The Age of Louie

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It takes a lot to start a new wave of television. You have to be expressive, influential, and most importantly, hold meaning and relevance for those watching. Our most recent wave of great TV has been the “golden age” of cable dramas with antiheroes at their forefront. However, the age of the antihero is over. Or at least is getting there. Instead of clinging to the past, it’s time for TV to move forward. And it already has.

FX’s Louie has sparked the next wave of great television. This might sound like a surprise because based on its description alone (Louis C.K. plays a fictional version of himself in this series that follows the comedian through the lows of being an awkward single dad in New York.), Louie sounds like a “normal” show. And it is! Louis C.K. is an ordinary everyman telling everyday stories in ways that are unusual for television. Because, at its core, Louie isn’t about plot, characters, or even being funny, but is instead about the nature of being human.

Humanity is an incredibly hard thing to explore in any medium, but Louie does it with thoughtfulness and sensitivity. Through its transformative ways of storytelling, Louie strips down everything we know about regular storytelling, and offers a revealing look at what it’s like to be human. In Louie you can find the raw truths about life, the bizarre experiences of being human, our fears of rejection, humiliation, and loneliness, what personal victories, fulfillment, and self-discovery feel like, and what human connection really is. All of this in one 21 minute episode of television.

That’s the thing about Louie. One five-minute segment can be the most loving and profound scene you’ve seen all year, and the next as strange as a David Lynch filmLouie has been transcending normal storytelling for years in a very low-key way. The show takes its time to explore the small ideas that really matter, and the end result is unbelievably meaningful television. This is our new wave of great television: Low Key-TV.

The most obvious example of Louie’s influence on TV is HBO’s new era of dramedies. Picking up Girls and having Lena Dunham in a creatively auteur-ish position (she writes most episodes but has a writing staff, also directs occasionally) was an obvious response to Louis C.K.’s creative control over Louie (he writes and directs every episode, has edited most, and sits in with the musicians). Each episode of Enlightened, HBO’s best (albeit cancelled) dramedy was written by creator Mike White. And HBO’s new dramedies, the so-so Getting On and the wonderful Looking, are creator driven shows that have distinct visions. More importantly, each of these shows embody Louie’s low-key type of storytelling. They all tell small stories that end up having big impact emotionally, and are all incredibly resonant.

But low-key TV isn’t just half hour shows. Orange is the New Black takes a step back in every episode to examine how humanity binds each character together in their community. Sundance’s first original series Rectify is a thoughtful examination of how we view our lives and why they matter to us. And Showtime’s Masters of Sex is, ironically, the most intimate show on TV outside of Louie, telling very small stories.

However, the argument can be made that low-key storytelling has been present in television for years. Mad Men has always been a short story show disguised as an anti-hero one. Showtime’s network defining dramedies have always been blurring the lines of genre and storytelling. Even Freaks and Geeks employed a certain type of storytelling that was small, yet emotionally rich.

Still, this type of storytelling has been crystalized by Louie. It’s the main reason Louie’s the most ambitious and distinctive show on TV. You won’t find any other show on television that devotes 21 minutes to a conversation between two friends, with one who says he’s going to kill himself. There will never be a show that has its protagonist unknowingly bring a duckling into Afghanistan. Or any other episode that details a man’s escape from depression which ends with him connecting with a random family in China.

Thanks to Louie’s sheer ambition and expressiveness we have our next great wave of television. And hopefully we’ll be able to feel thankful for years to come.

Cousins, Critically: 2013 In Television

Cousins, Critically started as a vehicle for M. Liam Moore and myself to rewatch Breaking Bad and “dissect each season in a thoughtful and critical manner.” After a while we realized that Cousins, Critically didn’t just have to be about Breaking Bad, and decided to bring in another cousin, which resulted in the best post to ever appear on this blog. With different voices on Aweful Writing, the content became decidedly better, and Cousins, Critically became a qualitative success (page views be damned!). So, in the spirit of the feature’s peak, Aweful Writing presents Cousins, Critically: The Best of Series. In part 1 of a 2 part series, a host of critical cousins has assembled to discuss their favorite television of 2013. Stay tuned for part 2!

J.T. and M. Liam Moore Discuss At Length Their Thoughts on Television In 2013

J.T. Moore: I’m thrilled to be creating a best (and worst) of list through Cousins, Critically. The series of posts that we have done in 2013 would top my list of favorite blogs in 2013, but I guess I’m biased. Then again, best of lists are kind of stupid in general. To say that one work of art is better than the other and rank them against each other is entirely subjective. But what’s more fun than a best of list?

To say that television in 2013 was great would be a massive understatement. There are 2 different posts and counting running at Aweful Writing on my favorites of the year that just have to do with TV, so I’d say that the medium had a good year.

One of the most remarkable things about television in 2013 is the number of fantastic new shows that came from what seemed like nowhere. Once you found you favorite show of 2013, the next week there would be a new one that you loved even more! A specific channel that had a particularly great year in 2013 is the Sundance Channel. They were for 3 for 3 in terms of outstanding new shows with Top of the Lake, Rectify, and Les Revenants (known in the states as The Returned). Instead of lingering on about how great these three shows were (as they all place within my Top 10 for the year) I’d like to talk about what this means for Sundance.

With these three premieres, Sundance experienced what might be one of the greatest calendar years for any network ever. In truth, 2 of the 3 series are foreign imports (Top of the Lake is from the UK, and Les Revenants is from France, obviously), but the selection of them is what matters most. These three shows gave Sundance an incredible year and one that is comparable to AMC’s humble beginnings with the premieres of Mad Men and Breaking Bad. However, I’d hope that Sundance doesn’t go down the dark path that AMC has taken, filled with Small Town Securitys and Low Winter Suns, and that the channel’s programing only gets better. But it’s hard to imagine a better year for the channel than 2013.

How about you, M. Liam? What was some of you favorite television of 2013?

M. Liam Moore: Funny you should mention new series, J.T. Like you, I devoted myself to a new show in 2013, one I began watching at the recommendation of my most trusted TV critic. That show was The Bridge (known in the States as The Bridge), and the critic who touted it as TV’s best new show was … well, there’s nothing to be gained in naming names. Let’s just say that despite an interesting premise, this Scandinavian import stunk like lutefisk.

While The Bridge may not have worked, it did strive to push the envelope. Even if it came up short, the network, FX, deserves credit for giving airtime to such an ambitious show, and allowing the show (which has since been renewed? REALLY?) time to develop its characters, explore its setting and, inevitably, either sink or swim.

FX gets a lot of love from me this year. I understand that, as a white male aged 18 to 49, I am nestled right into the network’s audience-bosom. But just as it sounds like Sundance (which I no longer get – thanks, unborn child! – though I am four episodes into its bewitching Top of the Lake) is willing to go “all in” on shows that could hardly be considered safe, FX has been doing the same thing for years, albeit with a Y-chromosome litmus test.

I love ducking into FX’s comedies: The League, It’s Always Sunny and, of course, the sublime Louie. I rank Justified fourth best among shows I watched in 2013, and The Americans was the best new series I watched this year. A mash-up of Mad Men and Homeland that keeps Mags Bennett alive AND expands Keri Russell’s wardrobe beyond flannel and slip dresses? Yes, please! I’ve got it fifth in my rankings, although only the top four are firm.

This should be lots of fun, J.T. Thanks for inviting me to be a part of Cousins, Critically: The Best of Series! And kudos to you for not including The Killing amongst the litter strewn about AMC’s recent “dark path.” (You know I like to enforce the watch-it-before-you-trash-it rule.) Still, I have to imagine there were some shows on the network that made your Best Of list for 2013, right?

JTM: Yes, it’s true both Mad Men and Breaking Bad placed within my top 10. (Though I stayed strong and didn’t let Breaking Bad take the top spot.) Both series had an excellent 2013 putting in some of their best work ever. Even though the shows are the same age, in 2013 they found themselves in very, very different places. Mad Men (which I found myself the anomaly this year in loving it) seemed like it would be taking it slow for the year, but at episode six titled “For Immediate Release” the surprises started coming, and Mad Men continued to provide some of the most dramatically rich television of 2013. But if I’m saying Mad Men was surprising, then I don’t know what to call Breaking Bad. What’s most surprising is that I’m still able talk about it after were spilled thousands of digital pixels on it throughout the year. So I’ll just say this: one of the shows ended, and the other is getting ready for the end, and all the while they produced some of the best television I have ever seen. I hope this becomes a new rule for shows in their final years.

Another returning show that I loved at one point in time (but is nowhere near it’s final years; I wish it was!!!) that had an interesting 2013 is Homeland. I have to call Homeland interesting because I don’t know if it’s bad or not. I feels bad, hell it feels terrible, but that could be because I was ready to bail after season 2 ended. What was once one of the most thrilling, ingenious, and genuine shows on television has now become the show that I dread most on Sunday nights. The writers don’t have a handle on any of the characters, the plot has become repetitive and convoluted, and the show has even tried (and failed) to put in a few absurd twists here or there. This has resulted in the creation of a show that has no idea what it is anymore (A character study? A show about the CIA? Anything???) and something that is just sad to look at now. But Homeland has accomplished one thing which it deserves credit for: making me want to watch Homeland even less than I did before.

But I’m tired of negative criticism. M. Liam, what other shows that didn’t air on FX made you happy you were watching them?

MLM: I was happy watching AMC’s old reliables as well. Mad Men was what you folks in the industry refer to as a VIEWING EVENT in my house last year. I poured martinis, stacked appetizers and welcomed Roger Sterling into my living room. But let me be clear, J.T.: I smoked no blue meth in tracking Walter White’s decay. (Or was it transformation?)

Had you been suspicious of some drug use this fall, given my positivity toward the show, it would have been understandable after all the whining I did about Lydia, the Nazis, Skyler, YOUR T-SHIRT, etc. But I really did make my peace with Breaking Bad in 2013, and I got there by giving up on perfection and simply enjoying the show’s finale throes. So much happened – so many things we’d been anticipating for so long – and it was handled so deftly, from the writing to the directing to the acting. I had a blast.

Rank Breaking Bad third among shows I watched in 2013, two spots behind a show I haven’t given up on when it comes to perfection. The increasingly dark, crisply beautiful Mad Men was the best TV I watched last year. It offered whip-smart dialogue, fully realized characters and, of course, a totally righteous wardrobe collection. It’s not always subtle – the advertising-agency-as-whorehouse analogy is wearing thin – but what makes Mad Men so much more provocative than anything else on TV is that the show speaks to power and privilege, opportunity and success, capitalism and consumerism – without being didactic. And yes, there is CHANGE, that constant, driving force propelling Mad Men forward, and IDENTITY, the show’s ultimate ace in the hole. Don Draper is an anti-hero; Dick Whitman is his shot at redemption.

My second-favorite show of 2013 was HBO’s half-hour dramedy Girls. It’s a deep dive into the subculture of overeducated, underemployed 20-somethings from privileged backgrounds, drawn to the energy, opportunity and cachet that comes with a New York City address. I thought the show found its legs in 2013, ranging from funny to poignant, coming off emotive but not sappy, with characters at once self-absorbed (Marnie’s Kanye scene) and fiercely, tenderly devoted to each other (the Oasis bathtub scene). It surprised me, J.T., to see you didn’t have Lena Dunham and the gang in your top 10 for 2013. What gives, cuz? I thought we were a couple guys who liked Girls, no?

JTM: You’ll be happy to know that Girls places within my next 10 best series of 2013 list. I thought the show fell short in its second season, but still held my interest. Long story short I liked the short stories that Girls had to offer (“One Man’s Trash” and “It’s A Shame About Ray” were standouts to me) rather than the long story that forced itself in by the end of the season (this is explained more in the next 10). But nevertheless, Lena Dunham has amazing and thought-provoking stories to tell, and even in an off season the show was some very enjoyable television.

M. Liam, if you’ve got nothing more to say on the state of television in 2013, then why don’t we open it up to the trenches of our other critical cousins who have plenty to say about the year in television?

Andy Stermer Exudes Life and Love for House of Cards

When Kevin Spacey talks, I listen. As congressman Frank Underwood in the Netflix original series House of Cards, Spacey talks a lot, sometimes even taking time out of his busy day as a dirty-dealing, revenge-seeking House Majority Whip to speak directly to me. Being a newcomer to the world of high-level television, I suppose it’s possible that I’m swept off my feet too easily, viewing these frequent destructions of the fourth wall as personal acknowledgements instead of trite storytelling devices. In any case, the web of dark political intrigue Spacey weaves with a cadre of well-developed cohorts is at least as addicting as it is over-dramatic. As the feisty young journalist Zoe Barnes, Kate Mara proves as intriguingly salacious as sister Rooney in The Girl With the Dragon Tattoo, but without the weird hair and piercings. Robin Wright is smashing as Claire Underwood, Frank’s cool, calculated wife whose clever power-grabbing schemes at times rival his own. But best of all is Spacey himself, whose southern drawl and psychopathic lack of remorse carry the show even through its more tired moments. In the end, J.T.’s damning accusation of “good, not great” may be rather appropriate for House of Cards. But the rich blend of raw humanity and fantastic malice it’s characters exhibit gives their political adventures a breath of life that’s worth checking out, even if only as a stop gap between (re-watching) seasons of Breaking Bad.

L. James M. Delves Deep into One of the Year’s Best: Top of the Lake

First off, the cinematography in Top of the Lake is incredible. This is immediately apparent in the haunting opening sequence in which, after stunning shots of New Zealand landscape, a 12-year-old girl is found attempting to drown herself. We soon find out that the girl, Tui, is pregnant and that there are a number of shady goings-on in the picturesque town of Lake Top.

Another striking feature of the show is the acting, and for the most part this holds up throughout the series. The lead role, Detective Robin Griffin, is fantastic and played so perfectly by Elisabeth Moss (who you might recognize from Mad Men). In a world of sleezeballs she is one of the only ones trying to make a positive difference. I hear that Anna Paquin was originally offered the role, which could possibly have ruined the whole show. As it is, the casting, acting and directing are all superb. I thought for a while that I wasn’t sold on the character GJ, the faux-guru leader of a group of women looking for answers. Maybe it’s her air of supremacy (“she’s on another plane” says one of her followers) or her dickishness. In any case, she grew on me.

Despite the show’s disturbing content, it really draws you in. The writing is solid and the plot takes you on some nice turns. Also, since it is a miniseries, each episode is packed with development and minimizes the fluff that you might find with your usual drama. The only issues I might have are with the climactic pacing of the last couple episodes, and occasional moments of awkward dialogue.

The music and sound design are great as well. The soundtrack at times can evoke desolate, open spaces, and at other times a claustrophobic intensity… and there’s some normal junk too.

All in all, if you are wanting a looker and a thinker, take a swim in Top of the Lake. Zing!

L. James M.’s other recommendations for 2013 shows from BBC and the Brits

The Fall – another excellent crime drama… starring Gillian Anderson of The X-Files! Who gets more and more beautiful with age! I watched it on Netflix, along with Top of the Lake.

The Wrong Mans – goofy comedy about a couple of dudes who get in way over their heads. On Hulu.

Misfits – wildly inappropriate sci-fi comedy about hooligans on community service who acquire superhuman abilities from an electrical storm. Actually this started in 2009 but they just had their final season this month! I watched this on Hulu+.

Also I hear Orphan Black is good, and Black Mirror looks amazing (though this began in 2011). If the titles tell us anything, they should be inspirational and uplifting.

And on the American front I have to add, in response to J.T.’s remarks regarding AMC’s crappy new shows, at least The Walking Dead had a great first half of season 4 this year.

Molly Moore Is Disappointed by How I Met Your Mother

This scene sucked.

How I Met Your Mother used to be great. I really enjoyed most of the past seasons, but recently it has gone downhill. Season 9 I believe, has hit rock bottom and has been quite a disappointment thus far. All episodes that have aired this season and that will continue to air take place within a 55 hour time period of Robin and Barney’s wedding. I guess the writers really had nothing to write about. Sure, it is nice of them to tie up loose ends and all but at the same time it would be nice to see how life works out for Ted and his future wife, as we have seen Ted fail time after time with relationships. “Bedtime Stories” an episode this season was all in rhyme, in order to get Marvin to fall asleep on a long bus ride that he and Marshall were taking to Long Island. It was creative and all, but it also was incredibly annoying to watch and listen to. (The lack of metre didn’t help either.) Speaking of Marshall, it would be nice to see more of him in current times at the wedding with the rest of the crew, rather than in a car cross-country road trippin’ from Minnesota to New York. I guess we can only hope that the remainder of the season will improve in 2014.

Tony Moore Presents The Legend of Korra

Some of you might be thinking to yourself “What the hell is Legend of Korra?” I am here to answer that very question.  LoK is the second incarnation of the Avatar television show, the first incarnation being The Last Airbender, NOT to be confused with the absolute travesty of a film remake produced by M. Night Shyamalan a few years ago. A little background for those who do not know anything about the show, there are four nations: the Air Nomads, the Water Tribe, the Earth Kingdom, and the Fire Nation, each able to control their respective elements (known as bending). In The Last Airbender we are introduced to Aang, the titular character is the last of his kind, but also the Avatar, a powerful individual who is capable of harnessing power over all four elements. He was frozen in ice for one hundred years and missed the Fire Nation declaring war against everybody and Fire Lord Ozai attempting to take control of the entire world. Over the course of The Last Airbender’s three seasons, we follow Aang and his companions as they help him learn how to manipulate the remaining three elements so he can prevent the end of the world as they know it.

The Last Airbender series was phenomenal. It aired on Nickelodeon so it had the fun, kid-friendly atmosphere but it also got deep into issues of spirituality, moral conduct, and an ever changing world. Along with content that appeals to a variety of age groups, we get displays of bending that are extremely fun to watch. The Last Airbender had all kinds of awesome fight scenes but The Legend of Korra takes the visuals to a whole new level. The first season of The Legend of Korra takes place 70 years after the events of the first series. Korra is the new Avatar, reborn after Avatar Aang passed away. While The Last Airbender took a good deal of time emphasizing the learning process Aang must go through to learn how to use each element, The Legend of Korra starts out with a nearly fully realized Avatar, able to bend Water (her natural element), Fire, and Earth. Season one of LoK focuses on Korra’s lack of spirituality, a necessity for learning Airbending. We also have the AMAZING addition of Pro Bending, a three-on-three, fast-paced, action-packed spectacle. After that description, I’ll need to throw on this link so you all can see what I mean:

So while The Last Airbender established what bending is, The Legend of Korra displays what you can do with it.

At long last we have come to my review of the second season of The Legend of Korra, airing from September through November of this year. This season has the most adult themes running through its veins than any of the other seasons of Avatar. This time we’re dealing with a civil war, brother fighting against brother, and a whole mess of evil spirits that have come to disrupt the land of the living. This latter theme opens up all kinds of possibilities for the animators and they certainly had fun with it. One of my favorite episodes of the season is one that spans two episodes that tells the story of how the first Avatar came to be, titled “Beginnings, Part 1 and 2”. Studio Mir animated both of these episodes, as well as certain episodes from The Last Airbender and all of LoK first season. I don’t expect all of you to take another nine minutes to watch another clip, but at least open it up and click on certain parts of the video so you can see some of the beautiful imagery produced by these amazing animators:

The writing isn’t always stellar for this show, but the good writing far outweighs the bad so it doesn’t take too much away from the season overall. And don’t take that the wrong way because you can still get very invested in the characters and the story in season two gets surprisingly heavy for a show on a children’s network. I know a cartoon can be a tough sell in this sea of Breaking Bads and Mad Mens but if you are looking for a show that has action, comedy, and real-world situations thrown into a beautiful fantasy world, look no further than The Legend of Korra.

The Next 10 Best Television Shows of 2013

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Bunheads

All of the shows that appear on this list have been shortchanged. The 10 shows listed below would make a perfectly fine top ten list for 2013 (except for the inclusion of Arrested Development). As I explained in my Top 10 Television Shows of 2013 post, the time for television is certainly great, and is only getting greater. Two separate lists need to be written in order to express how great a year of television it has been. The argument could even be made for a Next Next 10 list. That is how great television has been in 2013.

11. The Good Wife

Rarely does a show, a broadcast drama at that, ever find itself at its peak in its 5th season. The Office had a spirited 5th year, and last year Mad Men had one of the best seasons of television ever, but a great 5th season is still a rarity. Yet The Good Wife somehow managed to be as good as it has ever been in the back half of 2013. Coming off an unusual (to say the least) 4th season, The Good Wife kicked into high gear in its fifth season and somehow became the best show on television. Gone were the days of repetitive cases of the week or unnecessary romantic plots as The Good Wife turned into thrilling television. The Good Wife delivered the surprises dozens, the performances became as superb as ever, and there were even no “good” or “bad” stock type characters! The Good Wife experienced something regenerative in 2013, and what resulted was some phenomenally great television.

12. New Girl

New Girl never seemed like the show that I would like. Zooey Deschenel didn’t seem like a great lead for a sitcom, and the dynamics between characters were never really fully realized. But in 2013 the show came into its own. Instead of telling stories outside of the loft where all the characters live, each character gravitated towards each other, and the show became much more personal and compact. What resulted was the best comedy on television. The characters were authentic (even if the writers had no idea what to do with them), the rapid fire succession of jokes was remarkable, and New Girl really showed what it was capable of, even if it has taken a tumble in its third season.

13. Hannibal

As I made clear in a post titled “Hannibal is the Most Important Show on TV,” I was extremely surprised by the show in 2013. Hannibal revealed that it wasn’t just another serial killer show, but instead had a more thoughtful and empathetic take on the subject matter. In Hannibal the acting was fantastic, writing intelligent, and perhaps most striking was the show’s visual sense. The show managed to make the titular character’s meals look exceptionally appetizing, and his killings all the more mesmerizing. With tactile grace and keen beauty, Hannibal was one of the best shows of 2013, and had the most fascinating examination of the human mind.

14. Bob’s Burgers

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It might seem odd, but most often, Bob’s Burgers is the most emotionally affecting show on television. The stories told through the 5 person nuclear family who runs a burger restaurant resonate deeply with themes of family, affection, and childhood. It also helps that Bob’s Burgers is tremendously funny, while still being as emotionally expressive. Take the episode pictured above, “O.T.: The Outside Toilet.” In the episode, a young boy forms a bond with a talking toilet voiced by Jon Hamm. The episode can be taken at face value as an absurd E.T. parody, but at its core, “O.T.” brings to light the immense power that’s found within a simple friendship. In 2013, Bob’s Burgers proved even more that you can count on it for very funny stories that might even make you feel something.

15. Girls

In 2013, Girls showed off its enormous heights and disheartening lows. The second season of this unique HBO dramedy excelled in short stories found in self-contained episodes, but when it came to larger season long arcs, the storytelling fell flat. A lot of the best half hour episodes of 2013 were episodes of Girls. Season 2 had the weird and universe expanding “Boys,” the across the board fantastic “It’s A Shame About Ray,” the simple and genius “One Man’s Trash,” and the dark and unflinching “On All Fours.” Yet season 2 was also the season that became interjected by a storyline about OCD (???) and finished in a grandiose fairy tale love story ending. I’m aware of the school of thought that thinks the season’s ending was some sort of perverse commentary about the mental state of the characters, but I just don’t think that season 2 of Girls was fully interested in that specific subject. But when you look at the episodes that Girls brought us in 2013, the ridiculousness of the season’s end should become irrelevant, because those episodes were small-scale storytelling at its finest.

16. The Americans

Wigs!

Some might credit The Americans for being the best spy show on television, or a great 80’s period piece. I, however, would say that The Americans is the best show about relationships on television. Everything in this new FX drama was telling. The Americans managed to delve deep into how we ally ourselves with our country, what kind of people we trust, and even how we treat our neighbors! But the most important relationship portrayed in The Americans is between the two main characters. They’re Russian undercover spies, yet the most important thing about them is their marriage. The Americans managed to examine this relationship and many others like it thoroughly and beautifully, and a show about spies in the 80’s became the best show about marriage on television.

17. Parks and Recreation

Even if by season 5, Parks and Recreation became a show about nothing (not the good kind), the NBC sitcom still put out some very charming, sweet, and uplifting stories in 2013. Pawnee has always been home to a cast of eclectic characters, and you can always count on Parks and Recreation to have great stories accompanying each one. Like, Girls, the best Parks and Recreation stories were the ones of the smallest scale, like a hilarious telling of “Two Parties,” or a rushed yet beautiful wedding in “Leslie and Ben.” As Parks and Recreation gets older, the season long or multi-episode arcs might not be as good as they were in the show’s earlier years, but Parks and Recreation still retains the ability to make me smile.

18. Bunheads

Oh Bunheads… We lost you in 2013, but you’ll always stay in our hearts. The second half of the late, great, Amy Sherman-Palladino ballet dramedy aired its last episodes ever in 2013, and even if they weren’t as great as the first half of the season (top 10 material!) it was still Bunheads. The idiosyncratic, eponymous main characters were fantastic as ever, and their dance sequences even better.

2013’s episodes started with the boisterous, explosive “It’s Oh So Quiet.”

Then there was Sasha’s expressive, emotional dance that brought her internal turmoil to life.

It would be a shame to not mention the dynamic Coal Miners’ dance…

Or the sensational season ending “Makin’ Whoopee”.

But it wasn’t just the dancing that made Bunheads special. There were funny montages…

And lots of emotional singing.

Oh the singing!

I’m practically crying now, because Bunheads was perfect. ABC Family cancelled it, but Bunheads is still perfect. At least they got to say goodbye.

19. Scandal

In 2013, Scandal proved that not all great television has to be measured and calculated. The back half of Scandal‘s second season was some of the craziest television I have since the dance of the dream man, and it was also crazy good. Scandal operated with no rules, regulations, or restrictions in 2013, and what resulted was some boundary pushing television. Even if there were around two ridiculous plot twists in episode, the back half of Scandal‘s second season still remained convincing and even compelling television. Yes, Scandal may have plummeted in its third season, but the insurmountable highs that the second season achieved justify Scandal‘s placement on this list.

20. Arrested Development

It’s been seven months since season 4 of Arrested Development premiered on Netflix, and I still have no idea how the hell I feel about it. After binging on all 15 episodes over two days, I was overtaken with what was what I thought some of the smartest television of 2013. This may have been because I was exuberant to have one of my favorite shows of all time back, but after I started to think about what I watched, I experienced some mixed feelings. Do I love season 4 or Arrested Development? Do I hate it? To this day I still don’t know the answer, and that fact is enough to have this show place on this list. (But in reality Masters of Sex needs to be somewhere on this list.) At its peak, season 4 of Arrested Development was some of the most brilliantly constructed, insanely funny television of 2013, but when it was bad, season 4 was painfully abhorrent. Maybe after seven more years the show gets resurrected yet again, and I’ll finally know how I feel about season 4. 

10 More Great Shows (In Alphabetical Order): 30 Rock, The Bridge, Broadchurch, Happy Endings, Inside Amy Schumer, Key & Peele, Masters of Sex, Olbermann, Parenthood, Veep

2013 Emmy Nominations: Emmy Voters Remind Us That They Can Be Cool, That They Are Still the Worst

The 2013 Emmy Nominations were announced today, at 5:35 AM PDT, and nothing has really changed. Yes, the Emmy voters showed us that they are the same old guys who are able to nominate awesome and deserving things (like Adam Driver for Girls), and still be idiots at the same time (House of LiesEpisodes and Modern Family aren’t going anywhere!). However, it wasn’t all the same old, same old, as a new player emerged and dominated in most of the fields.

Emmy voters really liked House of Cards. Like really liked it. Despite it being a traditional and fairly boring “cable” drama, it earned 9 nominations, making history by becoming the first program to not air on actual TV, but still score top nominations (such as Best Drama, Actor, Actress, Writing, and Directing). Netflix really lucked out with HOC, but unfortunately the same didn’t happen on the Comedy side. Surprise, Netflix’s rebooted fourth season of Arrested Development only scored 1 major nomination (Jason Bateman for Actor) and 2 others (Editing* and Original Score). This fact probably won’t bother Mitch Hurwitz, the show’s creator, because he’ll probably tell the voters they’re resisting change. Regardless, Netflix’s newfound dominance within the Emmys is a major thing, and will hopefully pave the way for Orange is the New Black, which will win all the Emmys in 2014.

*Seriously?!?!? The Emmy voters choose to honor the editing of AD‘s fourth season? What was once the best thing about the show in its original run became one of the worst aspects of the new season, in the overstuffed and overlong episodes.

Despite HOC‘s dominance, there are still great things happening in the Drama side of nominations. Breaking Bad earned 13 nominations (some include Best Drama, Actor, two Supporting Actors, Supporting Actress, Directing, and two writing noms!) and it seems like this is the best year yet for the scuzzy, southwestern, anti-hero-centered drama. Despite its dominance (two writing nominations!!!) BB seems like the show that will never win Best Drama, and that’s okay because its fifth season wouldn’t be my choice for best drama. (Despite being Breaking Bad, the fifth season seemed like a step down from its outstanding fourth season, but in reality, it was still really great television.) Even though I may seem down on BB, this is the year for Anna Gunn to win, and I know I’m going to love her acceptance speech. Same goes for Jonathan Banks.

Accompanying Breaking Bad is Game of Thrones. GOT earned 16 deserving nominations for its best season yet, which is the most of any drama this year. Among the most deserved are Best Drama (obviously), Emilia Clarke for Best Supporting Actress (you truly cannot say no to Daenerys ‘Dracarys’ Targaryen in this scene), Best Writing for “The Rains of Castamere”, and Best Casting (seriously, I don’t know how they do it). Don’t get too excited, the Emmy voters managed to screw up somewhere GOT related, and this year it was Directing. Season 3 of GOT, seemed like it was the best directed show on TV (The Red Wedding, the previously mentioned Daenerys scene), but a nomination is nowhere to be found. Despite this, 2013 seems like the year for GOT to win it all, so here’s hoping it does.

Now, things aren’t all that great in the Drama field of nominations. Voters still found the need to nominate Downton Abbey which has been rapidly declining since the end of season 1. Downton scored 12 nominations, which is still far too many for this import drama. There is really nothing good I can say about this. Instead of submitting the heart-wrenching episode 5, the fairly forgettable episode 4 was submitted and scored writing and directing nominations.

What Downton Abbey is to the Dramatic categories, Modern Family is to the comedy categories. After winning three consecutive Best Comedy Emmys (which compares it to the likes of The Dick Van Dyke ShowAll in the Family, The Mary Tyler Moore Show, and Taxi), MF is back with only 12 nominations. This is a step down from past years, which is only a good sign, because no one wants Modern Family to be compared to the greatness of All in the Family. In fact, there is a rather hilarious (funnier than Modern Family, I promise!) slip that the show experienced this round of nominations. Last years winner, Eric Stonestreet (who I would’ve called one of the best performers on TV three years ago, but is now insufferable) was NOT nominated this year. Again, things can only get better.

While I like might to dwell some more about the negative things on the comedy side (House of LiesEpisodes, even more Modern Family rage) there is actually some really great stuff happening. As previously mentioned, Adam Driver was nominated for his performance on Girls! Laura Dern was nominated for Best Actress for Enlightened! Merrit Weaver was nominated again for Nurse Jackie! (the performance is good, the show… not so much.) Lena Dunham got a directing nomination for directing one of the best half hours of TV in the past decade (“On All Fours”)! Louis C.K. scored a whopping, 9 individual nominations (ranging from producing, directing, writing, editing, and acting)! Things are really, really great on the comedy side.

But best of all is the love for 30 Rock. 30 Rock earned 13 nominations for its beautiful swan song of a last season, which was a true triumph of TV in the past season. Among those are 2 writing nominations for “Hogcock!” and “Last Lunch” which combined create one of the best television finales of all time. In truth, because they are both nominated, votes will be split and Louie will win again, but that’s not a bad thing. Another deserving nomination that 30 Rock deservedly received was for Best Original Music and Lyrics for “The Rural Juror.” This song is truly an outstanding accomplishment in television, and will rightly win the Emmy. Because it is its last year, and has garnered many nominations, there is another comedy that actually stands a chance at dethroning Modern Family, so here’s hoping its 3o Rock.

The Comedy and Drama nominations aren’t all that are important. Yes, there is a lovely field of contenders in this year’s Miniseries/TV Movie categories. Among the top of them are Top of the Lake, and Behind the CandelabraCandelabra earned 15 nominations for Steven Soderbergh’s first foray in television. Top earned a bevy of nominations, and rightly so, though Holly Hunter was snubbed of a nomination for her wacky and confounding performance. Both nominees are equally deserving of their nominations, and I couldn’t be happier with the competition between the two.

Even if there are great things getting nominated, there are still less deserving nominees that exist. For instance there’s Jeff Daniels of The NewsroomVice being nominated for an award with the word “Outstanding” in front of it. There are also far to many snubs to count. The guest actress categories strike a particular chord with me. Parker Posey did not get nominated for her profoundly beautiful performance in Louie, but I guess the nominations of Melissa Leo and Molly Shannon for Enlightened  make up for it. The Americans was also shut out of most major categories, but voters proved they watched it by nominating Margo Martindale. In the guest actor categories Patrick Wilson was shut out for his performance in one of the best episodes of Girls ever. David Lynch and F. Murray Abraham were not nominated for their equally hilarious roles (especially Lynch) in Louie. However, Harry Hamlin managed to get nominated for his particularly great role in Mad Men. But, in return Mad Men (one of top shows of the year) earned no writing or directing nominations. The dramatic actress category is a particularly confusing one. Seven women were nominated, but none of them were Tatiana Maslany for Orphan Black (10 more times!), Keri Russell for The Americans, or former winner Juliana Margulies for The Good Wife! The only “reasonable” explanation for all of these snubs would be to blame it on House of Cards. Fuck House of Cards.

I could go on and on complaining about the snubs from the Emmys. I didn’t even mention Mike White, the New Girl shutout (I’m calling conspiracy!), or Rectify! But in the end, it just turns out that Emmy voters can be stupid. They like stupid things for stupid reasons and nominate them in stupid categories. That’s why fucking House of Cards has nine nominations and Rectify has zero. But it turns out Emmy voters can be cool to. Whether its nominating awesome performances (I can’t get over Adam Driver!), great writing (“The Rains of Castamere”) or great directing (Louis C.K. for “New Years Eve”), Emmy voters can sometimes get it right.

And in one particularly moving case, the Emmy voters got it on the nose. Henry Bromell passed away tragically from a heart attack at the age of 65 back in March. Before he died, he wrote one of the best episodes of the television season, Homeland‘s “Q&A.” Now the nominations are out, and guess who is nominated for Outstanding Writing for a Drama Series? This is a profound and moving sentiment by the Emmy voters, and in the end, they seem like they’re alright.