Category Archives: Reviews

How Netflix is Saving Network Sitcoms

unbreakable kimmy schmidt

What was NBC to do when the network — which has forgotten how to launch and nurture new comedies — found itself with one of the best midseason series, Unbreakable Kimmy Schmidt? The only logical thing to ensure the show’s survival: give it to Netflix. As I wrote at Quartz,

As Netflix continues to change the way viewers watch TV, in the process evolving from a niche outlet to one that wants to be all things to all people, the streaming service has also done something unexpected: it’s helping to save the network sitcom.

While many new sitcoms are canceled long before they have time to hone their comedic voice and tailor the show to the strengths of its actors, Netflix’s two-season commitment to Kimmy Schmidt ensures the sitcom will get the breathing room it needs to find its comedic bearings. And while Netflix’s binge-loving audience gravitates toward serialized dramas like Breaking Bad, Kimmy Schmidt proves that this can also be an ideal method to watch comedies as well:

And while Kimmy Schmidt episodes might not end with a traditional cliffhanger designed to carry you over to the next episode, like Netflix’s dramas ordinarily do, the show boasts plenty of comedic momentum. Out of the first six episodes I’ve seen, each ones gets stronger and stronger, as Fey and co-creator Robert Carlock build out their world and slowly layer in more laughs. The fourth episode is by far the funniest, packed with uproarious pop culture riffs and a disturbing yet riveting turn from guest star Martin Short. In a normal broadcast environment, many viewers would have thrown in the towel long before that point.

There’s much more in my Quartz story, including an explanation why NBCUniversal ends up the biggest winner in the show’s migration to Netflix, and an explanation from Netflix chief content officer Ted Sarandos as to why this is such an “interesting turning point” for the industry. It’s somewhat of a companion piece to last month’s Adweek cover story on the not-so-funny state of network sitcoms.

Unbreakable Kimmy Schmidt debuts tomorrow on Netflix. Make sure you watch; every episode gets better and better!

Netflix’s newest debut proves it might be the modern sitcom’s last hope

‘Modern Family’s’ Apple-Centric Episode is Product Integration at its Best — and Great TV

JULIE BOWEN, ED O'NEILL, ADAM DEVINE, SARAH HYLAND, TY BURRELL

Product integration has become unavoidable in TV and film as advertisers desperately try to reach those viewers who routinely skip past commercials. And while viewers endure most of it as a necessary evil, every once in a great while, there’s a truly brilliant combination of product and program. And that what’s happened in tonight’s Modern Family, which features possibly the best product integration of all time: the entire episode is told through Claire Dunphy’s MacBook Pro, and the apps she uses to communicate with her family. As I wrote at Quartz,

In the context of the plot, Apple’s apps, and their familiar sound effects, are as much a part of the action as Claire and the rest of her boisterous family are. FaceTime, Messaging, Safari, iTunes, Reminders, iPhoto and even the iCloud all make appearances at one time or another, but non-Apple apps like Facebook, Instagram and Google also get some screen time. The result is an episode that’s incredibly effective and very funny, without ever actually seeming like an ad. In part, that’s because—surprise!—Apple didn’t pay a cent to be involved. Instead, the idea came from Modern Family co-creator Steve Levitan, who co-wrote and directed the episode. Levitan was inspired in part by a FaceTime chat with one of his college-age daughters. “This came from life and it made sense,” Levitan told the Associated Press.

Best of all, because there’s no quid pro quo, the episode is devoid of the usual nonsense that accompanies almost all product placement. You can read much more about the episode, and how it validates a vow that Levitan made to me last summer, here.

‘Modern Family’s’ Apple-centric episode is product placement at its best — and great TV

Amazon Debuts 13 TV Pilots Today—Here are the Four You Should Watch

amazon pilots

It’s been a huge week for Amazon Studios, between Transparent’s Golden Globes wins and the big coup signing Woody Allen to write and direct and new TV series. Now they are hoping to continue that momentum with its fourth round of pilots — 13 in all! — debuting today. At Quartz, I helped narrow the field to the four pilots you should watch, along with the one to avoid at all costs. Among my picks, The Man in the High Castle:

Like Amazon and Netflix’s best offerings, this one seems wholly unique, a show you won’t find anywhere else on television. Based on Philip K. Dick’s 1962 alternate history novel, this compelling drama imagines an alternate history in which the Allied Powers lost World War II. Twenty years later, the world has been divided among Japan and Germany, while a small resistance group continues to keep hope alive. Written by Frank Spotnitz (The X-Files) and executive produced by Ridley Scott, this is packing with stunning imagery, including American flags with a swastika in place of stars, and one scene involving what initially looks like snowflakes that haunted me for days.

While none of these pilots is at the level of Transparent yet (to be fair, few pilots emerge as fully realized as that one was), overall this is a much more ambitious and realized slate than the previous rounds, which should bode well for Amazon going forward.

But make sure to read my story before diving into the latest batch of pilots. After doing so many stories for Quartz, it was great to finally figure out a way to write a TV review for them!

Amazon debuts 13 TV pilots today—here are the four you should watch

#TBT: How Networks Marketed the Worst TV Shows of All Time

TBT worst TV shows

It’s Thursday, which means it’s time for another installment of #TBT. This week, in the last #TBT of the year, I looked at promos for five of the most notoriously awful programs to ever air on television. As I wrote,

It’s relatively easy to pull together a promo for a show that is terrific, but how does a network market a complete disaster?

Well, here’s how ABC sold Cop Rock in 1990:

From The Chevy Chase Show to Manimal, you’ll want watch these lumps of TV coal during the holiday season!

#TBT: How Networks Marketed the Worst TV Shows of All Time

MindyProject

The TV VIPs of 2014

This week, I’ve revealed the 10 best shows of the year, along with the top 10 performances, and I’m still not done handing out accolades for TV in 2014. Today, I’m naming my TV VIPs of 2014, where I’m recognizing the shows, actors and networks that helped give TV one of its greatest years ever.

Homeland

(David Bloomer/SHOWTIME)

Comeback of the Year: Homeland

Just when I thought I was out, Claire Danes and showrunner Alex Gansa pulled me back in! After two frustrating seasons in which the show often seemed even more off the rails than Carrie Mathison without her meds, the drama returned to form in its second half by out 24-ing 24 itself (which Homeland‘s creators made their bones on). And most of the show’s missteps — hundreds of them! — will be forgiven if Sunday’s finale is anywhere as engaging as the last several episodes have been.

RYAN LEE, BRADLEY WHITFORD, FLORENCE HENDERSON, MALIN AKERMAN, MEGAN MULLALLY, NATALIE MORALES, BAILEE MADISON

(Gilles Mingasson/ABC)

Gone Too Soon: Trophy Wife, Enlisted, The Bridge 

While some low-rated wonders like You’re the Worst and Hannibal eked out renewals, this trio of terrific shows proved to be better than audiences deserved. Viewers who have been decrying the death of the TV comedy obviously weren’t watching Trophy Wife and Enlisted (and shame on ABC and Fox for treating them so shoddily). As for The Bridge, I understand why John Landgraf canceled it, even as I mourn the fact that the show had finally found itself in Season 2. Meanwhile, upstart outlets desperate for eyeballs — I’m looking at you, Amazon, Hulu and Yahoo Screen — have no excuse for passing on these discarded gems as they search for avid viewers.

viola-davis

(ABC)

Scene of the Year: Viola Davis takes off her wig in How to Get Away With Murder

At times early in the ABC freshman drama’s run, it seemed as if producers had forgotten that it had cast the Oscar-nominated powerhouse as Annalise Keating. But they sure remembered in episode four, which closed as Davis removed her makeup, and then her wig, and faced her husband, stripped physically and emotionally bare. It was a stunning revelation, and one that I hope is only the first of many How to Get Away With Murder moments in which Davis leaves us breathless.

twin peaks

(ABC)

Most Welcome Revival: Twin Peaks

It’s happening, again! I’ve been disheartened by Hollywood’s efforts to turn every movie into a TV show next year, but one reboot announcement warmed my heart: Twin Peaks, which Showtime will resurrect in 2016 as a limited series. With David Lynch and Mark Frost returning to the fold for the entire run, and bringing back many of the original characters (Coop!), I’m already jonesing for some damn good coffee and a heavenly slice of cherry pie.

janethevirgin

(Danny Feld/The CW)

Sweetest Surprise: Jane the Virgin

When I first heard the premise for Jane the Virgin, I thought I’d stumbled upon an Onion article. A virgin is artificially inseminated — by accident? Ugh, pass. Well, I couldn’t have been more wrong. Instead, the show has been a little slice of perfection each week. It still feels like it could all fall apart at any moment, but what a delightful ride it’s been.

MindyProject

(Erica Parise/FOX)

The Anti-Moonlighting: The Mindy Project

Most shows succumb to the Moonlighting curse and start spiraling when they finally pair up their big couple (cough, New Girl, cough, Suburgatory). But The Mindy Project, which had captivated me even as it churned through plot and supporting characters, finally found its footing this season as it turned Mindy Lahari (Mindy Kaling) and Danny Castellano (Chris Messina) into a committed couple. Their wacky, wonderful relationship has brought out the best in each other, and the show.

too_many_cooks

(Smarf)

Best Credits Sequence: Too Many Cooks

Please, as if this Adult Swim masterpiece had any real competition. I apologize for putting this into your head again, but…it takes a lot to make a stew!

FERB, PHINEAS

(Disney XD)

Kids Show of the Year: Phineas and Ferb Star Wars 

I’ve been forced to watch a lot of nauseatingly awful kids shows over the past several years, which is why I keep steering my children back toward Phineas and Ferb, which is equally as entertaining for parents as small fry. But the always-inventive show outdid itself with last summer’s crossover, Phineas and Ferb: Star Wars, which paid homage to the original Star Wars with an ingeniously-crafted parallel story. Bring on Phineas and Ferb: Empire Strikes Back! Okay, greenlight it first, then bring it on!

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(Patrick Harbron/FX)

Network of the Year: FX

This boils down to one question: if I were stranded on a deserted island, and could only bring along one network’s lineup of 2014 programs, which one would it be? Of course I would go for the network that airs four of my top 10 shows of the year (The Americans, Fargo, You’re the Worst and Louie), along with The Bridge (RIP), Archer, Justified (which had its first off-year – but like pizza, even bad Justified is pretty terrific), American Horror Story and The Strain. Hell, I even stuck with Sons of Anarchy to the bitter, bloody end as well. FX, you’re peerless.

theflash

(Diyah Pera /The CW)

Best Comic Book Series: The Flash

It grabbed me from its fully-formed pilot and hasn’t let go: The Flash is the perfect comic TV show. It’s joyous and bubbly instead of broody (enough moping around, everyone else! Lighten the hell up!), with vividly-drawn supporting characters and villains who pop. I hope the oodles of superhero shows in development for next season are all watching The Flash — and taking copious notes. Go go, Grant Gustin!

Come back on Friday, when I’ll bring my week-long look at the Best (and Worst) of 2014 to a close with something … a little different.

Mulaney

The 10 Biggest TV Disappointments of 2014

So far, I’ve spent this Best (& Worst) of 2014 TV week celebrating the finest that television had to offer this year, from the top 10 shows to the 10 best performances. But today, it’s time to leap over to the other end of the spectrum, and mourn the moments that TV let me down in 2014.

I decided against a 10 worst list, because some shows — like Mixology and Manhattan Love Story — were clearly doomed from the start and promptly lived down to expectations. Instead, I’ve focusing on the year’s biggest disappointments: shows (and performers) who aspired to something greater, and perhaps even briefly achieved it, before it all came crashing down. Here is 2014’s Hall of Shame, in alphabetical order:

A to Z - Season 1

(Michael Desmond/NBC)

A to Z (NBC)

This sitcom — chronicling the A-to-Z relationship of Ben Feldman and Cristin Milioti —was one of the most promising fall pilots. Its stars had terrific, unforced chemistry. And then … nothing happened, for episodes on end. The jokes evaporated, and no actual stakes ever materialized. And how could a show set at not one but two different workplaces get away with never showing anyone doing actual work? After How I Met Your Mother, I thought the fantastic Milioti had finally found a part worthy of her talents. Better luck next season.

A to Z - Season 1

(Robert Voets/NBC)

Bearded best friends 

One of the most depressing developments of the fall season was the discovery that all the networks’ comedy development teams were operating from the exact same bland playbook: don’t forget to cast a bearded best friend! Like a virus, they popped up on almost every sitcom this fall, including Mulaney (Zack Pearlman), A to Z (Henry Zebrowski), Manhattan Love Story (Nicolas Wright) and Marry Me (John Gemberling). Now Gemberling is the last beard standing, not that I could really distinguish him from the other three.

Extant

(CBS)

Extant (CBS)

When I reviewed the Extant premiere this summer, I was excited about the sci-fi drama’s possibilities, both in storyline and the performance it was coaxing out of star Halle Berry, as an astronaut who returns from a lengthy solo mission to discover that she’s pregnant. A few episodes later, those optimistic dreams were the opposite of extant. Instead of learning its lessons from Under the Dome, which quickly squandered its beguiling premise in 2013, CBS repeated them all again.

Last Forever Part One

(Ron P. Jaffe/Fox)

How I Met Your Mother finale (CBS)

While I was never a regular How I Met Your Mother watcher, I had been eagerly anticipating how series would pay off the story it had been setting up for nine (!) seasons. Instead, the finale confirmed everyone’s worst fears — that the Mother (Milioti again!) had died — and turned into How I Barely Met Your Mother. It was a legen — wait for it! — dary addition to the annals of all-time worst finales. (Make room, Dexter!)

Mulaney

(Ray Mickshaw/FOX)

Mulaney (Fox)

Out of all this year’s new sitcoms, I was most excited about seeing Mulaney, created by and starring one of SNL’s all-time great writers (and the man behind Stefon!), John Mulaney. And then I watched the first episode Fox made available, which was…awful. Soon after, Fox shared four more episodes, each one more depressing than the last. How could someone so innovative end up in something so conventional? Even worse, the show completely wasted its fantastic cast (including Martin Short and the underrated Nasim Pedrad).

rake greg kinnear

(Fox)

Rake (Fox)

A year after Fox had scored big with a midseason drama featuring a movie star (Kevin Bacon’s The Following), it tried again with this Greg Kinnear legal series — and failed spectacularly. Billed as the law version of House, it lacked any of that show’s zest and wit. Kinnear’s Keegan Deane was less an anti-hero than an anti-character, as clunky a fit as the show’s silly title.

sleepyhollow

(Fred Norris/FOX)

Sleepy Hollow (Fox)

It’s the hat trick of Fox disappointments! Season 1 the Fox supernatural series was a delightful, wackadoodle wonder. And that’s what has made Season 2 so upsetting, as the series has undone so much of what made it addictive in the first place. John Noble, so vital to the end of Season 1, has been neutered this year, while Orlando Jones was stuck on the sidelines. There are still flashes of the trippy show that once was (and Tom Mison and Nicole Beharie remain terrific), but Sleepy Hollow suffered the biggest quality dropoff this year.

turn

(Antony Platt/AMC)

Turn (AMC)

So intriguing in theory, so bland in execution. Still flailing post-Breaking Bad, AMC came up empty again with this uninspired Revolutionary War drama. It was somehow renewed for Season 2, and saddled with a longer title: Turn: Washington’s Spies. There, problem solved!

tyrant

(Patrick Harbron/FX)

Tyrant (FX)

FX’s incredible run of essential dramas came to an end with this controversial Middle Eastern series, which finally offered one antihero too many for a network packed with them. And no, don’t remind me that this was renewed over the far-superior The Bridge.

Peter Pan Live! - Season 2014

(Virginia Sherwood/NBC)

Christopher Walken (Peter Pan Live!)

Two weeks later, I still can’t believe what I saw on Dec. 4. Walken’s Captain Hook was supposed to save Peter Pan Live! Instead, he almost sunk the show. That an actor who is so reliably riveting in everything he appears in — no matter how great or lousy the project itself is — could sleepwalk through a three-hour live performance was one of the year’s biggest stunners. Whether it was due to age or boredom, Walken lost a big chunk of his luster that night.

That was cathartic; now it’s time to praise television again! Check back Thursday for more 2014 TV VIPs.

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The 10 Best TV Performances of 2014

My Best (and Worst) of 2014 TV week continues. Yesterday I shared my Top 10 shows of the year, and today I’m unveiling the 10 best performances of 2014. These knockout performances aren’t all leads (two of them are supporting), but they all anchor their respective shows, which would be lost without them. Here are the crème de la crème, in alphabetical order:

Nora packs

(Paul Schiraldi)

Carrie Coon, The Leftovers

I ran hot and cold on The Leftovers, which careened wildly between brilliance and annoyance, but never when Coon was onscreen. As Nora Durst, who lost her entire family in the Sudden Departure, Coon’s performance was often heartbreaking, yet always captivating. She was neck and neck with Ann Dowd, who commanded the screen in her largely-silent performance as Guilty Remnant leader Patti, but Coon pulled ahead during an unforgettable scene in the finale in which Nora was finally forced to comfort the loss that she had kept bottled up for years. This was the year that Coon made a spectacular leap from the stage to TV and movies (where she was also a standout in Gone Girl), and I’m not sure how either medium had existed without her.

julianna margulies

(Jeff Neumann)

Julianna Margulies, The Good Wife

Alicia Florrick is the gift that keeps on giving for Margulies. This year alone, she’s grieved the loss of her former (and likely future) boyfriend, solidified her emotional divorce from her governor husband, fought to free her law firm partner from prison and embarked upon an already-bitter run for State’s Attorney. But the actress shines brightest in the moments where she’s not saying a word: her furtive elevator gazes, her pregnant pauses on the phone and the way she’s a bit too eager about the glass of wine in her hand. She’s also not afraid to take Alicia into unexplored avenues, particularly ones that make viewers realize Alicia isn’t as “good” as we’d like to believe.

I wrote about Margulies and The Good Wife here.

Fusion x64 TIFF File

(BBC America)

Tatiana Maslany, Orphan Black

If Orphan Black fell back to earth a bit in Season 2, that certainly wasn’t the fault of Maslany, who was superb once again as she gave life to a more than a dozen distinct clones. Any one of them — particularly soccer mom Alison and assassin Cosima — would warrant Tatiana a slot on this list; add them up and her work ranks among the most stunning acting ever seen on television. And her infectious, impromptu clone boogie party in the finale gave new meaning to the song “Dancing with Myself.”

truedetectivemc

(Lacey Terrell)

Matthew McConaughey, True Detective

McConaughey seemingly collected all the awards this year (except for the Emmy), but months after his weekly visits to a podium, the potency of his Oscar-winning Dallas Buyers Club turn has receded, while Rust Cohle remains as vibrant as ever. As the series jumped back and forth through time, McConaughey kept peeling off layer after fascinating layer, often accompanied by another hypnotic monologue. Costar Woody Harrleson, creator Nic Pizzolatto and director Cary Fukunaga deserve a ton of praise, but the entire project would have collapsed without McConaughey.

matthewrhys

(Craig Blankenhorn/FX)

Matthew Rhys, The Americans

When I named The Americans the best show of 2014 yesterday, I noted that the series is clicking on all fronts. Well Rhys is clicking most of all as Philip Jennings. His degree of difficulty is astounding: at times, the Welsh actor is pretending to be a Russian pretending to be an American pretending to be whatever alias Philip has assumed that week. That he keeps all those balls in the air, while also struggling with Philip’s shifting loyalities, is a wondrous achievement.

Chapter One (Pilot)

(Tyler Golden/The CW)

Gina Rodriguez, Jane the Virgin

Every year at Television Critics Association press story, there is one actor who completely captivates and charms the room. This summer, that was Rodriguez, who worked the same magic that she exhibits each week on Jane the Virgin. The show’s soapy silliness and outrageous premise could never work without it being grounded in something very real, and that’s all due to Rodriguez, who single-handedly keeps the show from becoming a parody of itself.

501B9892.CR2

(Amazon Studios)

Jeffrey Tambor, Transparent

Most actors are lucky if they get one defining roles in their career. Tambor now has three: Hank Kingsley, George Bluth Sr and Maura, his best, and most fearless performance yet. There are so many ways that a cis actor playing a transgender role could have gone horribly wrong, but all of Tambor’s instincts have been spot-on. We cheer and weep for Maura, in all phases of her life, even if we’re not always sure that we actually like her.

robinlordtaylor

(Jessica Miglio/FOX)

Robin Lord Taylor, Gotham

Gotham remains very much a work in progress, but the show had one thing right from the start: Taylor’s riveting turn as Oswald Cobblepot, the man who will one day will become the Penguin. In a show bursting with too many villains, he immediately seized the show’s focus and refuses to relinquish it, thanks to the perfect mix of braggadocio, sycophancy and pathos. I would be perfectly happy if this show were called Penguin, because he’s the one character I truly care about.

allisontolman

(Chris Large/FX)

Allison Tolman, Fargo

Fargo arrived packed with top-shelf actors, including Billy Bob Thornton, Martin Freeman and Kate Walsh, but Tolman somehow came in and stole the miniseries out from under all of them. As the Marge Gunderson-esque Deputy Molly Solverson, Tolman could have been crushed by comparisons to Frances McDormand, or even her fellow actors. Instead, she confidently made the role her own, one disheartened grimace at a time. I worry that Hollywood won’t know what to do with her now (though I loved her arc on The Mindy Project), but she was the find of the year, and I look forward to (hopefully) watching her eventually act her way through the entire FX slate (your move, The Americans!).

adenyoung

(Tina Rowden)

Aden Young, Rectify

I can’t think of another actor who would be disciplined and restrained enough to remain so bottled up as recently-released Death Row inmate Daniel, but Young proves every episode that less can be much, much more. (Here’s my pitch for a TV show: Alicia Florrick and Daniel team up for a show in which they do nothing but silently take elevator rides, walk around and sit in silence. It would be absolutely riveting.) This season, Young took advantage of Daniel’s slightly-expanding emotional palette and allowed slivers of sentiment to break through.

I wrote about Young and Rectify here.

Check back on Wednesday, when I’ll pause the accolades to discuss the year’s 10 biggest disappointments.

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The 10 Best Shows of 2014

I’m kicking off my week-long look at the best (and worst) TV of 2014 with my rundown of the year’s top 10 shows. Even more than usual, 2014 was overstuffed with TV goodies, and winnowing the list of worthy series down to 10 was a near-impossible task. There were easily 20 additional shows that also could have made the cut, but the 10 below represent the most exceptional programs I watched over the past year. These cable, broadcast and digital series resonated with me more than any other in 2014, and have continued to awe, challenge and inspire me, weeks and months later.

Louie_Pamela_pt3_0308_hires2

(KC Bailey/FX)

10.  Louie (FX)

Returning after a near 20-month hiatus, Louie remained the most surprising show on TV. Each episode offers something completely unexpected, from Sarah Baker’s knockout monologue in “So Did the Fat Lady” to the six-part “Elevator” arc. And while Louis CK’s batting average may not have been quite as astronomical as in previous seasons, it was still worthy of a spot on the list. Netflix and its ilk might be changing the notion of what TV is, but no one is redefining the medium on a weekly basis more than CK.

truedetective11

(Lacey Terrell/HBO)

9. True Detective (HBO)

I was among the many that was disappointed by the season’s conventional ending, but as the months have passed, that feeling has been dwarfed by the appreciation of all that came before it. Over eight riveting episodes, creator Nic Pizzolatto, director Cary Fukunaga and stars Matthew McConaughey and Woody Harrelson tackled the most tired of genres – the buddy detective drama – and completely reinvented it. And the fourth episode’s uninterrupted, six-minute tracking shot was TV’s most euphoric experience of the year.

rectify1

(Tina Rowden)

8. Rectify (SundanceTV)

Almost every show on this list could be described as “unlike anything else on television.” But that goes double for Rectify, which ventured even further into uncharted territory in Season 2 as Aden Young’s Daniel continued his assimilation into society after spending 19 years on Death Row for the rape and murder of his teenage girlfriend. It dares you to put the outside world on pause and immerse yourself in its staggering emotion.

I wrote about the season here.

youretheworst

(Byron Cohen/FX)

7. You’re the Worst (FX)

This is the only comedy that cracked the list, though several shows — including The Mindy Project, Brooklyn Nine-Nine, Black-ish and Archer — consistently made me laugh this year. You’re the Worst seemed like the kind of show I’d watch once, and then never glance at again. But I ended up falling for the abrasive Jimmy Shive-Overly (Chris Geere) and obnoxious Gretchen Cutler (Aya Cash) even harder than they fell for each other. Comedies aren’t supposed to be this assured out of the gate, but You’re the Worst had my number from the raucous, raunchy pilot. In a year when too many fantastic, low-rated comedies were canceled, You’re the Worst’s renewal was a glorious blessing.

I wrote about the show here.

Hannibal - Season 2

(Brooke Palmer/NBC)

6. Hannibal (NBC)

How can this show exist on broadcast TV? Is NBC even aware that they air it, or does someone else hack their airwaves every Friday at 10? Anyone who claims that broadcast TV has become mediocre and colorless has obviously never seen Bryan Fuller’s vibrant work of art, which puts most cable fare to shame. Fuller has taken a once-noble franchise that was driven into the ground by increasingly awful novels and even worse films, and restored its luster via a lush tapestry of visual and aural verve. It is a feast for the eyes, stomach and mind. Even if we know how the story will end (hell, Fuller revealed how the season would conclude three minutes into the premiere), Fuller has crafted a captivating journey, as we witness the psychological chess match between Will Graham (Hugh Dancy) and Hannibal Lecter (Mads Mikkelsen).

oitnb_redvee

(JoJo Whilden/Netflix)

5. Orange is the New Black (Netflix)

The biggest surprise of 2013 wasn’t content to coast in Season 2; instead, it upped its game by deepening its depictions of all the Litchfield inmates we got to know in Season 1 — along with some we didn’t even realize we cared about (Rosa!). Even Taylor Schilling’s Piper — who last year seemed dwarfed by the likes of Kate Mulgrew’s Red and Uzo Aduba’s Suzanne — finally grew into her own this year. Lorraine Toussaint’s Vee proved a perfect wolf in sheep’s clothing, but almost everyone was given their share of unforgettable moments in the spotlight.

501B6519.CR2

(Amazon Studios)

4. Transparent (Amazon)

Amazon, I didn’t think you had it in you! Sure, the pilot for Jill Soloway’s examination of a patriarch (Jeffrey Tambor) who decides to finally live his life as the woman who has always been inside him, was impressive. But the series managed to be even more moving, as it was able to be groundbreaking without putting Maura on a pedestal (instead, she’s just as flawed as everyone else). Every character and moment seemed vivid and real, a feat that was every bit as innovative as its subject matter.

I wrote about Transparent here.

Fargo

(Chris Large/FX)

3. Fargo (FX)

I watched the Fargo pilot almost a year ago and was bowled over. Speaking with FX Networks CEO John Landgraf soon after, I asked if the subsequent episodes could possibly measure up. He assured me they were even better — and boy was he was right. Noah Hawley took sacred ground — the Coen Brothers’ 1996 masterpiece — and crafted a sprawling story that felt both new and very much of a piece with that film. It was packed with superb performances, particularly Billy Bob Thornton, Martin Freeman and find-of-the-year Allison Tolman. And unlike True Detective, it stuck the ending, which honored the spirit of the show. You betcha!

The Last Call

(CBS)

2. The Good Wife (CBS)

This isn’t supposed to happen. A series A) in its sixth year B) on a broadcast network C) which loses a major cast member (RIP, Will Gardner) shouldn’t be reaching new creative heights. But nobody told The Good Wife that, because the show is as enthralling as it has ever been. Astoundingly, Will Gardner’s shocking death has turned out to be the best thing that could have happened to the show, and star Julianna Margulies, as it pushes its story and cast in wondrous new directions. I don’t know how long it can keep this up; but I’ll never bet against showrunners Robert and Michelle King, who are somehow pulling this off 22 times a year.

I reviewed The Good Wife here, and also profiled Christine Baranski and showrunners Robert and Michelle King.

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(Patrick Harbron/FX)

1. The Americans (FX)

I enjoyed the 2013 debut season of this series much more than some of my colleagues, but even I was astounded at the gargantuan creative leap it made in Season 2. Suddenly, the Russian spies working undercover as a married couple in ’80s America (Matthew Rhys and Keri Russell) were grappling with the gradual realization that their nuclear family was worth fighting for even more than Mother Russia.

It remains mindboggling so many viewers (and awards show voters) continue to overlook this show, which is a triumph on every level: from casting to scripts to production to costumes and wigs. It’s a spy thriller, a relationship drama, a family drama and a political drama rolled into one. And, oh yeah, it has several of the best music cues on television. In one series, The Americans packs in everything that television aspires to be. And the crazy thing is, I think it’s primed to get even better in Season 3, especially given the gutpunch of a twist in the season finale.

Check back on Tuesday for my look at the year’s 10 best performances.

#TBT: ‘Come Home to NBC’ With Michael J. Fox and Betty White in These ‘80s Promos

come home to NBC

I always have a blast pulling together the #TBT promos for Adweek, but this week’s entry was particularly entertaining, as I delved into the “Come Home to NBC” ‘80s promos back when NBC ruled the airwaves with The Cosby Show, Cheers and The Golden Girls. Here’s a one of the four promos I discuss, which is a must-see if only for the shot of Tom Brokaw wearing Bright. Yellow. Pants.

And much like everyone else who was partying hard in the ‘80s, NBC saw no end to its good fortune: “Where the magic never seems to end! Where the good times keep you coming back again.” (Well, at least until Jeff Zucker took over…)

All four promos are worth watching, including one that made the unfortunate choice to open with a shot of (yikes) Bill Cosby inviting you into his abode.

#TBT: ‘Come Home to NBC’ With Michael J. Fox and Betty White in These ‘80s Promos

Surprise! ‘Peter Pan Live!’ Soared, Except for — Gasp! — Christopher Walken

Get out the Hook!

Give him the Hook! (Virginia Sherwood/NBC)

I really thought I was prepared for all of Peter Pan Live!’s possible outcomes: It could have ended up a complete disaster (as many in the Twitterverse had hoped it would), or (more likely) a largely mediocre production on par with last year’s The Sound of Music Live!, or turned out to be a tour de force for Christopher Walken’s Captain Hook, as he steamrolled over everything in his path, especially poor Allison Williams as Peter Pan.

But I never saw this coming: a Peter Pan Live! that was quite good — much better than its promos indicated, and certainly a marked improvement on all fronts from Sound of Music Live! — save for one confounding performance: Walken’s.

I knew Walken would be the night’s wild card, but usually he’s the one who saves shows, not sabotages them. Not this time. The actor seemed to have skipped most of his rehearsals, opting instead to simply wing his way through the performance. Save for a few vintage Walken moments — tap dancing during “Vengeance,” snarling “Hoist up the children!” late in the production and finally showing some verve during “Captain Hook’s Waltz” — he was in a completely different show than his costars. At times he seemed lost in his own world, mouthing his lines and marking his steps, as if not realizing this was the actual performance, and not just a run-though. During his climatic swordfight with Peter, he could barely be bothered to lift his saber.

What a waste of Walken. Where was the performance we all expected from the man who spectacularly danced — and flew, Peter Pan-like — his way through “Weapon of Choice”?

Instead, in the night’s biggest surprise, Williams was the one who took charge and carried Peter Pan on her elevated shoulders. She was an immediate upgrade from last year’s non-actress lead, Carrie Underwood, and deftly handled the technically grueling role — at times, she was singing, flying and flipping head over heels, all at once. And unlike her Girls counterpart Marnie, she sang with gusto. (Sadly, her bizarre fishnet and spandex costume was never explained.)

The cast’s other standouts included Christian Borle, as Hook’s sidekick Smee, who helped camouflage Walken’s fogginess while pulling double duty as the Darling clan’s father, George. If only he had played Hook instead! And Kelli O’Hara was her usual powerhouse self as Mrs. Darling (sorry, no first name for you!).

Aside from Williams, the real star of the evening was the production’s ambitious, superior technical design. The set was a marvel, and showcased lovingly with confident camera movement that was a substantial improvement over the previous year’s pedestrian work. (As an added bonus, the sound issues that plagued The Sound of Music were also eradicated.) Cameras swooped and soared like Peter himself, and even got right in the center of some numbers to interact with the cast. Equally impressive were the live CGI effects, notably Tinkerbell. And the flying scenes were executed without a hitch.

Yet there are still more improvements to be made before next year’s live special. The awkward, abrupt cuts to commercial (and particularly in the last hour, there were a lot of them) made AMC’s Mad Men transitions look downright professional.

The cast (Walken aside) and crew’s outstanding work exposed the production’s biggest flaw: its problematic book. While producers rewrote and excised Peter Pan’s most cringeworthy sections (involving the Indians on the island, who were reconceived into a “tribe” that appeared to be refugees from Duran Duran’s “Rio” video), they didn’t do enough cutting and trimming.

The show dragged at three hours, easily one hour too long. Much of Peter Pan’s story is just plain weird: a stranger abducts three children and forces one of them to mother him and his friends, Wendy keeps coming on to Peter (she can’t take the hint that he’s just not into her), Hook spanks Peter, and the least menacing pirates in history are too busy incessantly dancing with one other to accomplish anything even remotely dastardly. Then in the end, Peter ditches Wendy for a younger model. He is all grown up, after all!

Still, the show somehow pulled it off. I believed a boy could fly, I believed in fairies, I believed that Allison Williams did better than anyone would have expected and I believed that NBC learned its lessons from last year’s production. Congratulations, NBC, you have plenty to crow about.