Before the "Lost" finale aired in late May, I said that I felt uncomfortable with trying to wrap my feelings around the end of the series within the few hours I allowed myself that night between when the finale ended and when I posted my review. And I suggested that at some point in the future - possibly at several points - I might revisit my feelings about said finale.
Well, yesterday was a relatively slow day, and it occurred to me that a little over a month had passed, and I still had "The End" on my DVR. So I watched it, again. And I have a bunch of thoughts - some new, some not - about the finale coming up just as soon as I'm shot by a fat man...
A quick review of last night's "Lie to Me" - guest-starring beloved in these parts actor Enver Gjokaj from "Dollhouse" - coming up just as soon as I take off my shoes...
And so we've finally come to the end of Emmy Two-Plus Weeks here at HitFix, as Fienberg and I have gone through our picks for all the major categories. As always, Dan offers predictions of who will be nominated, along with some wishful thinking, while I suggest who would be on my hypothetical ballot if I were an Emmy voter.
Our last category is the big one: Outstanding Drama Series. Dan's gallery is up, my picks are after the jump, and at the end of the post I'll have links to all my previous posts on the subject:
We're continuing our summer trip back through Joss Whedon's "Firefly" (at the end of this review, I'll have links to the previous ones) with the fourth episode, "Shindig." A review coming up just as soon as I have money for a slinky dress...
A couple of months back, Steve Carell briefly blew up the Internet when he told a BBC Radio reporter that he would leave "The Office" after his contract ended next season. Then everyone calmed down once we realized we'd have a year to wait, and that NBC would have a year to back several dump trucks full of money up to the Carell/Walls home to keep him.
But over the weekend, at the red carpet premiere of his new animated movie "Depiscable Me," Carell insisted that it's not about the money, that seven years is a long time to play any character, and that he wants to spend more time with his family. And while in Hollywood the default answer is always "It's about the money," Carell is one of the few actors in the business whom I might even slightly believe when he insists otherwise.
If he's leaving, he's not going to take "The Office" with him. It's NBC's only half-hour comedy that's an actual success on its own, and it's functioned as a life-support system for "30 Rock" for the last four years. During upfront week, NBC president Angela Bromstad suggested the show would continue with or without him.
Those of you who were unhappy with the creative direction of this season, and who therefore assume Carell's departure gives NBC a natural excuse to end the show, are just wasting your time. That's not the way the TV business works, except in rare cases like "Lost" (and there, ABC at least had other continuing hits like "Grey's Anatomy" and "Desperate Housewives" to allow them to give Darlton an end date).
So if we figure that Carell's really leaving, and that the show will go on without him, what does that mean for the creative future of the series? I have some thoughts, after the jump...
Louis C.K. is the creator, executive producer and star of the new FX comedy "Louie," which debuts tomorrow night at 11. He also writes, directs and edits every episode, and he is essentially playing himself, as a stand-up comedian newly-divorced and helping to raise two young daughters. It's entirely possible that he's also responsible for the costumes, the catering and painting the sets. In every way but the presence of other actors on-camera with him - because C.K. is funny but not exactly man of a thousand faces - this is a one-man show. If it's good, all credit goes to Louis C.K. If it's bad, he gets all the blame.
"Louie" is very, very good. It may even, based on the four episodes I've seen, be great.
Emmy Week (and a half) at HitFix had to be extended to Emmy Two-Plus Weeks for a variety of boring reasons, but Fienberg and I are finally back with our next-to-last category: Outstanding Comedy Series.
As usual with these, Fienberg and I are approaching the potential nominees from two different angles. Dan is trying to predict what shows will be nominated (along with a bit of wishful thinking), while I simply state who would get my vote if I had a hypothetical Emmy ballot.
Dan's gallery of nominees is up, and after the jump are my picks...
Because TV shows are largely populated with thin, attractive white people, there's a tendency for anyone who's an outlier to be defined entirely by what makes them different. They become less characters than representatives, standing in for all the unseen people who share their race, appearance, size, or what have you. It's usually only when you put several similar outlier characters together that the writers start to view them as something other than a token symbol. When an episode of "Homicide," for instance, famously put three black characters alone in a room together, the scene became not about race, but about who these cops were and what they wanted, and the sad thing was that such a thing was so unusual that it was worthy of notice.
The outlier problem is especially stark on teen dramas, because high school is all about spotlighting why some people are different from the crowd. In particular, any character who's not a twig - say, Mercedes on "Glee" - gets placed largely in stories about how it feels to not be part of the skinny crowd.
That's why I'm intrigued by "Huge," ABC Family's new drama series set at a camp for obese teens, which premieres tonight at 9. Aside from the counselors (headed by the tall, willowy Gina Torres), everyone is on the heavy side. The opening scene puts all the kids in bathing suits so they can take an unguarded "Before" picture that will hopefully inspire a much thinner "After" picture at summer's end, and the camera frame is filled with the kinds of bodies we're not used to seeing on television. (Or, at least, on TV dramas, since the success of "The Biggest Loser" obviously makes a show like this possible, in the same way that "Lost" was born as an attempt to do a scripted "Survivor.")
Once again, I'm not a fan of "True Blood," but I'm willing to offer up these weekly posts about each episode so y'all can discuss it.
Episode three, which incorporates both bullet time and a concentrated amount of kinky vampire sex, is, for now, the last one I received in advance from HBO. I may or may not continue to get episodes ahead of time, but if I don't, these posts are going to wait until I've seen each episode, which may wind up being on Mondays. Sorry.