The Fall (Season 1 & 2)

Allan Cubitt, 2013 & 2014

IMDB

4/5

There is certainly a variety of serial killer related dramas across the Television landscape. A lot of them are quite good: Dexter (until the awful final season), Hannibal, first season of True Detective, first season of Fargo. But there are of course some duds - like The Following.

The Fall, created by Alan Cubitt, is an offering set in Belfast Ireland. The film focuses on both sides of the spectrum. Gillian Anderson (widely known for her role in the iconic X Files) plays Stella Gibson, the reserved but dedicated investigator leading the hunt. Jamie Dornan plays Paul Spector, the man they are after. Paul is a family man who moonlights as a serial killer. He seeks out a particular type of woman and plans a meticulous strategy to sneak into their home and kill them. He is a man living two lives. During the day he is employed as a grief counseler. He gets his two kids ready in the morning and sends them off to school. He kisses his wife goodbye. It's not until his family is in bed that his nocturnal murderous side comes out. He has his wife convinced that he is working a suicide hotline when he is out filling his savage needs.

One interesting feature right off the bat with The Fall is the fact that you are introduced to Paul quite quickly. Once you are introduced, Paul and Stella get equal screen time. You learn quite quickly that Stella fits into the workaholic investigator trope that we've seen so many times. Strong-willed female. Sleeps at her desk, never really taking any time off, married to her job. Completely wrapped up in whatever case she's on. She's that person that can get into the mind of the serial killer. She knows how he thinks. She can predict his behavior. This concept is nothing new, we've seen it many many times.

This is where the series gets conflicting for me. You have two central characters, neither of which are very likeable figures. Stella is a very cold woman; she doesn't offer much in terms of vulnerability and openness. Paul is equally cold, and the lack of history provided just has you spending time with a distant man with no real sympathy for his evil compulsions. So it becomes a situation where you can tolerate Stella because she is dedicated to hunting down a guy that you just don't like because he continues to kill beautiful women for whatever reason. This decision to not reveal much of Paul's backstory may have been a deliberate decision by the show's creators, but that doesn't mean it was the right choice.

We discover more about Paul's past in Season 2 which does shine some light onto his dark proclivity. But this could have been done in the first. They could have even had some flashback sequences to provide more of a complete illustration of Paul. The lack of these elemnents were something that constantly troubled me watching the first season, but the series clearly was doing something right because I couldn't resist watching more even with those frustrations noted. The series without a doubt is better in the second season. Most notably the extended-length season 2 finale. That is without a doubt the best episode of the series thus far. Multiple story threads come together so remarkably and the balance of tension and delivery is outstanding.

Narcos (Season 1 & 2)

Carlo Bernard, Chris Brancato, Doug Miro, 2015-2016

IMDB

5/5

When I think about really detailed gritty crime dramas, I think of Jean-Francois Richet's Mesrine: Killer Instinct films. Split into two films, it's a biopic of "Public Enemy 1" Jacques Mesrine. Mesrine was a French gangster responsible for several bank robberies and kidnappings in France and Canada. He managed to elude the law and even escaped from prison. Jacques Mesrine and Pablo Escobar have a lot in common. They are both solitary figures both considered to be highly dangerous & sought after to their respective countries. They were both incredibly elusive and constantly in hiding. They both managed to escape from prison. They were both considered to be "Robin Hood" figures to the common people.

But Wagner Moura's Pablo Escobar will have more of a lasting impact on the cinematic landscape than Cassel's Mesrine. This is probably because through a television series, he's really able to cultivate the Pablo character and let it build rather than try to let it build through 4-6 hours of two movies. But the similarties between the two don't stop at the leading performances. They both have an elaborate backdrop. Mesrine in urban France. Narcos in urban Colombia. Through fly over shots of Colombia, tracking shots through the streets, it creates an detail rich world that pulls you in. As dangerous as the city may be there is still something that draws you back to it.

As each episode continues in Narcos, the stakes continue to elevate as does Escobar's wealth and influence. As his empire grows, his moral concessions do as well. Almost like Breaking Bad, he's a figure in slow deteriortion. Someone that has concrete morals at the beginning turns into a comprimised villain with blurred vision. Escobar is undoubtedly an interesting figure. Someone who has unimaginable wealth and power. Yet there is a hunger for more. More of what? Well, that's what the series is all about. Legacy, respect, family. These are all important things to Pablo. In a sense the money is just secondary. It really becomes a disposable thing. We are constantly seeing stacks and stacks of money thrown around like napkins through the series. Buried underground, thrown in bags, throwns in boxes. There's so much of it they don't even know what to do with it all.

I gave Mesrine 5 stars back when I reviewed the two films. I feel the same for Narcos. It's hard to find any noticeable flaws with this series. It's just so well filmed, so well acted, so well put together. Everything from the production design to the intricate sound design - it's all top notch. It's all just top notch. Call me a sucker for gritty crime dramas, I deserve it. Cutting my teeth with Scorcese's great body of work has set a certain standard. Narcos meets and exceeds these standards.

Season 2 manages to keep raising the stakes, the only difference being that we finally get to see some pieces of Escobar's empire finally breaking down. But the mystique around him builds. There are times that, even if you are aware of the historical facts, it feels like he's never going to be caught. One of the constant thoughts I have while watching Narcos is what if Pablo had never run for that political office early on? By doing that he put the spotlight on him, a spotlight that never went away. It seems possible that if continued to lurk in the shadows of Colombian society rather than trying to become such a mainstream figure that he could have gone on growing his empire and wouldn't have to spend his life on the run.

Bloodline

Glenn Kessler / Todd Kessler / Daniel Zelman, 2015

IMDB

4/5

Bloodline is a very different piece of episodic television. We have now been spoiled by amazing pilots, episodes that completely pull us in upon first viewing. Many years after Lost (possibly the greatest pilot of all time), the standards are basically set and expectations are always high. Honestly, Bloodline's pilot isn't all that great. It's undeniably bold, you have to give it that. Not many writers have the balls to show the final events of the season in the first episode. That sort of tactic exudes confidence in the sense that you feel self-assured that everyone is going to stick with it waiting to see WHY what happened actually happened. And for a couple of episodes, you sit there wondering if you really did see all that you really needed to see. You decided to hang in there because of the veteran cast: Kyle Chandler, Ben Mendelsohn, Sissy Spacek, Sam Shepard. But then, there's a shift. It's actually hard to reflect on the season and determine when exactly this shift is, but it's somewhere around the fifth episode. The amount of character development in such a short period of time is stunning. You get pulled into the dysfunctional family dynamic and you don't want to leave. The series is so menacing and yet so alluring. The dream sequences, past memories constantly resurfacing in their present moments, talking to imaginary figures. All while trying to run a family business and dealing with the same conflicts that many families do in terms of competitiveness and jealousy. Anyone with siblings likely will identify with many of the conflicts that arise, hopefully without the whole murder and criminal elements at play. The series really serves as a coming out party for Ben Mendohlson who is just fantastic in his Danny character. But it doesn't stop with him, the series is perfectly cast. Not one bad performance. Everything is so well executed that by the conclusion of the first season you really don't want to leave the Rayburn Inn. And that's strange because you've spent enough time there by the 13th episode to realize how foreboding the place can be when you get off of the beach and venture inside.

The Jinx: The Life and Deaths of Robert Durst

Andrew Jarecki, 2015

IMDB

4/5

Andrew Jarecki is a filmmaker who isn’t afraid to venture into the darkness. He doesn't appear to be affected by the fact that you may be disturbed by his work, perhaps even put off. His 2003 documentary Capturing the Friedmans captures the unraveling of the Friedman family whose patriarch is charged with child molestation. He has a unique vision in the way that he approaches the Friedman family. He doesn't just lay out an indictment on a family accused of some of the worst acts you can be accused of. He lets you decide for yourself. With his HBO docu-series The Jinx, it’s not much different. Many of us, probably mostly Northeast Americans, are familiar with the Durst family. Most of us have at least heard of Robert Durst, wealthy eccentric man who is accused of slaying his wife and possibly others. We often convict public figures subconsciously, sometimes simply based on appearance. Sometimes people look guilty. Sometimes people look creepy. Durst is certainly a suspicious figure. He doesn't express emotion. He doesn't smile, he doesn't kid around. He doesn't appear to show a longing for his missing wife.

Jarecki has already explored the Durst family in his 2010 feature film All Good Things, starring Ryan Gosling and Kirsten Dunst. The film is very much based on the real life events surrounding the Durst family. That film, while okay, was clearly not the right vessel for Jarecki whose strengths are really apparent in the documentary realm. But the one thing the film did is land him his interview with the real life Durst who saw the film and felt it gave him fair treatment. This is probably the opportunity of Jarecki's career, and this documentary series will certainly be the most talked about piece of work of his for years to come.

The series explores the insulation of wealth. It examines class structure in our country. It's a study on our imperfect judicial system which sometimes doesn't get it right. Episode one grips you, episode 4 shocks you. Episode 6 has you on the edge of your seat with your jaw dropped. You have to sit there and spend some time with this enigma of a person. Jarecki took a controversial mystery and put his artistic touch on it. Recreation of crime scenes, interviews with frustrated friends and family members, ex-police officers and investigators. He does some true investigative work. He can be accused of being predatory and baiting, but he also needs to be credited with giving Robert more of a benefit of a doubt than most filmmakers would be willing to do. He also is in front of the camera quite a bit, at times very uncomfortably. Confronting Douglas Durst and asking for an interview on the night of a big dedication dinner is a ballsy move. It’s almost like walking into Trump Tower and interrupting the Donald’s dinner and asking for a job. Even the interviewing process with Robert must be an uncomfortable one. The tension spills off the screen. Even if you are already aware of the outcome of the series from what you have seen in the headlines, it’s still worth the complete viewing. Your jaw will drop. Your eyes will be open wide.

This series broke some new ground. Instead of someone like Michael Moore placing pieces in an order that fits his ideology, Jarecki does some real investigative work that spans several years. The headlines and the finale are a little conveniently timed, there must have been some behind-the-scenes orchestration and collusion. It’s hard to debate that Jarecki ambushes Durst in the end for some self-serving reasons, but he had to do it right? And when all is said and done, we need to remember that at the very foundation of all of this is a medium of entertainment. And the trade off is closure for some of the family and friends of the victims. So a cold case finally gets some real answers. And that is worth it, right?

Enlightened (Season 2)

Mike White & Laura Dern, 2013

Can I Stream It?

4/5

Season two of Enlightened marks the continuation of Amy's personal saga but also the inevitable end of the great but doomed series. Perhaps it's just too out there for the masses. Perhaps it's too personal. Perhaps it's too identifiable. There must be something to the identifiable thought, because we all know someone who is somewhat like Amy. That pseudo-hippie, enviro-preachy wacko. We recognized those features in the first season.

Season two is Amy's chance to seek vengeance. Payback. Sticking it to the man. The series itself is largely a character study on Amy. When looking for an arch for her character you realize how nuanced Amy really is. She's still licking her wounds. She has been able to move on to a certain extent from some of the more toxic elements of her past. But there is certainly still a ticking time bomb notion. Her daily life at Abaddonn is truly moment to moment. It's a miracle that she was even hired back again to begin with. She can't just disappear into depths of the fluorescent sub-levels of the commercial high rise. She can't be a complacent employee. And she also cant do it alone. When things finally do get to a boiling point toward the end of the season, Amy finally looks in herself. Probably more than she ever has. Realizes that maybe she finally had taken it too far, or maybe she should let things play out before she acts on impulses. While the camera focused on some of the peripheral forces in Amy's life last season, it continues to do so. Series creator Mike White's Tyler character is able to come out of the dark a bit more, even finding some much-due romance in his personal life. Farewell, Enlightened. It can join the likes of Deadwood and Carnivale of HBO series that were prematurely ended. That being said, it will be interesting to see what the creative, thoughtful Mike White has for us next. 

Silicon Valley (Season 1)

Mike Judge, 2014

Can I Stream It?

5/5

The pairing of HBO and the mind of Mike Judge kind of feels long overdue. One of greatest comedy writers of this generation, Judge is one who finds the funny in our modern human masses. In Office Space he explored the soul-drenching robotic routine of the corporate Cubicle universe. In Idiocracy he brilliantly laid out America's doomed future. Silicon Valley is semi-autobiographical, from Judge's own days of working in Santa Clara at startup video card company Parallax graphics. His short time there obviously equipped him with some lasting impressions, results that would come out twenty-seven years later in the form of a brilliant comedy. Silicon Valley feels like an Office Space meets The Social Network satirical piece. With clear nods to the Steve Jobs Apple-cult/culture and the bitter battles between the hungry tech giants, the series blends witty writing with a compelling David vs. Goliath story-line. It possesses all of the proper Palo Alto vernacular, all-while living out the Raman noodle to Liquid Shrimp geek dream. One morning you can be looking at empty Red Bull cans sitting in front of you in your tiny apartment. But you can quickly cash in on a sudden fluky but profitable concept and be sitting in an over-sized mansion the next with Kid Rock providing background sound for your beer-pong games.

The writing is so sharp, but the series also deserves praise for it's fitting casting decisions. Thomas Middleditch brings the right amount of awkward twitchiness to his Richard character. The reluctant leader of startup Pied Piper, he excels in programming but falls very short in the social skills. Richard is someone who could have easily been buried in the I.T. department of the aforementioned Judge classic Office Space. His compression algorithm app is also developed by ball-busting buddies Gilfoyle and Dinesh, once again making great casting decisions by having Martin Starr and Kumail Nanjiani playing the respective roles. The series also employs the comedic abilities of T.J. Miller, who plays a sort of creepy older brother to the group. Not really equipped with the same coding abilities but much better in social settings, he has more of a hanger-on role with Pied Piper but never falls short of being hilarious... strange beard and all. Fortunately it didn't take long for HBO to renew Silicon Valley to renew the series for another season. Every week it leaves you wanting more. In a way it feels surreal that we are already lampooning our own high-tech world. But there is no better person to do it than Mike Judge.

House of Cards (Season 2)

Beau Willimon, 2014

Can I Stream It?

5/5

If the first season of House of Cards didn't draw you in, you are completely insatiable. If you were putting off watching it as it collects dust on your queue, stop what you are doing and go watch it right now. It's likely better than what you are watching. The writing, acting, cinematography just emanates excellence with every shot. Kevin Spacey is at his best, at a point where its so surprising to see him outdo himself so deep into his career.

The second season dives in deeper. The ante is upped. The stakes are higher. There is an increased sense of suspicion on many fronts. There are more eyes watching. More threats in play. There are more moving parts at work. If the D.C. machine is a well-oiled machine, Frank Underwood is the smart-chip on the motherboard. He paints a picture of a backroom Washington that feels so terrifiyng. Reinforces the idea that perhaps ignorance is bliss. Maybe it's better to have a low profile, be an anonymous citizen, as long as our homeland is safe. And Frank can keep it safe, as long as he gets what he wants in the process. The ghosts of Frank's past continue to collect and follow him. You can almost hear their cries in the empty wood-carved den of his Washington brownstone.

Frank Underwood has become even more powerful, while also somehow growing even more diabolical. He is perhaps one of the most chilling television anti-heroes ever, right up there with Walter White or Tony Soprano. Just give him the Emmy now. Robin Wright continues to be so cold and so completely calculating. They are the true perfect political pair, and their dynamic is almost a nod to Bill and Hillary Clinton (of course way darker), you would expect them to sleep in separate beds because sexual relations would be considered a downgrade to their relationship. Michael Kelly is possibly the most underrated actor in the series (possibly on television in general) as brain-child Doug Stamper. He's just another one of Frank's close loyal aides who will stop at nothing to maintain Frank's towering position in government. Frank will reel you in and take care of you until he doesn't need you anymore. One can only hope that you prove yourself worthy of being considered irreplaceable. House of Cards is unapologetic. Unforgiving. It's so well-written, so suspenseful. It's going to be so interesting to see where this show goes. Frank Underwood is a pure megalomaniac, and his hunger for power seems to be endless. There seems to be no limit to what his character will do to grow bigger, and it seems like the series is going to only provide great story to parallel that expansion.

House of Cards (Season 1)

Beau Willimon, 2013

Can I Stream It?

4/5

Francis Underwood (Kevin Spacey) is a sharp Congressman who is politically proficient. He is loyal to those who serve him and unrelenting to those who cross him.

Never before has a series so quickly exposed the rather deplorable behavior of a Washington politician without build-up. You don't even reach the five minute mark before Kevin Spacey's sharp-minded congressman character Francis Underwood does what he believes is a rational move in taking care of a dog that had fallen victim to a hit-and-run driver. This is clearly a deliberate move by the shows creators who want you to get an instant feel for the character, without making any attempt to humanize him beforehand. You find that this is the tip of the iceberg with Frank. Frank is just another moving part in the political machine of Washington, D.C. The city feels much like the shows characters: grim, cold and unforgiving. It comes as no surprise that money is not the active currency in our nation's capital, that it's power and influence. Frank even says while breaking down the fourth wall: "Money is the Mc-mansion in Sarasota that starts falling apart after 10 years. Power is the old stone building that stands for centuries." Frank is tenacious, calculating. He doesn't waste any calories. Much like the chess board sitting in his den, he's always thinking a few steps ahead.

The casting decisions on the show are remarkable. Spacey never disappoints but his role here he shows that he can bring nuance to a dark figure, although his southern accent is a bit weak at times. In Seven he showed you how far to the dark side he can go. With his Underwood character he shows you a depraved figure that is more multi-dimensional, more unpredictable. Robin Wright, who appears to be channeling Mika Brzezinski from MSNBC's Morning Joe, is another veteran actress who brings a lot of depth without playing it safe. In a way her character is more frightening at times with it's restraint. Kate Mara steps out of her sister Rooney's shadow here, and proves that she has some talent as well. Michael Kelly is another cold force, brilliantly playing Frank's strategist.

One of show's best attributes is it's ability to get you hooked on these very questionable characters, even early on. You get behind them, you root for them at times. Perhaps it shows you your own dark side, and reinforces the fact that we are still the same creatures. Saying that these characters are morally bankrupt is probably an understatement. Like the saying goes: "if you want a friend in Washington, get a dog". In a matter of minutes a loyal friend becomes a political tool that may be used for leverage.  The show constantly surprises you. It shows you characters that will now be in your brain forever. You would think that these characters would be morally subdued, being in such high profile positions. But they sink lower and lower. It will be fascinating to see how far it continues to go.

True Detective (Season 1)

Nic Pizzolatto

Can I Stream It?

5/5

Detectives Rust Cohle (Matthew McConaughey) and Martin Hart (Woody Harrelson), opposite personalities, are paired up to track down a suspected serial killer that has recently killed a local Louisiana girl. 

There are monsters in the world. They are among us, lurking in the shadows. They prey upon women, upon small children. An ominous force. This evil immersed in the Louisiana Bayou adds a certain eeriness to it. It may be the soundtrack to the series, which at times sounds like Pink Floyd's The Machine. Or it may be the imagery, of the wicker bird traps suspended in the trees or the spooky mist that seems to float through the dark rooms. True Detective certainly knows the ingredients, and has all of them brewing. Junkies. Whores. Bible Thumpers. Junkyard Backyards. Wear and tear. Battered histories.

True Detective is one of those once in a lifetime series that you encounter. Once you're done watching, you're a changed person. For better or worse. And it's very difficult to give it proper treatment here, because it's just so smart and so elaborate that a simple review won't be able to cover it all. We can discuss how it's helping to usher in this Matthew McConaughey renaissance (a.k.a. McConaissance) stage - where we are seeing an actor completely reinvigorate his career from god-awful rom-coms in the early 2000's to serious dramatic roles in 2013. We can talk about how the show is almost a blend of The Wire mixed with the under-rated and forgotten Carnivale set in the backdrop of a demonic Louisiana much like True Blood. But that still doesn't reveal enough of the show's attributes. On paper, the show probably appears to be just another detective drama. But oh no. The first couple of episodes show you great performances and great writing. At that point you know it's a show worth watching. And then episode four shows you the greatest single-take in the history of television. And then episode five shows you that everything you thought regarding the direction of the story could be all wrong, and that it might be serviceable to go back and re-watch everything that you have already seen once because it's just not enough. 

If we are living in the second Golden Age of Television, True Detective is certainly a harbinger of it. It is saddening to see such life changing series like Breaking Bad fade away into the past. But if this series is any sign of whats to come, we haven't seen anything yet. Or perhaps we are in the middle of watching one of the greatest series ever made right before our very own eyes, right now. At least it's only the beginning. How the hell are we supposed to let go of these characters to make way for completely new ones next season? 

Enlightened (Season 1)

Laura Dern & Mike White, 2011

Can I Stream It?

4/5

Amy Jellicoe (Laura Dern) has a mental breakdown at her workplace. She admits herself into a retreat in Hawaii and comes back as what she feels is a changed woman and she is eager to get her life back on track.

Witty writing and solid acting just emanates from this television dramedy that's produced by Laura Dern and Mike White. It feels like a role perfectly crafted for Dern to play. She's unpredictable, slightly vengeful, a bit narcissistic, but ultimately a sympathetic character. There's a certain warmth in her core, and a magnetism to Amy. In a sense she feels that the people around her have wronged her, and she is trying her best to move forward while also trying to maintain a certain level of forgiveness. Little does she know that her absence from her work at Abaddonn Industries comes celebrated by many. And when she returns from her retreat, she has a smile pasted on her face and she is full of talk of energy and crystals. But she obviously hasn't gotten to the root of it all. She sort of becomes this pseudo-hippie who under the guise of spirituality and nature imagery is able to put her anger behind her. But it's not behind her. It's still inside of her, just contained. For the moment. You get a sense at times that she's hanging on by a thread. She's focused on herself for a short period, but she still hasn't done the real work. And like a self-destructive addict, she starts to venture onto old paths with old people in her life. She reconnects with her druggy ex-husband, she moves back in with her mother who obviously did a number on her, and she goes knocking on the door of her former workplace where she had the meltdown in the first place. But there's something to it all. In a way you are rooting for Amy to succeed. And that success can come in different flavors. You want her boss and vindictive co-workers to get their come-comeuppance. But what if they don't? You want her to reconcile the differences she has with her reclusive mother. But what if she doesn't? There's a certain curiosity there, and that is what fuels this great series. 

Boardwalk Empire (Season 4)

Terence Winter, 2013

Netflix

5/5

Any fan of the Boardwalk series by now has come to expect a certain level of consistency. In the first three seasons, you learn a great deal about what happens. Authentic set pieces, comprehensive character structure, period music, short life expectancy. Terence Winter clearly has no problem developing a character and ending his or her life suddenly. It's one of the more gripping parts of the series. Swift bloodshed. Because of the historical element to the show, you are already aware of the fate of some. Some of the legendary names we've heard echo through American culture since we were children. But for others that's not the case. Other characters are more shrouded, but with large stories. Along with the consistency that the series provides, there's a real sense of accuracy. You are literally standing in the time period. There are so many ongoing story-lines, all equally alluring. It's difficult to find a flaw in Boardwalk. Perhaps there isn't one. The twelve episodes are constructed so perfectly. The season finale delivers and makes an impact. This series sits high on the shelf. It's hard to compare it to some of the better series to come out in the past ten years, probably because it's really carved out a nice niche. And it doesn't seem to be losing any steam either. And perhaps the only flaw of this amazing series is the wait time until the next season.

And so the series progresses on to the fourth season. Nucky continues to build his empire, and this season decides to expand to the Florida for assistance in efficiently importing his product. Al Capone is feeling like he is growing up and feeling like a big fish in a small pond faster than his boss Johnny Torrio would like him to, and begins to grow resentful. Van Alden is continuing to make new friends in surprising places, and in season four he finds himself getting the attention of the Capone's. Margaret is attempting to move on with her life, outside of the criminal world and in a more legitimate setting. Chaulky White is now running Nucky's old nightclub, an acquisition he made after his huge favor to Nucky last season. Gillian, struggling with her heroin addiction, finds new love that appears to be promising. We are introduced to new characters. The federal agents, led by young director J. Edgar Hoover, appear suddenly and are hungry to uncover the prospect of possible organized crime family. Dr. Narcisse is a new face to New Jersey, bringing with him a ominous energy that doesn't appeal to some, including Chaulky. The finale is heartwrenching and satisfying. It will stick with you. Or at least it should. 

Orange Is the New Black (Season 1)

Jenji Kohan, 2013


4/5

Netflix continues to release original programming, which will ultimately prove to be a solid competitor to premium cable channels like HBO and Showtime. This series is as good as any series that would be appear on those networks. This series is a dramedy based on the memoir of Piper Kerman. It's the story of Piper (Taylor Schilling), who is sentenced to Litchfield women's prison in Upstate New York. Sort of like a comedy version of HBO's Oz. It examines themes of homosexual romance, jealousy, loyalty, betrayal, reflection and ingenuity while incarcerated. The series is directed by Jenji Kohan, who has a long resume of past television credits that include Mad About You, Sex and the City, Weeds and the Girlmore Girls.

Taylor Schilling is perfectly cast as Piper. Piper is about to enter prison to service a 15 month sentence for her involvement with her ex-girlfriend's drug ring. Now engaged to new love Larry Bloom (Jason Biggs), she's pulled back into her past despite the fact she's tried to move on from the period of her life when she was involved in a lesbian romance with Alex Vause (Laura Prepon). Piper has a well defined emotional range. She initially feels like a bad stroke of luck put her where she is. She brings her outside self in, seeking acceptance and trying to make friends quickly - perhaps too quickly. It certainly takes time to become jaded like the others. With a prison filled with rough & tough women, her vulnerability sticks out like a sore thumb.

Fans of The Wire will be delighted to see Pablo Schreiber (who played Nicky Sobotka in Season 2), who plays a prison guard in Orange. He's one of the few guards, most of which are drunk with their power. They verbally abuse the inmates on a regular basis, causing you to wonder when they are going to get their comeuppance. It's also refreshing to see Jason Biggs and Natasha Lyonne far away from the god awful American Pie series. One of the most positively distinctive features of the series is the larger than life personalities that the cast provides. They all have a story, and the creator cleverly peppers in back-story to paint the picture.

There are plenty of laughs and most, if not all of them hit. There's clearly a talented writing staff behind the series, and the casting director deserves some serious praise because there really doesn't appear to be one miscast character in the entire series. Netflix already renewed it for Season 2, which is good news. With House of Cards and Arrested Development in their belt, they are clearly going to become a big player in the television world.

Game of Thrones (Season 3)

David Benioff & D.B. Weiss, 2013


5/5

          There has been much bloodshed, and no end is in sight. Rumors of dragons continue to echo through the world. Many of the royal families have endured much loss and many of of them are struggling to find their way back to each other. The death of Ned Stark still lingers. While Daenerys slowly builds her army piece by piece, King Joffrey Baratheon becomes more consumed with his rule in King's Landing. Robb Stark seeks vengeance for his father's death, while Stannis Baratheon continues to plan his next move using darker methods. 
          Season 3 of Game of Thrones appears to have more gore and torturous violence than the previous seasons. The series is incomparable, and each episode could be on par with any feature film. The study on such a barbaric existence that it makes you question what your own life expectancy would be if you were there. The series continues to prove that it's another trophy on the shelf of HBO's achievements, with much company. Each episode has a $6M budget, and you can see it in the rich effects and detailed set design. Joffrey Baratheon is one of the most cruel and sociopathic characters ever put on the screen. Still laughing over the scene where Tyrion asks him "did you kill any puppies today?" You get a sense of the arch's that are bound to happen at some point in the distant future. Some of the scenes this season are haunting, and will certainly stick with you (especially one of the episodes in particular, which may be one of the most shocking of the series thus far). Intricate story and sophisticated character structure, distinguished imagery. It's certainly hard to find a flaw with this series, and it continues to maintain all of its qualities. It's gained much popularity - fortunately or unfortunately. I would imagine years from now my son (who doesn't exist yet) will be dating girls named Sansa and Cersei - and they won't be nearly as interesting as the characters on Game of Thrones.

The Walking Dead (Season 3)

Frank Darabont, 2013


4/5

Season 3 is a consistent continuation of the series. Predictable levels of gore, bleak camera filters, augmented audio effects, and slow pacing that at times feels sluggish. The living conditions are more turbulent compared to the comforts of everyone living at Herschel's Farm. All of this season is set at the Prison that they had discovered at the end of last season, but those living quarters are threatened by not only the outside survivors, but the walker's living within the prison walls. It's probably the most well-crafted season so far, but unfortunately with head show-runner Glen Mazzara now gone I have doubts about future seasons. Word is that Mazzara's shoes will be hard to fill, and that he was quite the presence on set.

I am convinced that because the pacing on The Walking Dead is so restrained, I don't believe the show is best viewed on a weekly basis. It may be best served in large sessions, where you watch 3 or 4 episodes at a time or the entire series at once (if you can). I may try doing this next year. I find its a series where its particularly difficult to judge each episode individually. If you're able to step back, look at the big picture and judge it based on character development, story-line & plot twists, and visual aesthetics, you can see how brilliant the series really is.

Top 5 TV Dramas

1. The Sopranos
David Chase, 1999-2007

I recently re-watched this entire series, and fell in love with it again. The series is loosely based on the actual Boiardo New Jersey crime family. It won 21 Emmys and 5 Golden Globes and deserved every one of them. The show that put HBO on the map. The show is more than just a mob-drama. It has elements of psychology, pop-culture, romance, drug addiction, and family dynamics. Tony Soprano is the ultimate anti-hero. The only negative I can come up with is the characters were so well developed that they are now typecast.

2. The Wire
David Simon, 2002-2008

Best Season: Season 4

The Wire was so original and so well written, I don't believe we will never see anything like it again. Simon's followup to The Wire, Treme, just didn't do it for me. I'm going to try to give it another chance, but I know that even if it grows on me - it will never be remotely close to the Wire. There was so much purity to it, you get the feeling that David Simon, a Baltimore native, KNEW the city. I visited Baltimore in the middle of the show's run and got to spend time in some of the bars, and drink with the natives. What I noticed is although the show showed the not-so-pretty aspects of Baltimore, the residents really embraced the show. They are proud of their town, warts and all. The show has its own street-lingo, and after a few episodes you will be fluent. The Wire is filled with squatter-filled condemned brownstones, orange airborne extension cords running from window to window, and the constant harmony of gun-shots in the periphery. The average lifespan in the Wire is low, and you get attached to characters who might not make it to the next episode.

3. Boardwalk Empire
Terence Winter, 2010-

Best Season: Season 3

When you watch Boardwalk, you feel like you are literally standing on the 1920's Atlantic City Boardwalk. And it isn't the disgusting Boardwalk filled with Ed Hardy shirts and spray on tans. This Boardwalk has class. This one has Irish and Italian immigrants, with a well-defined class structure. It makes me wonder why we never really saw Steve Buscemi in a lead role like this before, he is SO GOOD. He's always shined in gritty supporting roles like in Reservoir Dogs but I can't picture anyone else playing Nucky Thompson.

4. Breaking Bad
Vince Gilligan, 2008-2013

Best Season: Season 1

I remember watching the pilot of this series a couple of years ago. I remember thinking to myself: "this is WAY too far-fetched". I didn't watch the next episode for about 6 months. My wife and I picked it up again a few months later, and after watching four or so more episodes in one viewing session we were both immediately sure that it was one of the best series we had ever seen. I don't think there has been another series that I've felt as ADDICTED to. It torments you with end of the episode cliffhangers. Bryan Cranston and Aaron Paul are so amazing together. This show deserves all of the hype. Its that good. I really don't want it to end.

5. Game of Thrones
David Benioff & D.B. Weiss, 2011-

Best Season: Season 2

There are so many dramatic elements to this series. Complicated family dynamics, deception and betrayal, love, grief. Big budget production paints a beautiful picture. The cast is perfect and so is the acting. There is so much richness to this series that you really can't miss a second of it.

Honorable Mentions:

Band of Brothers (2001)

Dexter (2006-

Lost (2004-2010)

Homeland (Season 2)

Howard Gordon & Alex Gansa, 2012

5/5

There isn't much to say about season 2 of Homeland, because it just remains consistent. Its AS good as Season 1. There is still such a perfectly placed amount of tension where it needs to be. The acting is near perfect. The casting director deserves an Emmy. The story-line continues to be compelling. The cinematography is great. The small additions to the cast in this season only made it better. This show might break into my top 10 television series of all time.

Dexter (Season 6)

HBO, 2011

4/5

First I should mention that before watching this season I took a break from Dexter. I felt that the series had become too predictable and repetitive. Maybe it was the fact that Lithgow was SO GOOD in Season 4 that Season 5 just couldn't compare. Either way, I found Season 6 refreshing and was entertained through all 12 episodes. There are two antagonists this season - played by Edward James Olmos and Colin Hanks. Olmos is a good character actor who happens to fit into his role pretty well. Hanks, on the other hand, I thought fell short in his performance. I do not think that Hanks is a good fit for the Horror/Thriller genre. I believe the last time I saw him was in Mad Men playing the Priest, which I thought he did well in. I guess I admire him for reaching out into a new genre and taking a risk professionally. I thought the finale was great, and has me eager to see Season 7.