Television Review: Boardwalk Empire

HBO's Boardwalk Empire, a 1920s period piece about gang life in Prohibition-era Atlantic City, premiered last night after months of hype and stellar early reviews. With a pilot directed by Martin Scorsese and written by Terence Winter (of Sopranos fame), the lavish drama series was bound to be a big draw, and the extended pilot episode certainly delivered. This show has success written all over it.

Telling the story of political boss with a mobster agenda, Steve Buscemi plays Enoch "Nucky" Thompson (loosely based on a true character from Atlantic City's rich history, Nucky Johnson). Buscemi, known for his character work in a number of films, has finally hit the jackpot with Thompson, a complex character with numerous facets (and a seemingly rich backstory, involving the death of a wife that seems to haunt Thompson more than he lets on). The other main players are: Jimmy Darmody (Michael Pitt, using his pouty mug to wonderful results), Thompson's right-hand man, scarred by the war and unsure of his future in Thompson's gang world; Margaret (Kelly Macdonald), a desperate housewife that Thompson, rather mysteriously, shows unending compassion towards; and Van Alden (Michael Shannon, hard and gruff), a Prohibition officer investigating the Thompson's shady business dealings.

The pilot's plot dealt with the beginning moments of Prohibition (celebrated with a huge party of a "funeral," a countdown like New Year's Eve!), and a secret shipment of Canadian alcohol gone awry. One of my biggest problems with the pilot was its level of confusion; along with numerous new names and characters, it was often a difficult to sort out the show's details, and too intricate to hash out in its entirety here. That said, I'm sure the series will bring the important gangsters to the forefront, streamlining the expansive map of Atlantic City that the opening episode introduced. The use of historical characters is a wonderful touch - young Al Capone introducing himself to Darmody was a thrilling moment.

The production values for Boardwalk Empire are impeccable, from the costumes to the set to the music; everything is spot-on in capturing a different time, dripping with exquisite 1920s grit and glamour. The episode's depiction of the decadent, drunk lifestyle faded as the episode continued, beautifully striping down to the horrific gangster power during the Prohibition. Scorsese's work is a wonderful base for the series; his stylistic choices, often slightly overwrought (hello Gangs of New York, which treaded similar territory), are more understated here, yet still undoubtedly the work of Scorsese. Winter's writing is dense while deft, showing his skill at weaving a vast web of characters together in a singular environment.

The pilot could have used more time to flesh out its characters; the show's action-thriller opening minutes, before flashing back with a "three days earlier" title card, was a slight misstep, starting with action instead of the show's richly detailed characters. Still, this could also just be HBO's penchant for a flashy opening sequence, drawing in viewers so they'll stick around for the talky, intricate character drama that follows (speaking of which, Boardwalk Empire was incredibly light on nudity for an HBO premiere...).

Boardwalk Empire brings to mind previous period work from HBO (Deadwood, Carnivale). It also seems to be in direct competition with AMC's Mad Men. HBO infamously passed up on the critical darling, and now HBO is going to war with its own meticulously crafted period piece; we'll see how the Academy responds at the Emmy awards next year. However, having Boardwalk Empire in the time slot right before Mad Men actually served as a disservice to the former; last night, Mad Men's wonderful episode balanced nuanced characters, dark humor, and raw emotion... demonstrating (once again) why it is the greatest show currently on television.

Regardless, the comparison at this point in the game is be unfair; Mad Men's characters are playing off of three full seasons of background and history. Boardwalk Empire certainly needs time to establish itself, and the premiere episode built wonderful groundwork for a show that could easily reach the creative heights of Mad Men. For now, I am definitely a fan. I will definitely be tuning in next week. The possibilities for this gem are endless; if nurtured correctly, this could be classic HBO television gold. A-

Emmy Awards 2010

Whew. The 2010 Emmy Awards telecast was a testament to the show's declining viewership - the night was tiresome and underwhelming. The big winners were Mad Men and Modern Family; however, it took a hell of a long time to reach the big moment. Everything started out in spectacular fashion, with host Jimmy Fallon's hilarious 'Born to Run' performance, an elaborate Glee-inspired spoof aided by Lea Michele, Cory Monteith, Chris Colfer, Amber Riley, Tina Fey, Kate Gosselin (really), Jane Lynch, Jon Hamm, Betty White, Joel McHale, Nina Dobrev, and Jorge Garcia... After that perfect opening, with the bar set high, the night fell apart.

Fallon was missing the effervescent charm he displays to great effect on his show. A trio of parody songs, written to commemorate fallen shows Lost, Law & Order, and 24, crossed over from incredibly funny to incredibly weird - a theme of the night for Fallon's hosting duties. The telecast's funniest moment came from presenter Ricky Gervais, waxing hilariously about his hosting job at last year's Golden Globes, and at one point distributing beer to the crowd.

Many wonderful moments, and winners, did triumph - Top Chef finally trumped the previously undefeated (and seriously aging) champ The Amazing Race for Reality Competition; Jane Lynch's win for her already iconic role of Sue Sylvester on Glee was met with one of the night's most endearing (and scattered) speeches; and Modern Family was met with lots of love throughout the night as the comedy series of the year (full list of drama, comedy, and miniseries/movies winners at the end of this post).

However, the Academy made a number of strange choices. For Supporting Actress (Drama), The Good Wife's Archie Panjabi won over Mad Men's Christina Hendricks; I've heard nothing about Panjabi, and Hendricks was robbed for her breathtaking and transformative work. Julianna Margulies seemed to be a lock with her television return as Actress (Drama) in The Good Wife, only to be beat out by The Closer's Krya Sedgwick; Sedgwick is part of a dying cable series that long past its prime buzz. I was rooting for an upset by January Jones (Mad Men) or the under-appreciated Connie Britton (Friday Night Lights), but never suspected a win by Sedgwick...

The most upsetting award was for Actor (Drama), where Bryan Cranston from Breaking Bad won for the third year in a row. Cranston is undoubtedly talented, but he stole Matthew Fox's trophy. No question. Fox, on the final season of Lost, was more than just a sentimental choice; he excelled in the sixth season, performing on a beautiful level that had never been seen from him. I hate when the Academy rewards the same actor over and over again for the same role; this was Fox's first nomination for Lost, and final chance to win. It's beyond disappointing that his astounding look was overlooked.

The Academy completely disregarded the power of Lost; the show's final season did not win a single award during the Emmy telecast. While the sixth season was certainly not the show's strongest full season, it was a beautiful example of what television, as an artform, can accomplish. For example, I thought Jack Bender's directorial work on the series finale was a no-brainer; he lost to Dexter's Steve Shill. I am enraged that Lost was completely snubbed, without a moment to demonstrated how Lost made a vast and lasting impact on modern television... However, for the big award of Series (Drama), at least Lost was beat by the ever-brilliant Mad Men; Matthew Weiner may be the most annoying man working in television, but the man was at his creative best (so far) during the season three.

The 2010 Emmys robbed Lost, demonstrating the Academy's odd unpredictability and perplexing choices; it's a sad omen that one of the crowning achievement of modern television was not given its moment to shine on television's biggest night. The Emmys always seem to be struggling to correct the mistakes made the previous year. While the emotional impact of a Lost win was sorely absent, the cast of HBO's Temple Grandin biopic did imbue the night with much-needed raw emotion and passion; Temple Grandin was undoubtedly the biggest star of the evening. With the real Temple Grandin in the audience (she was brought on stage for the presentation of Outstanding Movie), the cast and crew were obviously overcome from their experience with this incredible and inspiring woman. Too bad the Emmys couldn't come anywhere close to incredible, or inspiring.

2010 EMMY AWARDS
Drama
Series: 'Mad Men'
Actor: Bryan Cranston, 'Breaking Bad'
Actress: Kyra Sedgwick, 'The Closer'
Supporting Actor: Aaron Paul, 'Breaking Bad'
Supporting Actress: Achie Panjabi, 'The Good Wife'
Direction: Steve Shill, 'Dexter' (The Getaway)
Writing: Matthew Weiner & Erin Levy, 'Mad Men' (Shut the Door, Have a Seat)

Comedy
Series: 'Modern Family'
Actor: Jim Parsons, 'The Big Bang Theory'
Actress: Edie Falco, 'Nurse Jackie'
Supporting Actor: Eric Stonestreet, 'Modern Family'
Supporting Actress: Jane Lynch, 'Glee'
Direction: Ryan Murphy, 'Glee' (Pilot)
Writing: Steven Levitan & Christopher Lloyd, 'Modern Family' (Pilot)

Movie/Miniseries
Movie: 'Temple Grandin'
Miniseries: 'The Pacific'
Actor, Movie: Al Pacino, 'You Don't Know Jack'
Actress, Movie: Claire Danes, 'Temple Grandin'
Supporting Actor, Movie: David Strathairn, 'Temply Grandin'
Supporting Actress, Movie: Julia Ormond, 'Temply Grandin'
Direction, Movie: Mick Jackson, 'Temple Gradin'
Writing, Movie: Adam Mazer, 'You Don't Know Jack'

For the full list of 2010's winners, click here.

The Power of Buffy

Buffy the Vampire Slayer is one of the television's crowning achievements. Nope, not a joke. Over the past few months, I decided to revisit Buffy and the Scooby Gang - the vampire craze is peaking, so why not go back to one of my first trysts with vampire obsession? I've watched the show's entire seven season run on DVD, and relived every high and low Buffy has to offer. Joss Whedon (also the mastermind behind Angel, Firefly, Dollhouse) first wrote the script for the 1992 movie Buffy the Vampire Slayer, but was unhappy with the finished result. There's no need to rehash the show's premise, as Buffy has become a certifiable pop legend. Whedon's inspiration for the project was to turn a staple of the horror genre on its head - what if the helpless blonde bimbo wasn't helpless, but rather a young girl chosen by an age-old calling to fight demons?

Beyond a play with the horror genre, and introducing a bold, brash female heroine to television, Whedon pushed the boundaries of television, taking the teen soap and completely breaking the mold for the genre. The first season was thrown into WB's schedule as a weak mid-season replacement, debuting in the winter of 1997. The show was a mild cult hit, which then exploded when the show hit its groove in the second season. What sets Buffy apart are the layers Whedon has piled on, the dense issues he tackles with surprising grace and moving emotion. Buffy is filled with horror, romance, hilarious pop culture references, snappy dialogue, friendship, and family. Buffy dealt with obsessive love, heartbreak, death, addiction, trust, morality, depression; Buffy also dealt with one of network television's first lesbian relationships; most series in the late '90s would use a lesbian encounter as a cheap ratings ploy. Buffy established a beautiful, complicated, and realistic relationship between two women. Whedon has crafted many brilliant allegorical episodes, dealing with much more than simply killing the Demon of the Week.

Buffy was never given the praise it deserved during its run, and was snubbed at the Emmys for years (there's an interesting story behind the Emmy ballot of the musical episode from season six, Once More, With Feeling. Sarah Michelle Gellar's wonderful work was severely overlooked, and Whedon's unique vision was never justly rewarded. Buffy is scoffed at regularly; people judge the show having not seen a single episode. However, Entertainment Weekly recently named Buffy Summers as the #3 fictional pop icon (behind Homer Simpson and Harry Potter). Sure, Buffy can be fluff, but it's always reveling in its giddy fun when doing so. When Buffy & Co. get serious, the results make for shocking and invigorating television.

However, no matter how long I rant, you'll need to see Buffy for yourself to understand the magic behind series. I've ranked my ten favorite episodes from the show, along with a brief synopsis, focusing on why each episode belongs on the list. All of Buffy the Vampire Slayer is on Netflix Instant Watch; stop wasting your time on summer reality trash, give Buffy a chance.

10. Helpless (season 3, episode 12) - "Helpless" is nothing special in format, especially compared to episodes featured later on this list, but it is one of the series most thrilling and frightening episodes. The entire episode puts a twist on being locked in a haunted house - Buffy must complete a rigorous trial to prove her stance as The Slayer, the one girl in the world chosen to fight evil, gifted with special power. It's a fast and furious episode, utterly thrilling, and contains major plot developments in its final moments.

9. The Wish (season 3, episode 9) - This episode not only introduced my very character from the show (vengeance demon Anya), but also created a dark, twisted, and hilarious alternate universe where Buffy Summers never came to Sunnydale. The repercussions of "The Wish" brilliantly tie directly into the events of "Doppelgangland," an episode later in the third season.

8. Becoming, Part II (season 2, episode 22) - The season two finale is capped by Buffy having to make one of the hardest decisions of her life - should she kill the one man she loves? The payoff for one of the show's best and most consistent seasons ("Innocence" and "Passion" are classic moments of Buffy lore) is huge. Beyond the emotional question at stake throughout the finale, there's also a pretty awesome sword fight.

7. Chosen (season 7, episode 22) - "Chosen" is the series finale of Buffy, and finishes the series in beautiful fashion after a rocky (but ridiculously enjoyable) final season, topped off by one of the greatest fight sequences in the show's history. "Chosen" also has a wonderful central message, an underlying theme for the entire series. I still wish the series finale was a two-hour conclusion; also, this finale would be much higher on this list if "The Gift" didn't exist (more on that later).

6. Conversations with Dead People (season 7, episode 7) - The strongest episode from the show's final season, "Conversations with Dead People" showed four major characters having... conversations with dead people. This episode featured frightening images, the true reveal of the season's Big Bad, and the strong writing Buffy excels at (each of the four head writers wrote for a different character). The episode is an interesting commentary on death, and each of the interweaving segments has pitch-perfect tone.

5. Hush (season 4, episode 10) - As I said early, Whedon often took wild chances with a small show in WB. In the episode's 44 minutes, only 17 contain dialogue; a group of demons called The Gentlemen arrive in Sunnydale that cause everyone to lose their ability to speak. This is the only Buffy episode to be nominated for its writing, and is also one of the most classically scary episodes of the series. The show's fourth season is undoubtedly its worst, but "Hush" rises above.

4. Once More, with Feeling (season 6, episode 7) - The famous musical episode! Long before Glee, Whedon featured a musical episode - Whedon spent four years writing the music and lyrics from the episode, each of the actor's sing their own parts, and the episode features the most expensive production quality in the series. It's a beautiful, bold, and fascinating episode. Also, characters randomly breaking out in song and dance are explained by the presence of a demon (duh), and regularly poked fun at. The singing isn't the greatest, but it adds an air of authenticity to the plot. Plus, the episode deals isn't fluff - it deals with some big issues, and features major plot revelations through song that color the rest of the sixth season.

3. Restless (season 4, episode 22) - Whedon finished his worst season (seriously, season four is pretty bad, for a vast number of reasons) with one of his best season finales. With the Big Bad already defeated, Whedon crafted a gorgeous and bizarre avant garde episode, where each character deals with their biggest fears through their dreams. "Restless" plays with the show's major themes through interesting visual motifs, and uses odd language that points to the show's future. It's one of the show's most mature outings, and it still baffles me that this was aired on network television in 2000. Plus, any Buffy fan can surely tell you about The Cheese Man...

2. The Body (season 5, episode 16)- "The Body" is the most mature outing for Buffy, and also one of the greatest hours of television I have ever watched. The only reason "The Body" is not #1 on this list is because the episode is so emotionally devastating, it's also one of the most difficult hours of television I've ever watched. Sarah Michelle Gellar should have her Emmy nomination for this episode alone. The entire episode features no music (a staple for Buffy), which only adds to the haunting element. I can't even describe the heartbreak featured in each passing minute of this episode (I dare not ruin what happens), or the brilliant writing featured throughout. Prepare to sob, and marvel at the power of raw emotional television.

1. The Gift (season 5, episode 22) - Oh, "The Gift." How I adore you. Buffy was originally supposed to end its run after season five, but was picked up by UPN for its final two seasons. Therefore, "The Gift" was written as the series finale, and actually works much better than "Chosen." It also helps that season five is far and above my favorite. The Big Bad is glorious, the twists in the finale are brilliant, and the choices each character must make are uplifting and heart-wrenching. "The Gift" is another episode where tears fall; the viewer's emotional commitment to these characters, by the end of season 5, is overwhelming. "The Gift" is truly one of television's perfect season finales. These ten episodes demonstrate the show's crowning achievements, but Whedon and his wonderful cast truly outdo themselves here.

2010 Emmy Nominations

The 2010 Emmy Nominations were released this morning! Celebrate! For once, the snubs aren't maddening! There are certainly snubs, but each category is incredibly strong this year, reflecting what an astounding year this was in television. Below are what I consider the "big" awards (excluding miniseries, television movies, and reality television). Under each category, the actor or show I want to win is in bold; this is not necessarily who I think will win. The telecast is Sunday, August 29th at 8:00pm on NBC.

Outstanding Drama
Breaking Bad
Dexter
The Good Wife
Lost
Mad Men
True Blood

Actor in a Drama
Kyle Chandler, Friday Night Lights
Bryan Cranston, Breaking Bad
Matthew Fox, Lost
Michael C. Hall, Dexter
Jon Hamm, Mad Men
Hugh Laurie, House, M.D.

Actress in a Drama
Connie Britton, Friday Night Lights
Glenn Close, Damages
Mariska Hargitay, Law & Order: SVU
January Jones, Mad Men
Julianna Marguiles, The Good Wife
Kyra Sedgwick, The Closer

Supporting Actor in a Drama
Andre Braugher, Men of a Certain Age
Michael Emerson, Lost
Terry O'Quinn, Lost
Aaron Paul, Breaking Bad
Martin Short, Damages
John Slattery, Mad Men

Guest Actor in a Drama
Dylan Baker, The Good Wife
Beau Bridges, The Closer
Alan Cumming, The Good Wife
Ted Danson, Damages
Gregory Itzin, 24
John Lithgow, Dexter
Robert Morse, Mad Men

Guest Actress in a Drama
Ann-Margret, Law & Order: SVU
Shirley Jones, The Cleaner
Elizabeth Mitchell, Lost
Mary Kay Place, Big Love
Sissy Spacey, Big Love
Lil Tomlin, Damages

Outstanding Comedy
30 Rock
Curb Your Enthusiasm
Glee
Modern Family
Nurse Jackie
The Office

Actor in a Comedy
Alec Baldwin, 30 Rock
Steve Carell, The Office
Larry David, Curb Your Enthusiasm
Matthew Morrison, Glee
Jim Parsons, The Big Bang Theory
Tony Shalhoub, Monk

Actress in a Comedy
Toni Collette, The United States of Tara
Eddie Falco, Nurse Jackie
Tina Fey, 30 Rock
Julia Louis-Dreyfus, The New Adventures of Old Christine
Lea Michele, Glee
Amy Poehler, Parks and Recreation

Supporting Actor in a Comedy
Ty Burrell, Modern Family
Chris Colfer, Glee
Jon Cryer, Two and A Half Men
Jesse Tyler Ferguson, Modern Family
Neil Patrick Harris, How I Met Your Mother
Eric Stonestreet, Modern Family

Supporting Actress in a Comedy
Julie Bowen, Modern Family
Jane Krakowski, 30 Rock
Jane Lynch, Glee
Holland Taylor, Two and A Half Men
Sofia Vergara, Modern Family
Kristen Wiig, Saturday Night Live

Guest Actor in a Comedy
Will Arnett, 30 Rock
Jon Hamm, 30 Rock
Neil Patrick Harris, Glee
Mike O'Malley, Glee
Eli Wallach, Nurse Jackie
Fred Willard, Modern Family

Guest Actress in a Comedy
Christine Baranski, The Big Bang Theory
Kristin Chenoweth, Glee
Tina Fey, Saturday Night Live
Kathryn Joosten, Desperate Housewives
Jane Lynch, Two and A Half Men
Betty White, Saturday Night Live

For all of the 2010 nominees, check out the 62nd Primetime Emmy Awards website.

The Real Housewives of New York City Reunion: Questioning Reality Television

Tonight, Bravo aired the epic three-part reunion special of their booming The Real Housewives of New York City series (which originally aired on three different nights over the last week) back to back to back. Yes, I sat and watched every single part, back to back to back. I won't lie - I throughly enjoy the show. It's absurd and ridiculous in its soap-like drama, but these women also show some truly heartwarming moments. It's the perfect guilty pleasure, the show is an addictive blast. Possibly the best moment of the reunion was the clip reel of one-liners and "bloopers" from the season, touching upon some hilarious metaphors (thanks, Ramona and Kelly!).

The objective of this post is not to recap the brutal arguments, or true intentions, from the reunion's three hours (you'd have to be a fan to understand most of the heated conversations), but in part two of the special, and into part three, the women revealed something fascinating in their bickering. Ex-besties Bethenny Frankel (my favorite of the bunch, now with her spin-off Bethenny Getting Married?) and Jill Zarin got into an emotional debate about their friendship falling apart (*falling apart = crashing and burning) this season; this season was much darker than past years, filled with even more hateful chatter and malicious actions. However, this heightened drama is exactly what viewers are gobbling up. During this debate, with the death of their friendship as the dramatic core from this season, Bethenny brought up an interesting point, a point that I believe touches upon a notion that resonates throughout all of reality television: Jill was more than ready to show her husband's cancer diagnosis on the show, but did not want the cameras rolling when Bethenny asked to step into a room and work on mending their friendship. Bethenny was later asked about when two woman on the show called her a "fame whore," citing the fact that she had the cameras in the bathroom while taking a pregnancy test; she said she certainly draws a line at showing certain things, but that the moment with her pregnancy test didn't bother her at all.

Bethenny inadvertently touched upon a much bigger question within reality television - where do you draw the line on what to show from your life on television? When is the footage no longer entertainment, but something far too real, and perhaps downright frightening? New addition to the cast Sonja Morgan (a wonderful source of comedic relief throughout the entire season, and a breath of fresh air when she entered the reunion's second hour) described how she did not want her daughter featured on the show, while (Countess) LuAnn de Lesseps talked about leaving certain details of her personal life (specifically the details surrounding her divorce) private. Reality stars subject their entire lives to the camera, with an audience always been there to watch the torrid details of their lives. However, putting a camera crew in the room automatically destroys the element of "reality." No one's reality involves have a camera documenting their every action; adding a camera to the equation often changes people, causing them to act out in ways that could be extremely unexpected. One reason I hate the New Jersey entry to this franchise is for this reason exactly; I believe those women are chewing scenery to simple cause a scene, trying to one-up each other in front of the camera, and it is disgusting. Could these actions on television not be reality, but people portraying caricatures of themselves? It's an interesting shift to note, the subtle (or not-so-subtle) changes in a person when they know there's an large audience hanging on their every word.

We gobble up reality television: Bravo begins Real Housewives of DC this August, as the franchise continues to expand, and Bethenny Getting Married? premiered to just over two million viewers two weeks ago, the highest rated series debut ever on Bravo. We treat the show like entertainment; believe me, I find the show ridiculous entertaining, and will continue to watch as long as the New York ladies are around. However, reality television peers directly into the private lives of others. It is a blatant form of exploitation, even if those participating have signed off on their lives being filmed. Part of the show's guilty pleasure is beyond just feeling guilty for watching the show; it is also the feeling that it is objectionable to watching moments of another's life that are usually so private (for example, Bethenny dealing with the intense emotions of visiting her biological father's deathbed). Television producers tap into the drama that people hunger for, drama that seems so much stronger when it is happening to real people. If television producers don't always draw the line of what should be show, is it our responsibility to turn away?

The question of crossing this line was actively explored in this season - Kelly Killoren Bensimon had a rather frightening mental breakdown during the "Scary Island" vacation (Housewives-penned nickname), which left the woman she was with extremely rattled; they were very concerned with the woman's health, and she left the island the next morning. However, during the reunion, Kelly labeled the moment as a "breakthrough," and disagreed with moments that were irrefutable facts. For a while (the end of hour two, into the beginning of the final hour), the reunion was not entertaining, but nearly depressing; this was a woman who clearly needed help, a woman lost in her own world. She honestly believes the lies coming out of her mouth, every single word; some of the things she said were so utterly ridiculous, even reunion host Andy Cohen couldn't hide his astonishment. Seeing her breakdown on the show, and her blatant denial that there was any kind of problem during the reunion, was horrifying. This woman needs help.

Also in the reunion, Jill seemed to be paying for her sins over the past season, and was many times overcome with emotion over the statements hurled at her; even Bethenny made a comment about how they might as well murder the woman right there, seeing what was being said to her in emails and questions sent in by viewers. It was a painful experience, seeing this woman so beaten down, in tears, and emotionally lost; who knows the full truth on what is going on between her and Bethenny, but I felt her pain when she could no longer hold it together. From what we've seen on the show, she has become a sad, bitter, twisted version of her former self... but no one should have to deal with that much hate. It was, again, difficult to watch this woman scramble to reassemble the relationships she had.

I don't have answers to the questionings I'm positing here, or an answer for when I keep the show on when these horrible moments happen. I'm not sure solid answers exist. I did think it was interesting to see that in the reunion alone, the women expressed strong traits they have shown as vital parts of their personality throughout the show - Bethenny was brutally honest and, as always, downright hilarious (calling Kelly Humpty Dumpty = priceless); Sonja was trustworthy and ridiculously level-headed, proving again that it's always good to laugh at yourself, and that Bravo made one of the best moves in the show's run by getting this woman, so comfortable and confident in herself, on camera; LuAnn (you've seen the Money Can't Buy You Class video, right?!!) acted as a mediator, diplomatic while attempting to stay out of the heart of the drama (I was surprised to hear her incredibly moving and frank words about her divorce - this woman does have class); Ramona's lovable crazy, and in my eyes, the "Mom" of the group; and so on. It was almost as if reality television has the ability to strip people down to their very core, showing their true personality when throw into a situation.

A line does exist of what should be shown on television, of what is actual entertainment, and of what is healthy for the public to watch. Maybe the fact that I didn't change the channel during the reunion's rough moments speaks volumes. Maybe I'm being hypocritical! Maybe there's something we can't deny in watching these difficult moments of struggle, an aspect in all people that reality television has learned to deeply affect. Maybe we realize that the problems in our lives really aren't that awful when compared to the outrageous things these women go through, and put themselves through; the show acts as a reminder that no matter how much money you have or where you live, someone out there with the "perfect life" is dealing with something more outrageous than you can imagine. It's almost therapeutic.

There is a point when watching someone's pain becomes the directly opposite of entertainment. The New York reunion was more than just women hashing out personal problems that have plagued their friendships; they were exploring the definition of reality television, exploring the questions the show itself asks when delving into the lives of these elite New York women. Putting these women together in the same room for a few hours, simply to talk, is the making of a pressure cooker that yields very interesting results. Some may view the show, and especially the bloated reunion footage, as pure shlock. I believe the show has stumbled upon something very interesting, a dynamic that is suddenly exploring the boundaries of reality television itself. Satchels of gold, Bravo, for giving a rather sharp edge to a show that could be viewed simply as enjoyable trash.

TV on DVD

As promised in my summer guilty pleasures post, here's what to catch on DVD if you want some quality television with your summer. A lot of boxed sets are available to watch instantly on Netflix, if you have an account (if you don't, I'd advise getting one - it'll change your life a little, and it's relatively inexpensive). Otherwise, check video rental stores. Also, older seasons of DVD will often be ridiculously cheap at places such as Target or Best Buy...

LOST - If you missed this glorious show the first time around, check it out now. Season Six, the final season, will be released August 24th, so you'll be able to zoom through the first five season before running out of material. This show is the definition of brilliant, one of the greatest shows television has ever seen. Unless you've been living under a rock for the past six years, you've heard of this show. Certainly not for the faint of heart or mind, but Lost is worth the investment. Sure, the series is maddeningly frustrating at times, but that's part of the fun; you have so let yourself go, and enjoy the ride of the dense mythology. The series finale seems to have polarized the fan base, but it stands as one of my favorite two hours of television. Head to the Island, fall in love with the misfit group of castaways. You won't regret it.

THE WIRE - This epic vision of every facet of Baltimore's drug scene is a show that sadly went under-watched and under-appreciated when it's five seasons aired on HBO (hey Emmy voters, awful job here). However, The Wire constructs it's vast web of characters with masterful flow, portraying a world that almost feels like documentary. You'll think you have the good guys and bad guys straightened out... until something changes the entire game. The Wire isn't afraid of brutal storytelling, killing its characters, or throwing its audience through the emotional ringer. This is powerful, mature television.

MAD MEN - As stated in my summer television post, Mad Men returns at the end of July with Season Four; The first three season are on DVD now. Mad Men builds New York in the 1960s with beautiful precision, creating characters who are morally gray in their actions - Don Draper is the epitome of an antihero. Thank God this show is filled with such an incredible ensemble of actors, carrying of their difficult material like pros, subtly developing their character with each episode. The infamous Matthew Weiner is the creator and executive producer (he was heavily involved with the final two season of The Sopranos), and the man knows how to construct a story - it might take a while before anything huge happens, but he develops his show with an irresistible slow burn.

BATTLESTAR GALACTICA - No, I am not talking about the short-lived series from the '80s, but Sci-Fi's (Syfy's?) stunning (yes, stunning) reboot. Many people are turned off simply by the idea of science fiction television. While the series looks a lot like Star Trek in the beginning, and the miniseries that begins the series seems a bit turgid, BSG takes science fiction as a genre and reboots everything you know. This is a show about relationships, hope, redemption, and political struggle... disguised as intelligent science fiction. While I think the finale season drops the ball on a few promising moments, the entire show achieves something that I have never seen with a sci-fi television series, and stands as a crowning achievement for all of television, regardless of the genre. If anything, watch for Katee Stackhoff (given a lame role in 24 two seasons ago) and Mary McDonnell; these woman bring it. Mary McDonnell was robbed of an Emmy (and she wasn't even nominated!) for the finale season. And apart from the acting, there are badass CGI space fighting sequences thrown in for good measure.

BUFFY: THE VAMPIRE SLAYER - Yes, I am pulling out all the stops with underrated television! When I tell people I am a huge Buffy fan, people often scoff. However, especially with the recent vamp craze, Buffy deserves a revisit. This is a brilliant twist on the teen soap, and Sarah Michelle Gellar is believable and wonderful as the young girl forced to defend the world from the forces of evil. Joss Whedon is a master at his craft; his most famous television endeavor is filled with such wit and spunk, it's impossible not to fall madly in love with this show and these characters. Season One is not as focused as the rest of the series (each episode basically stands alone, and many are throwaways). However, the end of Season One into the start of Season Two, the show is unstoppable. This is the one show that people judge before they've seen a single episode, and it can be incredibly frustrating. Open up - episodes like Becoming, Hush, The Body, Restless, and Once More, with Feeling push television to explore something new and exciting, especially in the early 2000s. This show was ahead of its time.

VERONICA MARS - My good friends are probably sick of me trying to push this show on them. Oh well. Regardless, there's only two seasons to watch! It's quick! Technically, a third season aired on the CW's inaugural year, but I pretend that season never existed; CW heads forced series creator Rob Thomas (nope, not that Rob Thomas) to change the construct of the show to attract new viewers. It didn't work. Vom. Season Three is still good television, but Season One of VM is about as close as I've seen to a perfect season of television. Kristen Bell plays Veronica Mars, a teenager in California who's dad who is a private investigator; obviously, over time, Veronica has come up with a few tricks of her own. Each episode deals with an individual mystery Veronica is called upon to solve, while each episode brings about new clues in the hunt to find who murdered her best friend. Veronica is also dealing with a few personal mysteries she needs to clear up, but I'll leave those as a surprise for the pilot to explain... I'm passionate about this show because its first two seasons (Season Two's overarching mystery deals with a bus full of students that crashes off a cliff into the ocean) are unreal, visceral television. It's like Nancy Drew for grown-ups. Don't knock it.

If these six don't suit your needs, check out: Friday Night Lights, Dexter, Arrested Development, The Sopranos, Alias, Breaking Bad (which I need to catch up with myself...), and The OC. Sound off in the comments about series you love - maybe you can introduce me to something new too!

Guilty Pleasures

Everyone knows that summer is a time when quality television (for the most part) disappears, and good ol' trash comes out to play; good television takes a nap after all of the May Sweeps crazy, and bad television comes out to throw a party. The main thing about enjoying summer television is indulging in the guilty pleasure. Especially after the brilliant emotional roller coaster Lost (sobbing, RIP) put us on this year, it's nice to enjoy some mindless frolicking on the boob tube.

Here are the summer shows I have come to love and laugh at. I do draw the line at certainly summer madness (no matter how many times you show the promo, ABC, I will not be watching The Gates), but in order of increasing ridiculousness:

Not A Guilt Pleasure in any Way, Shape, or Form: MAD MEN

(Season Four Premiere - Sunday, July 25th at 10:00pm on AMC)
Now that Lost has finished its run is spectacular fashion, Mad Men is the greatest show currently on television. If you haven't seen it, but have heard all of the big buzz (it's the only show to ever win the Golden Globe for Best Drama three years in a row), PLEASE check out the DVDs; Season Three was released last month. The Season Three finale was a game-changer for Don Draper, his family, and the fellow Mad Men in his office (men who worked on Madison Avenue at advertising firms in the 1960s). The show could go anywhere from here, and continues to be a dangerous smart hour of television. Beyond just the character drama, the attention to period detail in ever aspect of the show is unreal. Mad Men deserves your attention.

All Pleasure: TRUE BLOOD

(Sundays at 9:00pm on HBO)
I don't think I need to say much about my favorite vamps (check out yesterday's recap post for the Season Three premiere). The nine months of waiting were nearly unbearable, so sit back and enjoy the ride.

"Quality" Reality Shows: TOP CHEF: DC & SO YOU THINK YOU CAN DANCE

(Top Chef premieres Wednesday, June 16th at 9:00pm on Bravo; SYTYCD airs Wednesdays and Thursdays on Fox)

I call these shows "quality" reality shows, and put them in the same category, because they seem to be two reality shows that are more concerned with the quality of the contestant's work (food and dance, duh), and not about casting outrageous characters for a show or to make "good television" (lookin' at you, American Idol). The air times for SYTYCD are still all over the place, as the season has just found its Top 10 (er, 11) new dancers. Top Chef delivers great drama, and a whole bunch of delicious-looking food; SYTYCD brings some incredible dancing and a whole lot of emotion.

Guilty. Pleasure.: THE BACHELORETTE

(Mondays at 8:00pm on ABC)
Yep. It's a blast. Just go with it. Remember to laugh. Not gonna lie about it, it's straight-up addictive television. Plus, this year's Bachelorette Ali is gorgeous, hilarious, and utterly charming.

Impossible Not to Love: REAL HOUSEWIVES OF NY

(repeats on Bravo all summer)
These ladies are ridiculous, catty, and mentally unstable... as well as hilarious, loving, and sometimes beautifully genuine. This crew is the most entertaining and "real" of Bravo's Housewives franchise, and it's the only version that's worth watching (we'll see how DC looks with its premiere in August... but stay far, far away from the Jersey ladies). The show has become so popular that the guiltiest of guilty pleasures can actually mentioned in public! Crazy. Enjoy. And remember, money can't buy you class.

Pure, Utter Trash: TRUE BEAUTY

(Tuesdays at 10:00pm on ABC)
Absolutely heinous television. Cheap production, weird set-up, impossible not to watch after The Bachelorette (because what's better than numbing your bran cells for three hours straight?!!). The concept revolves around a group of alleged beauties, living together in Vegas, and competing to be the "Face of Vegas" (basically a glorified beauty contest). However, secret cameras catch moments that reveal their "inner beauty" as well; the winner has a combination of inner and outer beauty. Whew. It's shlock, but I laugh almost the entire hour. Oh boy.

Either this evening or tomorrow afternoon, I'll be posting television shows now available on DVD that can provide smart, thought-provoking television through the doldrums of summer; if you're not into the mindless guilty pleasures, it will give you something completely guilt-free to indulge in.

Recap: True Blood Season 3 Premiere

SPOILERS AHEAD. YOU'VE BEEN WARNED.

True Blood is back! After nine moths of brutal waiting after Season Two's jarring cliffhanger (who kidnapped Bill?!!), HBO's perfect storm of a guilty pleasure returned with a bang. The show felt like it was 20 minutes long; it perfectly tied up the lingering moments from Season 2, while beginning some juicy plot threads for Season 3. However, not everything worked.

We started right where we left off - Sookie, wearing that lavender dress, attempting to make sense of Bill's kidnapping. Girl really loves to shriek, doesn't she? I'm happy to see that Alan Ball can shift between his multiple arcs pretty well, while still keeping Sookie's story line front and center. Maybe praise should also go to Anna Paquin for keeping her kooky character grounded in her kooky supernatural Louisiana. She gives the show a feeling of blunt authenticity that keeps the show from spiraling out of control into pure camp.

One of my favorite subplots from last night's premiere was Jessica dealing with a man she killed. Without Maker Bill around to teach her the ways of the vampires, she's like a teenage girl who fucked up while the parents were out for dinner. Deborah Ann Woll captured a teenage girl attempting to cover up her mistake perfectly - desperately trying to feed her prey some of her blood, awkwardly prancing around whenever Sookie was in the house, hiding how much of an emotional mess she was. I'll be waiting for her reunion with Hoyt, because there relationship was beyond adorable towards the end of last season. I do wonder where she got a Blackberry app about crazy gang branding symbols though...

Bill has kidnapped by werewolves! Or a four-man team named "The Fuck Crew," as they affectionately desire to be called. These men were the perfect amount of creep to initiate the viewer to werewolves on True Blood; these are not the pretty vampires we're used to, but rough and gruff men from the woods. Bill eventually escaped from their clutches, making his way though the wilderness, and stopping for a little granny snack to regain his strength. The episode ended with Bill's fangs bared, surrounded by a pack of werewolves. Uh-oh.

Pam has been upgraded to a regular this season, and I'm so happy she's in it to win it. I find her endlessly hilarious, and one of the shows most underused gems. Sookie's line "I'm in no mood for lesbian weirdness tonight, Pam!" was one of my favorite of the episode, and Pam quietly berating Lafayette was one of her best moments yet. I can't wait for Kristin Bauer's character to continually develop over the season, hopefully moving to a more interesting task than simply pushing V and our resident vamp bouncer.

Jason Stackhouse continues to be one of the show's most deceptively deep characters, and Ryan Kwanten carries it off incredibly well. His interaction with Hoyt and the two NYU graduates in Merlotte's was hilarious, and his inability to have sex because of his emotional trauma was a nice addition to a character who is known for his sexual exploits. However, where will True Blood find it's gratuitous nudity without Jason? Sure, there was certainly some from Jason in the premiere, but if he can't get it up for a while... Regardless, Jason seeing Egg's bullet hole on the girls he brings home is a nice addition to Jason's complicated world. Conscious off, dick on!

Speaking of Eggs, Tara is a mess. Hopefully "mess" will be upgraded to "bat shit crazy" in the coming weeks, and I am always down for Tara's Mom to be involved in her daughter's scarred life (Adina Porter is astounding as a mother struggling to save her daughter while copping with her many demons), but she felt underdeveloped in tonight's episode. We've seen blank stares and copious pill-popping to deal with the death of a loved one; I want something more from Tara. Will she grapple with the fact that she was being used by a mythological beast? Maryann's mind control over her was a dangerous thing, and Tara's love for Eggs may have been completely based in the serious evil that overcame Bon Temps last season. Her character has a lot of promise dealing with the downfall from last season, hopefully True Blood is up to the challenge.

Eric gave Jason a run for his money in the whole nudity category, along with his new "dancer." However, Eric dealing with the V craze in Louisiana seemed awkwardly structured; hopefully he'll be spending more time with Sookie in the hunt for Bill, because I'm not a fan of his dry sheriff duties right now. Eric is one of my favorite characters on the show, and I hope this drama with the Queen forcing the sale of V is resolved soon. Not my favorite subplot, and I think Eric deserves better.

Sam continues to be my least favorite character on the show. His "homoerotic" (awkward?) moment with Bill just seemed odd and ill-conceived (yes, I know Bill gave a lot of his blood to Sam, but still...), even if Stephen Moyer was giving the moment his all. Sam is off in search of his birth parents. Cool. His brother lied to him. Awesome. Hopefully Sam's journey for self-discovery in Arkansas gives him a solid story that connects with me. Because umm I'm ready to see his character killed off. Sorry puppy.

Lafayette has his standard sass back (sorely missing from last season), and hopefully he'll be used more this season. Arlene's pregnancy announcement in seemed rushed; I wish the producer's had given that revelation more time to breathe, as Arlene wasn't given nearly enough screen time to go along with the moment. We'll see how her relationship with Terry develops, because I wasn't feeling their moments last night.

Overall, a wonderful start to a promising season. I was giddy the entire hour, and could barely believe it had flown by so fast when the credits rolled. Most of the subplots are working for me; a few are not. Regardless, I trust Alan Ball - the man juggles his deep cast of characters with such ease it's remarkable. I do wish the season's Big Bad was more clearly defined; is it the werewolves? Or is there a stronger darkness on the way? This show has truly hit its stride, finding the right tone and completely grasping what it's audience wants - blood, sex, and high drama. We want it fast, rough, and usually pretty sloppy. This show is a blast. Here's to the start of a very promising new season.

NEXT WEEK ON TRUE BLOOD

Tonys & True Blood

Welcome to my blog! This is weird. Is this weird? This whole thing slash idea is still a baby, so hold on while I sort the whole damn thing out. Should be interesting...

While I procrastinate on something resembling work for my summer classes (feminine poetry theory, here I come!), I just want to get something out here; the blog looked weird without a post. My passions include any aspect of the entertainment industry (what this blog will hopefully focus on), and tonight is a night of epic proportions - the Tonys Awards (CBS at 8:00pm), followed by the season premiere of True Blood (HBO at 9:00pm, repeat at 11:00pm).

If you're not into the whole Broadway scene, this could be a year to check the awards show out and see what all the hoopla is - this season on Broadway was filled with Hollywood stars, most of whom will be in attendance tonight, if not presenting (and hey, maybe they'll leave with a statue in hand as well). Plus, Lea Michele and Matthew Morrison are performing to draw in the hot young Glee crowd, the cast of American Idiot are sure to throw down a Green Day song like you've never seen before, and a medley of Broadway tunes that crossed over to mainstream hits is planned to start off the show. It's one of my favorite award shows (nothing touches the film industry or the Oscars, sorry), mainly because Radio City is such a beautiful venue; the amount of talent packed into that room, congratulating one another, is astounding.

However, this has been one of the weakest season on Broadway in recent memory; there should have been more shows that hit it off, that connected with a critics and a wide audience. I will definitely be rooting for Fela!, which brought something electric and original to a Broadway. Telling the story of Nigerian Afrobeat pioneer Fela Kuti, the show uses the construct that the audience is in attendance of one of his infamous Shrine concerts in the 1970s. Everyone in the show pours every ounce of their soul out on that stage, and Sahr Ngaujah as Fela unleashes something so primal that it is impossible not to be stunned by his presence. The show brings it like no other this season, and was one of the greatest experiences I have had in a theatre. The show should be a lock for many categories this evening... if it wasn't for Memphis, a feel-good fluffy period musical about race relations. We'll see what the voters are loving tonight - there are very few categories with clear favorites, so tonight could be a wonderful celebration, full of surprises.


The cast of Fela! twerkin' it out

Check back tomorrow for my thoughts on the telecast, who deserved their trophy, and who was robbed. Also, prepare for a juicy True Blood recap - it may not be the smartest show on television, but it is one of the few guilty pleasures that almost succeeds at just making it all pleasure.