This morning, I appeared on MSNBC to discuss TV’s best and worst of 2014, and was very happy to be alongside Janet Mock for another MSNBC panel about television. While it wasn’t technically a Melissa Harris-Perry show, it aired during her show’s usual time slot and was produced by her team, so it still counts as a MHP appearance in my book. Here’s the video:

The segment was terrific. I only wished they’d mentioned TV & Not TV as they were supposed to (things were a little crazed with breaking news), and that they’d called me the correct name at the end (“Jane Lynch”?). But it was fun to be back on MSNBC, and to discuss the year’s highs and lows one last time.

The best and worst of TV in 2014

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(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.

(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.

(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.

(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.

(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.

(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.

(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!

(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!

(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.

(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.

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The Atlantic took notice of my Quartz piece on why all the best shows air on Sunday nights, and republished it. Two times in one week!

Why Sunday-Night Television is So Good 

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Homeland. The Good Wife. The Affair. The Walking Dead. Mad Men. Masters of Sex. Veep. Game of Thrones. When you think of the best (and most Emmy-nominated) shows on TV, almost all of them air on Sunday nights. As I wrote at Quartz,

It seems counterintuitive to pit all of TV’s best series against one another, as anyone who’s tried to program a DVR on Sundays can attest. But there is in fact a method to the networks’ madness, and five reasons why Sunday night’s quality TV overload exists—and won’t be going away anytime soon.

Through Nielsen numbers crunching (charts!), research and a great chat with Showtime Network President David Nevins, I came up with five very strong reasons — some of which surprised even me. Here’s one: airing on Sunday night is more important than being watched on Sunday night.

While many of the Sunday shows have drawn record audiences as mentioned above, it’s also true that premium cable networks like HBO and Showtime aren’t beholden to advertisers. So those executives don’t have the expectation or urgency that viewers need to tune in “live” during their shows’ initial Sunday night airing. “I always say, it doesn’t matter to me whether you watch it on Sunday; I’m fine if you want to want until Monday or Tuesday or Wednesday,” said Nevins. “You wait much past then, you’re going to miss the conversation.”

Five reasons why Sunday is TV’s best night

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After a bit of a hiatus, I returned to Parade to put together a Fall TV Preview, which was one of my first stories for them last year. My take on this shows are how they managed to be both fresh and familiar — and have a lot in common with some of your favorite shows.

When I filed, I didn’t know that this would be my very last Parade story. But sadly, the magazine was sold last week and the entire editorial staff, including all my favorite editors, was laid off as editorial operations move from New York to Nashville

I’ll miss you Parade; it’s been fun!

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It’s not often that I feel like I’ve unearthered tons and tons of new material from a subject, but that’s exactly what happened when I spoke with the brilliant Tracy Letts for this Daily Beast profile about his role on Homeland (he plays Sen. Andrew Lockhart), and the upcoming movie August: Osage County, which he adapted from his Pultizer-winning play. He was full of great stories, and didn’t pull any punches, like when he talked about the Oscar buzz surrounding August:

However, Letts is upset that the early reaction to August has been almost entirely in terms of its Oscar potential. Though he says “I hope it wins everything,” Letts admits that the awards season mania is “beyond frustrating. Man, this obsession with the Academy Awards in particular, who fucking cares? It drives me nuts. How the fuck are you going to compare Gravity with August: Osage County? Could you have two pieces any more different in every conceivable way? They’re both in color and they both have George Clooney involved with them [who is a producer on August], and that’s it. So I don’t know how or why you’re supposed to compare these things.”

He also talked about getting married in the hospital after emergency gall bladder removal, a story that seems like it should be a part of whatever he writes next. Also, Homeland showrunner Alex Gansa tells me about wooing Letts for his first role in front of the camera since 2006.

Homeland’s Tracy Letts, Writer of ‘August: Osage County,’ Says Oscar Mania is Frustrating

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I’ve been saying for years that there’s too many great shows on TV, but I can’t remember one night that has been packed with so many can’t-miss programs before: there’s the series finale of Breaking Bad, the season premieres of Homeland and The Good Wife, the series premiere of fall’s best new drama and much more. It’s DVRmageddon, and at The Daily Beast, I explain the best way to make it through the night and watch everything you need to see:

Did you have angst last Sunday night deciding whether to watch the Emmys, Breaking Bad or the Dexter series finale? Well, that was just a warm-up for the main event, this Sunday at 9 p.m.: DVR-maggedon, when many of fall’s most ravenously anticipated episodes—including the Breaking Bad series finale, the Homeland and Good Wife season premieres, and the debut of fall’s best new drama—air simultaneously. How can anyone possibly navigate that murderer’s row of programs? We’ve crunched the numbers, seen (almost all) of the episodes in question, and devised this handy guide to ensure you catch every show worth seeing on Sept. 29—in time to deconstruct them with your friends and coworkers on Monday.

Good luck!

‘Breaking Bad’ Finale, ‘Homeland’ Premiere: How to Survive DVRmageddon

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Before tonight’s Emmys, I went through 25 categories and picked the likely winners for The Daily Beast, along with the nominees I wish would actually take home the trophy.

Let’s meet back here tomorrow and find out how well (or how horribly) I did!

Emmy Predictions 2013: Who Will Win, and Who Should Win

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For whatever reason, I have a knack for spotting minute details in Homeland screeners. That skill came in handy as I watched an early screener of Season 3, and noticed what seemed like a reference to Mandy Patinkin’s famous line in The Princess Bride scribbled in Carrie Matheson’s notes. She writes, “You killed my son — prepare to die!” I caught up with showrunner Alex Gansa at TCA summer press tour and asked him about the reference for a new Daily Beast item.

Was the Princess Bride reference intentional? “Of course it is!” Homeland executive producer Alex Gansa tells The Daily Beast of its inclusion early in Season 3. “We didn’t expect to use it so prominently. But the fact is that it looks so great, the physical representation of her mania, right there on the page. So there it is, right in front of your eyes.”

Gansa also told me who came up with the idea — and what Patinkin thinks about it.

Revealed: Behind ‘Homeland’s’ Surprising ‘Princess Bride’ Connection

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Well, I’ve never done this before! Today, I did my first quick-turnaround piece for The Daily Beast, as I reacted to today’s Emmy nominations. I focused on the Good (House of Cards, Top of the Lake, Louis CK), the Sad (Tatiana Maslany, The Americans) and the Ugly (The Good Wife). As I wrote about The Good Wife’s snub,

The broadcast networks’ last great hope for Emmy drama recognition fell even further out of favor with voters, as it was unable to claw its way back into the Outstanding Drama category, where it was shut out last year as well. Adding insult to injury, Juilanna Margulies, who won Lead Actress just two years ago, wasn’t nominated either.

I’m glad I had the opportunity to do an Emmy reaction piece, and can only hope that The Americans and Tatiana Maslany make it onto next year’s ballot instead…

Emmy Nomination Surprises and Snubs: House of Cards, Orphan Black and More

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