Tag Archives: The Americans

Coif and Dagger

Americans wigs Emmy mag

Adweek wasn’t the only print publication I appeared in this week; I also have two stories in the new issue of Emmy magazine. In the first piece, I wrote about The Americans, my favorite show of 2014, and the show’s ace hair department head, Peg Schierholz, who crafts the wigs used by stars Matthew Rhys and Keri Russell in their many onscreen aliases.

Click below to read the full story, and see a sampling of Schierholz’s best work:

Peg Schierholz Emmy mag

You can find more information on Emmy’s February issue, and purchase a copy, here.

Even though I write primarily online these days, there’s still nothing like seeing your name, and story, in print! So between the new issues of Adweek and Emmy, this has been a fantastic (and nostalgic) week.

MSNBC: The Best and Worst of TV in 2014

msnbc tv in 2014

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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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.

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(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.

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(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.

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(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).

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(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.

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(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.

Sophomore TV Shows: Which Will Surge and Which Will Slump?

sophomore shows

With the new TV season about to kick off, I looked at 16 returning second-year series, and predicted which ones will surge in Season 2, and which will slump. As I wrote at The Daily Beast,

A show’s second season is often its make-or-break year. After a season’s worth of growing pains and tweaking under its belt, will the series make the leap and fully realize its potential, as Scandal and New Girl gloriously did last year, or will it hit the dreaded sophomore slump and watch that initial promise implode, as was the case with Revenge, Up All Night, and Smash?

Maybe I’ll check back at the end of the season and how my predictions held up.

Sophomore TV Shows: Which Will Surge and Which Will Slump?

Margo Martindale Goes for Laughs in ‘The Millers’: ‘It’s Fun to Be Wild Again’

The-Millers-Margo-Martindale

At Parade, I spoke to one of my favorite people, Margo Martindale, about her new CBS sitcom The Millers. While most people who know her from her dramatic roles in Justifed and The Americans are surprised to see her doing a multicam sitcom, she told me that it’s a lot harder than it looks:

The thing that’s interesting to me is that so many people applaud actresses who go from comedy to drama, but they weirdly look down on actresses who go from drama to comedy. Comedy’s hard. It takes a lot of muscles to make it look easy.

Margo Martindale Goes for Laughs in The Millers: ‘It’s Fun to Be Wild Again’ 

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

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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

‘The Americans’: Noah Emmerich on Playing Stan Beeman, ‘Jane Got a Gun,’ and More

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For the first time since leaving People, I’m back in the saddle again! I made my debut on The Daily Beast today, with this profile of Noah Emmerich, who is making a huge splash on FX’s sensational drama The Americans, which airs its season finale tonight. As I wrote about Emmerich,

“He’s one of those people that, when you realize who he is, you go, ‘Oh yeah, I love that guy!’” said Scandal actor Joshua Malina, Emmerich’s former Yale roommate and close friend of 25 years. “But I knew there would eventually be that role where you go, ‘Holy shit, this guy is a great actor.’”

In addition to speaking with Emmerich, I chatted with Malina, and Americans showrunners Joe Weisberg and Joel Fields. I felt a little rusty for my first time back out, but it was a terrific experience!

‘The Americans’: Noah Emmerich on Playing Stan Beeman, ‘Jane Got a Gun,’ and More