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The Best and Worst TV Shows of 2011
"Modern Family" kept America laughing in 2011 by continuing to explore the insecurities, peeves and ties that bind the Pritchett-Dunphy clan. Emmy's favorite ensemble worked as a team to tackle everything from a dude ranch to a graduation, while also honing in on smaller group dynamics. As the Dunphy kids faced "traditional" coming-of-age hurdles like walking in on mom and dad having sex, Claire and Phil had their hands full; but so did Jay and Gloria who faced similar issues with Manny, and Cam and Mitchell, who toyed with adopting again. Sure, the family also won laughs with "modern" issues like being identified as "the mom" in your gay marriage, but it really scored with one simple truth: Whether you're gay, straight or hotter than your stepdaughter, family is a pain, a joy and a lifeline -- just like it always was.
Bringing George R.R. Martin's series of fantasy novels to the screen in a credible way seemed an impossibility: The story was too epic, the plot too twisty, the settings too fantastic. But David Benioff and D. B. Weiss had a vision for it, which they dubbed "'The Sopranos' in Middle-Earth," an approach that ultimately resonated with HBO viewers, earning the admiration of the book's devotees as well as millions of new fans who were drawn to the show's mix of intrigue, action and fantasy. Set in the Seven Kingdoms of Westero, the series focuses on the kingdom's notable families as they battle for control of the throne under the threat of a brutal, decades-long winter. With strong writing, an excellent cast and gorgeous locations, the show earned a baker's dozen of Emmy noms, and it won for its opening title sequence, which is worth tuning in for all by itself.
Continuing to push the envelope, producers Ryan Murphy and Brad Falchuk have another hit on their hands following "Nip/Tuck" and "Glee" with the horror drama "American Horror Story." Brilliantly written, each episode is filled with surprise, suspense and shocking moments. Characters are perfectly cast, from the brief appearance of the red-headed twins, who introduce us to the Murder House, to Constance, the nosey neighbor, who entices viewers' imaginations to chilling heights. They are all plagued by their individual complexities and inability to resolve the conflicts and issues that lie deep within. Ben and Vivien Harmon expose their vulnerable and broken, yet deep, love for each other and dedication to their daughter Violet. Each dark episode leads us to wanting more.
One of the most explosive and satisfying climaxes ever to grab a television audience ended both Season 4 and the reign of the wonderfully despicable Gus . Yet it's a testament to this Emmy-gobbling series' continued brilliance that several other moments equaled its dramatic impact: Walt escorting Hank on his rogue investigation into the industrial laundry; Walt pleading for his life with Jesse (Aaron Paul); and the tequila-fueled Mexican escape. As in the first three seasons, every episode was a checkpoint for the viewer's own morality. We've been able to sympathize with Walt on his journey from upstanding science teacher to evil drug kingpin so far. How much further are we willing to go?
On the surface, HBO's hit Prohibition-era drama "Boardwalk Empire" is about gangsters and booze. But dig deeper and you'll find a masterful and timeless series about the sins and responsibilities of the father. Whereas Tony Soprano obsessed about his conflicted feelings for his mother, Nucky Thompson is a man who has spent his whole life trying not to be his dad, an abusive drunkard who turned his sons into resentful rivals. Having no kids of his own, Nucky tried to be a father to Jimmy only to be heartbreakingly betrayed by him. And as fans know, it's a betrayal that ended fatally when Season 2 came to a bloody close. Now Nucky is a father figure for Margaret's, Agent Van Alden and Al Capone have their crosses to bear in the fatherhood department, raising the question, can you be a good father if you didn't have one? Who can say? But the scribes behind "Boardwalk Empire" sure have made finding out worthwhile.
Sarah Wayne Callies phoned in to my radio show just days before Season 2 began. "Some episodes have nonstop ridiculous horror and gore, and then we have some episodes that are kind of just about a man and a woman trying to keep their marriage together," she said, as far as what could be expected. Not all that titillating -- after all, we want all of that in every episode. That said, long, pause-laden heart-to-hearts created the same palpable tension as scenes where you just knew a zombie was one aisle over and about to pounce. With the search for young Sophia underscoring the consistently absorbing 13 episodes, the Rick/Shane/Lori triangle mirrored the Jack/Sawyer/Kate "Lost" triangle at its best, without the best-friend layer. While "Walking" remains eerily similar to that series in many ways, this gang's pending eviction from the farm was something they all dreaded -- even more than the stowed-away "walkers" in the barn -- whereas the "Lost" crew wanted out of their de facto village pronto. Still, the last few minutes of the final episode of "The Walking Dead" bests the entire last episode of "Lost." Handily.
It's not the sexiest new show of 2011, which might be why "Homeland" didn't arrive with the buzz of, say, "The Playboy Club." It is, however, the year's smartest, most suspenseful and most crisply staged series. All of this probably explains why, unlike a lot of trendier competition, "Homeland" isn't just still on the air, but thriving. Claire Danes is an absolute Emmy shoe-in as psychologically troubled CIA anti-terror agent Carrie Mathison, who's positive that recently rescued Marine POW Nicholas Brody has been turned by radical al-Qaida forces. But oh, the places Season 1 goes from there. Every episode is a game-changer, and each week delivers one more unforgettable scene of unbearably tense negotiation, confrontation, breakthrough and breakdown. Danes is an expressive wonder, but Damian Lewis and Mandy Patinkin are also both note-perfect. "Homeland" on the whole is sexy, scary, thought-provoking and exciting and only gets stronger as it flexes more storytelling muscle. There's not much quite like it on mainstream American television right now, and probably won't be again soon. Don't miss it.
In subjects where absolutely no humor lies, "Louie" -- the blast miner of modern sitcoms -- continued to prove otherwise. Season 2 made even many politically correct viewers giggle about homelessness, mental illness and racism. When star-writer-director Louis C.K. and his girls visited a long-lost great aunt, for example, she turned out to be a bitter bigot. This fearless exploration of new sitcom boundaries didn't always strike laughter. Yet whatever gushed from the C.K. blast, its emotional content felt astonishingly genuine. Doug Stanhope's appearance as a road comic bent on suicide was jarringly off-putting, for example, as was C.K.'s standoff with more-successful stand-up Dane Cook . DVR pauses and collar adjustments were occasionally called for, but the "stop" button was never an option.
After a sluggish inaugural season two years ago, "Parks and Recreation" found its stride with a hodgepodge of cast members and their signature offbeat humor. This year in its third and fourth seasons, Leslie Knope (Amy Poehler) leads her staff at the parks and recreation department of Pawnee to successfully organize a harvest festival, and is then inspired to run for city council. A fan favorite, Rob Lowe was promoted to a regular as the perpetually energetic but clueless Chris Traeger. Leslie and Ben started secretly dating, leading to a hilarious scene at a Model United Nations conference over a disagreement. Along with the usual hijinks from newlyweds April and Andy, and Ron's unabashed snarky comments, we see why critics have called this show "the smartest comedy on TV." We'll continue watching as long as Leslie is delivering gems like, "My pleasure. See you in hell!"
What a series debut! "Revenge," based on the Alexandre Dumas classic "The Count of Monte Cristo," turns a long-roiling revenge plot into a consistently tense, deft, well-acted drama. The twist? The two foils are women. Emily VanCamp, whose excellent work in "Brothers & Sisters" was still no preparation for her star-making turn in a dual role as Emily Thorne/Amanda Clarke, plays a young woman who moves to the Hamptons and quickly fits into the social fabric there. But Amanda/Emily has come to plot and exact revenge on the wrongs done to her family long ago. Her stealth in making bonds that she will ultimately betray keeps viewers on the edge of their seats . Her not-so-secret archenemy: Madeleine Stowe as Victoria Grayson, whose coolly commanding presence is reminiscent of Glenn Close in "Damages" but also owes her darkness to more disturbing series like "Deadwood" and even "Breaking Bad." The supporting cast is excellent. But it's the treachery and counter-treachery between two fine actresses that makes "Revenge" a dish that's best eaten fresh, hot and weekly.
Much of the worst content on TV can be attributed to one of its most ubiquitous names -- The Kardashians. The Kartrashian family has created more cringe-worthy, bad TV than any other collection of individuals around. After it was apparent that Kim's wedding was nothing but a publicity stunt, calls to boycott their shows, network affiliations , clothing and beauty lines started popping up faster than all of their staged paparazzi photo ops, plastic surgery denials and mom-directed career moves. While E! continues to ignore audiences' disdain for the family as it continues to commission new shows, we give thanks to the cast of "SNL" for putting together the best
Famed feminist and journalist Gloria Steinem told anyone who would listen to boycott NBC's "The Playboy Club" even before it came out Once going undercover as a bunny herself, she talked about how sexist things were in the clubs. Unlike "Mad Men," which stepped back in time perfectly, NBC took a misstep in trying to entertain us with a world according to Hugh Hefner. From the pilot episode, it bored audiences. Characters were not only unrelatable, but not remotely appealing in any way. So, their goals were to pose as a Playmate or work at the Playboy Club? The dialogue was terrible, we had no interest in the mob in Chicago and the casting of paparazzi fave Eddie Cibrian had negativity buzzing before the show ever launched. Thankfully, the viewing audience knew a bad thing when they saw one, since the show lasted only three episodes.
Last year's "Charlie's Angels" reboot was pure brilliance -- on Planet Awful. There, it doesn't matter that tissue-thin plots are propelled by dialog such as "I never thought my heart could hurt this much" and other snippets seemingly unencumbered by the process of screenwriting. It doesn't matter that your lead characters aren't even likeable, returning as former criminals instead of underutilized cops. And it doesn't matter that hot, jiggly girls kicking butt is no longer a novel premise and therefore can't sustain an entire series on its own. On Planet Awful, being offensive to anyone with a brain is actually a good thing.
This Mario Lopez-hosted reality series had a simple concept: "Celebrities" like Scott Disick have the opportunity to confront people who post mean things about them on the Internet. But the idea missed the mark, especially because it featured primarily reality stars, people famous for being caricatures. Snooki from "Jersey Shore," for example, cultivated her own persona, one that is heavy with drinking, fighting and hooking up, and one which she shouldn't be surprised might offend. Giving Internet trolls any kind of real power is exactly the opposite of the point. Besides, is there really an expectation of humanity on the Internet, a medium fueled by its perceived anonymity? Thankfully, the CW had the decency to cancel the series after just four episodes, which means we won't soon have to see Jake Pavelka from "The Bachelor" showcasing his improvisational skills again -- at least not until CBS decides to air a celebrity version of "Candid Camera" or something.
NBC executives must have been confused a couple of weeks back when they decided to bench "Community" and give "Whitney" a reprieve We can cut the bigwigs some slack, if we really have to: Given all the hoopla this fall surrounding successful girl-powered sitcoms, it's only natural that they would want to keep up with the likes of "New Girl" and "2 Broke Girls." But here's the truth: "Whitney" lacks an irresistible star like camera-melting Zooey Deschanel and the sharp, fresh sexiness of Kat Dennings and Beth Behrs. What "Whitney" does have is a tired formula passing itself off as something edgy (a happily unmarried couple -- how modern!), disappointingly predictable writing and a live audience that, no matter what star Whitney Cummings says over the opening credits, sounds like one, big, apologetic laugh track. To her credit, however, Cummings co-created "2 Broke Girls," so we know she's capable of producing entertaining results. Unfortunately, that only happens when she's not the one primarily responsible for delivering the goods on camera. Bring back "Community."
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