”

It blows my mind why the Emmy voters would overlook such a fantastic character as Ron Swanson. He had a great year of food poisoning, wood-working, and wedding attending, and his relationship with Lucy Lawless’ character was unexpectedly sweet. He’s one of the best characters on television.

mikewhite3_small-f132f8391e4e2a1ddced6175f92b91954bcc74cd-s6-c30  MIKE WHITE, “Enlightened”

First of all, this is one of my favorite shows of all time, even though it only spanned a woefully short two seasons. White is also the creator of the series, but he’s also an amazing actor. His character is awkward, heartbreaking,, and complex, and he and Molly Shannon created one of the best, most beautiful TV romances you’ll ever see.

new-girl-schmidt  MAX GREENFIELD, “New Girl”

I probably would’ve given this slot to Jake Johnson, but he submitted for the “lead actor” category. Greenfield is great, though, conveying a hilarious outer demeanor and spewing a ton of hilarious quotes. However, he took it a step further this year as the show explored more of his past, in particular a young relationship that was funny and endearing.

girls_adam_8a.jpg.CROP.multipart2-medium  ADAM DRIVER, “Girls”

His character, and the show, are extremely polarizing amongst both fans and detractors. However, that’s because his performance is so fantastic. He did some amazing work at the end of the season, inspiring hatred, adoration, and discussion galore on the Internet, and his character arc was one of the most interesting on TV last year.

stefon-wedding-veil  BILL HADER, “Saturday Night Live”

While SNL hasn’t been consistently good in a while, Hader’s been the anchor of the cast. His farewell season ended with a bang, as the fan-favorite Stefon married Seth Meyers in an amazing segment that involved Anderson Cooper and all of Stefon’s club friends. He’ll be missed, for sure.

nup-155435-0604-jpg  RAINN WILSON/JOHN KRASINSKI, “The Office”

I know I’m cheating a bit here, but I just had to give them both credit. Krasinski has never been nominated for his work, which I find appalling, and Wilson hasn’t been nominated in a while. They both did fantastic work in this final season, especially near the end of the show’s run, and they deserve recognition for it. Jim-Pam was still the heart of the show, and you also can’t imagine the show without Dwight Schrute.

Who Should Win?

I’d narrow it down to Offerman and White, but I don’t know who I’d pick.

Others considered: Adam Pally, Damon Wayans, Jr., Ty Burrell, Will Arnett (Arrested Development), Tony Hale (Veep), Matt Walsh, Jack McBrayer, Donald Glover, Danny Pudi, DJ Qualls, Luke Wilson, Simon Templeman, Chris Pratt, James Van Der Beek, Jason Gann, Jim Rash, Jeffrey Tambor

And on to the real nominations…

Ty Burrell-Modern Family

Adam Driver-Girls

Jesse Tyler Ferguson-Modern Family

Bill Hader-Saturday Night Live

Tony Hale-Veep

Ed O’Neill-Modern Family

Who should win?

Driver

Who will win?

Burrell

Analysis: Driver undoubtedly delivers the most complex, layered performance here, but I think it’s a safe bet that the Emmy voters will give the award to one of their Modern Family darlings; in this case, it’s Burrell.

Credit to NBC, HBO, FOX, New Girl, The Office, Enlightened, Parks and Recreation, Saturday Night Live, and Girls for all pictures. I own nothing.

Emmys Dream Ballot+Predictions-Outstanding Supporting Actress in a Comedy Series

28 Aug

It’s Emmy season again! Welcome to my coverage of the 2013 Primetime Emmys. As it’s only a month away, I’ve decided to start a series in which I offer up my dream ballot for each major category (I’m only focusing on certain nomination fields, but I might lump some of the technical and writing/directing categories into one big post later on). Then, I’ll look at the actual Emmy ballot and offer a “Who should win?” and a “Who Will Win?” for each. I hope you enjoy! Today, we’ll be looking at….

OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES

Dream Ballot

Jenna-Fischer-of-The-Office_gallery_primaryJENNA FISCHER, “The Office”

This was not Jenna Fischer’s best year on The Office, but it was a fantastic year. I’ll let that sink in for a bit. She’s been consistently wonderful, but astonishingly, she’s only been nominated once. In an up and down final season, she anchored a dramatic storyline that could make you roll your eyes in annoyance or burst into tears. No matter which it was, she was the glue holding the show together all the way to the end.

Jane-Krakowski-of-30-Rock_gallery_primary  JANE KRAKOWSKI, “30 Rock”

Although she wasn’t nominated last year, the swan song of 30 Rock was enough to bring her back into the fold. She did some fantastic work in the final few episodes of the series; constantly hilarious, constantly surprising, and constantly Jenna Maroney. I will always miss you, Rural Juror.

happy-endings-20120403040230005  ELISHA CUTHBERT, “Happy Endings”

Oh, Happy Endings. I miss you so much. I really hate that this was neither renewed nor picked up for a fourth season, but I’m thankful that the series was able to highlight Cuthbert’s comedic range. Alex grew into one of my favorite television characters, and she portrayed the awkwardness of her character in an excellent way.

anna-chlumsky-veep-emmys  ANNA CHLUMSKY, “Veep”

Amy is a sarcastic, hilarious character that I can never get enough of. Veep is the funniest show on TV when it comes to reaction shots, and Chlumsky is the queen of reaction shots. Every word that comes out of her mouth and every facial expression she makes is top notch comedy.

Aubrey-Plaza-of-Parks-and-Recreation_gallery_primary  AUBREY PLAZA, “Parks and Recreation”

Plaza has done some fantastic work with April, even while Amy Poehler gets all the recognition (don’t get me wrong, she deserves it all). Her twisted mind leads to hilarious lines, and the season really showcased all aspects of her character.

EDEN SHER  EDEN SHER, “The Middle”

I’ll admit, I’m not a big fan of the show. However, I’ve watched enough episodes to know that Eden Sher is fantastic. She’s over the top, but doesn’t exude a sense of buffoonery at all. Her work is simultaneously heartbreaking, hilarious, and lovable, and she has an easy spot in the nominations.

 

 

 

WHO SHOULD WIN? Honestly, I don’t know. This is one of those categories where I’d be fine with any of them winning.

OTHERS CONSIDERED: Mayim Bialik, Judy Greer, Alison Brie, Gillian Jacobs, Julie Bowen, Zosia Mamet, Allison Williams, Eliza Coupe, Ellie Kemper, Cheryl Hines, Jessica Walter (Archer and Arrested Development), Kate McKinnon, Cobie Smulders, Alyson Hanigan, Hannah Simone, Merritt Wever

On to the real nominations…

Mayim Bialik, “The Big Bang Theory”

Julie Bowen, “Modern Family”

Anna Chlumsky, “Veep”

Jane Krakowski, “30 Rock”

Jane Lynch, “Glee”

Sofia Vergara, “Modern Family”

Merritt Wever, “Nurse Jackie”

Who Should Win?

Krakowski

Who Will Win?

Bowen

Analysis: Krakowski deserves it for the excellent work in the later parts of the final season, hilarious throughout and heartbreaking near the end. I don’t think the Emmy voters will break the Julie Bowen monopoly and honor Krakowski one final time, although I wouldn’t be surprised if they did so. Right behind her is Bialik.

Credit to NBC, ABC, HBO, Veep, The Middle, Parks and Recreation, The Office, 30 Rock, and Happy Endings for all pictures. I own nothing.

The Newsroom “Red Team III” Review (2×07)

27 Aug

627-5

The Newsroom is a show that, in the first season, I simultaneously loved and hated. It was just so absurdly bad that I couldn’t help but feel entertained. However, I must admit, Red Team III is the first episode of the show I unequivocally love. Season 2 has rescued a sinking ship, and this episode is the best of the series.

Why is that? Well, first of all, there are actual stakes. There is actual tension. There is actual character development, and it doesn’t feel contrived. There are certainly plot contrivances, but I’ll get to that later. What this episode does so well is bring every character together as a team, which is something the show should’ve done right off the bat. Each character shares the guilt, the blame, and the repercussions from the Genoa mess, which, by the way, is the best storyline this show has produced. It’s a more unifying, serial storyline that allows for more investment in the show. Anyway, the actors do great work in this episode portraying a group of people steadily spiraling down as things keep piling up and piling up. The shouting match in the conference room is a thing of beauty.

The episode is structured around several deposition scenes, something Sorkin likes to incorporate into his writing. He’s always great at doing that, and this episode is no exception. These scenes are just as riveting as the main plot, and it’s a nice back and forth that he has going, both in terms of the dialogue in these scenes and the cuts between deposition-main plot.

Now, as for the plot contrivances, I was annoyed at the whole shot clock fiasco at first, but I’ve come to realize that it doesn’t take too much away from the plot. It just barely works, and it paves the way for a great scene in the elevator between Mac and Jerry. One scene I really don’t like, though, is that whole parking garage meeting. It feels shoehorned in in a way that scenes in previous, worse episodes have been guilty of. Finally, I also have a few problems with the final scene. The whole resignation non-acceptance stuff is a bit too easy, and while I did love the smash cut to black, it didn’t work for me as a whole.

Ultimately, though, this is a fantastic episode of The Newsroom, and I’m looking forward to the final two.

Grade: A-

Other thoughts:

-Jane Fonda is a delight. The whole Daniel Craig discussion was hilarious.

-Man, I hate Jerry Dantana. I know it’s kind of the point, but man, is he unlikeable or what?

-I get that the crew feels a bit shell shocked after the whole screw up, but the implication that they would have done Benghazi “right” if they weren’t focused on Genoa? Yeah, no.

-Once again, we have Sorkin and his “women in need of some (insert topic) advice” with Mac (insert “sports”). However, I felt that he handled her character better as the episode went on, and in this season in general. It wasn’t too much of a problem here.

Credit to HBO and The Newsroom for all pictures. I own nothing.