Random List: 10 Best TV Shows of 2008

Okay, here they are , my long-awaited Top 10 list of the best shows in '08:

1. The Wire -- Goodnight, sweet television drama. What more can I say about this show that hasn't already been said? If you watched it, you already know how good it is, and don't need to listen to me. If you didn't watch it, then you're a moron. But a lucky moron -- you still have the chance to see each and every show for the very first time. I advise strongly for you to do so.

2. 30 Rock -- The funniest show of TV got funnier in '08. It features everybody's favorite Emmy winner Tina Fey, and added flashy guest stars just about every week, but it was the regular supporting characters which usually stole the show. Limited to small rules, Tracy Morgan, Alec Baldwin, Jack McBrayer, and Jane Krakowski are all still among the best comedic performers anywhere on TV.

3. Dexter -- Already a great show, Dexter ramped up it's quality even further in '08. It started with a careless Dexter killing an honest man, ands with him cleaning up the streets from a monster he made. The Addition of Jimmy Smits as Dexter's partner in crime was a master-stroke, and allowed the show to stretch its limits. Dexter found himself playing good cop for once, showing us he does know the difference between the bad guys, and the really bad guys.

4. Breaking Bad -- The best new show on TV in '08. It starts with an almost unbelievable premise -- a husband, father, and high school science teacher becomes a meth cooker -- and explains how believable, and real it can really be. It's also cool, and dramatic, and very, very funny. Also: well-acted -- Bryan Cranston already won an Emmy for lead actor.

5. Mad Men -- The first season showed us it was one of the best shows on TV. The second season showed us it has a chance to be one of the best shows ever. It took until the second season for creator Matthew Weiner to really show that meandering, mysterious storytelling that made his alma mater, The Sopranos', such a masterpiece. I can't wait for season three.

6. The Shield -- For most of the show, it was a sleazy good time, a fun ride through the bad part of town, punctuated by tense, surreal moments of high drama. In its final season, it was all tension. By the end, there wasn't a drop of fun to be had for miles. But that was how it had to be. Laughing and joking while breaking laws and making enemies, as Vic Mackey did, can't last forever. The show opened with Vic enjoying a friendly barbecue with his team before ganging up with one to kill another. We knew then he was bad, but he charmed us -- and everybody else -- for a good while. In the end, there was no more fooling, but Vic, the ultimate survivor, was still around.

7. The Closer -- The best procedural on TV. All others above on this list have to entertain, but are not forced to play by the restrictive rules of having to be framed by a crime -- it starts with a murder, and ends with an arrest almost without fail. But all the characters are so real and entertaining -- especially Deputy Chief Brenda Lee Johnson -- and the dialogue is so well-written, it never feels like a cookie-cutter, as so many others do.

8. House -- The show got back to regular business -- set cast, no more "competition" -- and never missed a beat. The subplot with House's best friend Wilson giving up on their friendship was a welcome change from Wilson usual uber-patience with him. The supporting characters have all taken a back seat as most of the personal storylines revolve around House, but that's probably for the best.

9. Lost -- Every time I think I'm out, they pull me back in. There's simply been too much time, energy and attention devoted to this show for me to not care about what happens. I've been doubting they will ever come up with an over-arching story which will explain away everything that's happened so far, but I'm still enjoying the ride.

10. Friday Night Lights -- This season's best episode may have been the first of 2009 -- and there's still next week's season finale to go -- but the groundwork was laid in '08 when the show's third season found the same groove they had in the first. In was major bounce-back year for the show, which went of the tracks in season two by trying to sex up the show too much in an attempt to raise mediocre ratings. In doing so, they lost their positive word-of-mouth from fans and critics, and were essentially cancelled by NBC. But DirecTV swept in to save the day, airing the show on their Channel 101. The season was such a success, NBC wants them back -- they'll be airing all of season three starting in two weeks.

TV Review: 'The Shield' -- Season Seven

This is the part where I act like an authority on entertainment, and criticize the work of professionals who are, without exception, more successful than I in the industry in which we both work. Some people would say this is proof I have "balls", or "chutzpah" in Jewspeak. Others would say it's proof I'm a "douchebag". To catch up on any old reviews, you can find the link on the right hand side of the page, or just click here.

(Before I begin, two quick notes: 1) As I mentioned in my last post, I have seen the lion-share of the top Oscar contenders coming out this month, and will have several reviews coming right up -- as well as a year-end 10 Best list. But first, I wanted to post my long-promised review of 'The Shield'. Look for the movie reviews to begin in the next day or two -- up first: 'Milk' and 'Benjamin Button'. 2) 'After Further Review...', my recap of the weekend's action in the NFL is up now over at Niners Nation -- you can check it out here.)

The ending of my favorite shows fills me with a strange and unique sensation -- one part breathless anticipation, one part dread. On the one hand, they're finales are long-awaited treats to be enjoyed. On the other, they're like old, dear friends who I'm watching march off to the electric chair, never to be seen again. I don't want them to go, but I can't wait to watch them leave.

That's how it's been with 'The Sopranos', 'The Wire', and a dozen or so great shows before them, and that's how it was with the long-awaited season finale of 'The Shield'. And having to wait nearly 15 months from the end of Season Six to the start of the final season did nothing to change that. Really, viewers have been waiting for closure since the end of Season Five, when Shane Vendrel (Walton Goggins) killed his friend and fellow Strike Team member Curtis "Lem" Lemansky (Kenny Johnson). Season Six was supposed to be the final season, but creator Shawn Ryan found Lem's death presented too much to deal with and still effectively pay off the entire series ("Lem's death sucked all the air out of the room" was a quote I read at the time).

Ryan asked the head honchos at F/X for one more season in order to allow the entire story to play out at a less rushed pace. His request was granted, so Season Six was cut a bit short at 10 episodes. It allowed for the ending to be set up, but never got to the heart of the issue on everyone's mind: What would happen to Vic Mackey (Michael Chiklis), the leader of the Strike Team, and our hero and our villain? He had found out Shane was guilty of his friend's murder, and wanted revenge, but was hamstrung by Shane's blackmail threats and his own fight to keep his badge.

To be frank, Season Six, while more compelling than just about anything else on TV -- the scenes of Shane dealing with his guilt and suicidal thoughts were especially good -- was probably the least entertaining. While long-time fans enjoyed seeing their favorite characters put through the meat-grinder, the episodes didn't have the same action-packed whiplash-inducing pace. Much of the time is spent searching for killer we (and Shane) know they'll never find. But Season Six did what it had to -- set the stage for the final 13 episodes.

Season Seven returns the show to the top of its game. The pace is back to what its lofty standards, and the tension's at an all-time high. Not only is Vic put through his usual paces -- running around town, usually behind the department's back, trying to play one side of the other and back again, looking for any angle. And this time, he faces even tougher challenges -- threats to his life, not to mention those of his wife and children, and his last remaining partner, Ronnie. He faces threats of blackmail and worse from his former best friend, Shane. Vic is also having to watch his back not only on the street, but in the squad house, where the suspicions of his captain and long-time nemesis, Claudette Wyms (C.C.H. Pounder) are forcing his actions further below radar, all while he is told he's just days from losing his badge for good.

When the final season starts, the audience knows Shane is guilty, and so do Vic and Ronnie. But by mid-season, so does the rest of the force, and that changes everything. Soon, Shane is on the run, and Vic must choose to either aid his enemy's escape, or risk his own exposure for any number of crimes upon Shane's capture -- the murder of fellow detective Terry Crowley and the robbery of the "Armenian Money Train" chief among them.

While this plays out, the supporting characters are given the usual subplots, but not paid off if any meaningful way. This is realistic, if not completely satisfying, so I understand and respect the choice. But it would've been nice to see a bit more of a climax for the dogged Holland "Dutch" Wagenbach (Jay Karnes), one of my favorite characters. He has a small payoff, as does Wyms, and also Steve Billings (David Marciano), but others -- officers Danni Sofer (Catherine Dent) and Julien Lowe (Michael Jace) just went on about their business. But such is life -- not everyone has dramatic life moments in concert with those around them.

The big payoffs are reserved for the Strike Team. I won't reveal any spoilers here, but as Shane's escape hits any number of snags along the way, it becomes clear things can't end well for him, which seems only fair. But what about Vic, our heroic villain? Let me just say this: We know he can't get away clean, and we probably don't want him to, but some men just can't die. Especially when he's willing to do anything to stay alive. If there's one thing we've learned about Mackey, it's that he's a survivor. It's more a question of how he lives with the things he's done to stay that way.

Using the age-old Hollywood scale of judgment -- HIGHLY RECOMMEND/RECOMMEND/CONSIDER/PASS (circle one) -- I rate 'The Shield':

HIGHLY RECOMMEND

Working for a Living

I know I promised a review of 'The Shield's' final season this week, but it'll have to wait, as other responsibilities have intervened. My writing always takes priority, so that's no surprise. And there's my columns on Niners Nation. And my wife. But this week, suddenly, I also find myself working a real job. That's right-- me, in an office, sitting behind a desk, working a phone and computer and goofing off on the internet like a real, live office monkey. And in this case, I think a monkey really could do it.

I'm calling stores all over the country which sell CD's to see how many copies they have in stock of James Taylor's new album, 'Covers'. In the last two days alone, I called every Circuit City in the US. Every single one. At each, speaking with someone to ask that they find out not only if they have the album, but exactly how many copies. I'm sure you can imagine just how excited they are to go and fetch that information right up for me. At the end of the day, I had to switch to Wall Mart, and going alphabetically

The thing you don't realize -- at least, not after about 10 years between office gigs -- is that it still takes a lot out of you. The getting up early, all the coffee you have to guzzle to get you up and running, the commute, the having to deal with people with all its having to be polite banality. By the time you drive home, you just want to pour and drink, tune out for some TV and crash. It's tough, and it keeps me from things which I'd rather do, but I can't afford to turn down a paycheck. Besides, it's only five days with a weekend in between. Although it almost wasn't -- because the project was running behind, I was asked to come in Saturday and Sunday. I got out of it, but for a minute there it felt like this:



Writing is hard after a day like that is no picnic, but I was able to do it last night working on the script with Barry a bit by Skype.* But tonight I need to chill, and this weekend will be devoted to more screenwriting, and whole mess of football. This Saturday is the best day in the college football season in my mind. Partly because New Year's Day is not what it was -- all the best bowl games spread across the next few days -- and partly because of the advent of the Conference Championship Game, Here's my take on the big games:

SEC CHAMPIONSHIP: ALABAMA vs. FLORIDA

Florida is the best team here, but I'm not sure Saban isn't the best coach in the game. This rematch of the original SEC Championship Game (in 1992, when the teams were coached by Gene Stallings and Steve Spurrier) has all the makings of an all-time classic. The winner makes the National Championship Game, and I think when the stakes are that high, you go with the best player on the field -- especially when he plays QB/RB/Head Cheerleader. That man is Tebow. The pick is Florida.

BIG 12 CHAMPIONSHIP: OKLAHOMA vs. MISSOURI

Even though they don't deserve to even be here due to their loss to Texas, I think OU is the best team in the land right now. But this game has had its fair share of big upsets, mostly knocking teams out of the championship hunt -- Texas/Nebraska in the inaugural, Kansas State/Texas A&M, OU/Kansas State -- so nothing can be taken for granted. Especially given the weather forecast for Kansas City: 20's for most of the game, possibly dropping into the teens. That could slow down OU's high-flying O, but it's do the same for Mizzou. The pick: Sooners

That makes it a Florida/Oklahoma title game, and that would be one interesting game.

I'm also working Monday through Wednesday, so I'm not sure how much I get up between now and then, but you can expect a few more reviews after that -- besides 'The Shield', I'm seeing 'Milk' at a screening next week, and plan to see 'Frost/Nixon' by the end of the week.

Navel Gazing: Great Success! (UPDATE)

When I started this blog, my chief hope was just that I might find a place where people would read my writing. You can't imagine how frustrating it can be being a writer in Hollywood -- pouring your heart into something, and then having to twist arms just to get somebody to read it. In my experience, writers write for two reasons: 1) For the experience/catharsis -- that is to get the voices in our heads down onto paper (or screen) and have them realized, and/or 2) To have that work read by others -- we all hope to affect the world in some way, be it on a global scale, or just by making one person laugh/cry/scream/whatever.

Since I started posting here, I've often doubted that anyone was really reading. Sure, I had told a few friends, and maybe they told a few friends, and maybe even a couple people stumbled across this space while looking for something else, but I felt a bit like a castaway, writing messages in bottles, hoping someone might find one. I've gotten a couple of comments from strangers complementing my reviews, but for the most part they didn't quell those fears. That's why -- or at least one of the reasons -- it was such a thrill today to receive an e-mail from someone who had found one of those messages, someone whom I happen to admire very much.

Last night, I posted my latest TV review -- of one of my favorite shows on the air, 'Sons of Anarchy'. To be honest, it was late at night, I was getting tired, and I don't even think it was particularly well-written -- I left out some important points I'd meant to include. But in the review, I wrote about the show's creator, Kurt Sutter, and how he came from one of my all-time favorite shows, 'The Shield'.* This morning I woke up and checked my e-mail to find a message from Mr. Sutter complementing the blog. At first I was sure it was a prank -- my writing partner Barry works in publicity for FOX, and actually deals with Sutter and others from the show as part of his routine (besides being a big fan of it), so I immediately assumed he had figured out some way to fake the e-mail.

But, upon further review, I found the e-mail led back to a blog right here on Blogger run by Sutter, himself. "SutterInk" is the name of the blog (the link is now in my blog roll on the right side of the screen), and you should really check it out -- and not just because I love both Sutter's work and his politics, though that's undoubtedly a big reason why. It was certainly a thrill to hear personally from someone I idolize, but it also presented a common dilemma in this town.

See, I'm a struggling screenwriter, and that's not uncommon in LA. In fact, we're a dime a dozen. But none of us feel like we're a dime a dozen -- we all feel uniquely special (whether we are or not is someone else's call). So whenever we meet someone in a position to help our careers, there's both the temptation to ask, and also the knowledge that doing so makes us not only a pest, but even worse -- a cliched pest. That's when pride often steps up to block our way. In a desire to not be That Guy, we don't say what's on our mind. We don't ask for what we want. And in my experience, if you're too afraid to ask for what you want, you'd better be resigned to going without it.

I am certainly not resigned to going without a career in screenwriting, but I've often found myself too prideful, or too embarrassed, to ask for someone's assistance in my career -- even when I've known they have the power to grant it. This happened recently to Barry, who had to opportunity through his work to hang out with Shawn Ryan, the creator of 'The Shield' (as well as 'The Unit') for three hours the other day. They talked about writing and the business and all sorts of things, but because Barry was there for his job, he felt too awkward to mention the fact he's a screenwriter who's been screwed over a few times (I know because I was bent-over right next to him at the time) and could use a helping hand.

I totally get why Barry didn't mention his situation to Ryan -- it might have been unprofessional in his position -- but I swore that I wouldn't pass up the same type of opportunity. I'm not going to let my pride stand in my way -- at least not anymore. I can't afford to. My screenwriting career is on shaky ground at this moment -- due to the economy, my representation situation, and the fact I'm having to move to Boulder, CO because the only solid job opportunity I currently have resides there -- and I need to do whatever it takes to breath life back into it. So, I did the unthinkable (at least for me): I swallowed my pride and replied to Mr. Sutter, asking if he had any advice for a poor, struggling screenwriter like myself.

Part of what inspired me to do this was reading his blog, which mentioned a time before 'The Shield' when he was a struggling screenwriter himself, and how Shawn Ryan helped and mentored him. But mostly, it was an admission that I need to change -- I need to realize that truly dedicated people do anything they can to achieve their goal, and that it's not a sign of weakness to ask for help (at least, not an unforgivable one).

I know Sutter probably won't have any great news for me -- I'm sure he gets these types of requests all the time. Although I'm willing to take any job on the ground floor of TV or movies right now -- writer's assistant, PA, fluffer, you name it -- the economy sucks, and I'm sure there's a long line of people ahead of me in the same predicament, if not worse. But the important thing to me is that I tried -- I don't want to leave LA knowing I left any stones unturned. To me, that's a notable success. As is the discovery that someone out there is actually reading this blog -- someone whose work I've been religiously following for years. I'm through the looking glass, and I love it!

UPDATE: So I heard back from Mr. Sutter, who very graciously shared a poignant anecdote and some quality advice. I'm tempted to copy and paste the whole e-mail here, but somehow I feel it would lose its coolness (and make no mistake, this whole thing has been very cool) if I did. So I'll summarize: Don't make excuses, don't blame other people, don't worry about if you'll sell anything -- just write. Write what you want, write a good story, and the rest will follow.

That's great advice, and as I've written in this space before, it's advice I'm already taking. Barry and I have been writing our dream project for a little over a month -- a project we've put off for years in favor of more "commercial" projects -- and I've often thought during that time that it's a opportunity we would never have had if not for our fucked-up representation situation. So I'm taking it as a blessing that we can write what we want, that I know we're writing a good story, and we don't have to listen to anyone else's input. That's an opportunity I cherish, and whether it ever sells or gets made is beside the point.

I have to add: Today gave me a mental boost -- just hearing from someone I admire, whose work I enjoy, and having him take the time to offer me some helpful words. And it was all thanks to the internet, and this silly little blog! Thanks, Al Gore!

* Just to give a quick head's up, I hope to post my review of 'The Shield's' final season sometime this week.

Random List: Top 10 Shows On TV

This is not a year-end list, judging shows on only the most recent season. This is a list of the very best shows currently on TV. That means shows like ‘The Wire’, which could’ve (and should’ve) won an Emmy for their final season in 2008, it is not currently on the air so it’s ineligible. It also means shows get some credit for work done in the past -– if they’ve elicited enough interest in their narratives over previous seasons to make up for any weaknesses in their current episodes.

1. The Shield -- The whole reason behind this list. The show is almost over, and criminally underrated, so I wanted to have this last chance to sing its praises. The ballad of Vic Mackey may be reaching its conclusion, but it’s certainly not slowing down any. Instead, it’s doing just what it’s always has -– careening toward disaster, like a car with no brakes. Will Michael Chiklis’s Vic get arrested? Killed? If so, by who? (There are too many good candidates to name them all.) Whatever happens, it will be captivating, pulse-pounding, and unpredictable -– on ’The Shield’, it always is.

2. 30 Rock -- When it comes to lists, I normally rate dramas higher than comedies. I don’t know why, maybe it’s because I get more into the stories dramas offer up. Comedies are so based on contrived situations, the characters never really changing or growing in any way. ‘30 Rock’ is really no different -– well, except for the fact that it’s really, really good. The fantastic Tina Fey makes the show (both writing and acting), but the stellar supporting cast (Alex Baldwin, Tracey Morgan, Jack McBrayer) often steals the show.

3. The Closer -- The best procedural on TV barely edges out the best serialized dramas based on both it’s great ensemble cast centered around Kyra Sedgwick’s Deputy Chief Brenda Lee Johnson and her quirky genius, and its commendable consistency. Not only do they stage a mysterious crime filled with interesting characters each week, but they also manage to move along personal plotlines with aplomb –- and without the usual sticking-out-like-a-sore-thumb transitions.

4. Breaking Bad -- The best new show on TV in 2008 made it all the way into the top 5 (and ahead of fellow AMC serial, ’Mad Men’) on its breathtaking premise –- a high school chemistry teacher who finds out he’s got cancer becomes a meth cooker to pay those extra bills. The show’s already been recognized with Emmy nominations -– including a win for lead actor Bryan Cranston –- and I think it’s got a strong future in store with creator Mike Gilligan (a former X-Files’ writer) at the helm.

5. Mad Men -- The best new show of 2007 started the ball rolling at AMC, which is beginning to look like HBO did almost a decade ago. With two of the best shows on TV on their slate, AMC may become the place to go for off-beat writers who tell idiosyncratic stories. That describes creator Matthew Weiner (a former ’Sopranos’ scribe) who HBO let slip away, as well as Gilligan -- many of Weiner’s storylines in ’Mad Men’ echo the anything-can-happen tone and feel of ’The Sopranos’. With characters this interesting, and an era so ripe for commentary, I have a feeling ’Mad Men’ is just getting started.

6. The Office -- Still going strong, ’The Office’, has fallen into a rhythm like many good sports teams do: They know they’re good, so they may coast for awhile, but they’re still better than everyone else, and they can turn it on whenever they need to.

7. Dexter -- This could easily be higher on the list based on its current season, when writers made the wise decision to give Dexter a partner in crime (played by Jimmy Smits). Seeing Dexter play his murderous feelings off of someone else’s is reinvigorating for the show, and reminds of the end of the first season, when he battled his brother.

8. House -- Like ’The Office’, this show has found it’s groove, and never produces a bad episode. They also manage to keep both the medical case and the personal lives of its characters fresh. House’s antics never get old, and Hugh Laurie’s performance is never anything short of note-perfect.

9. Lost -- I’ve lost a lot of interest in the show since the first couple of seasons, but as it nears the end, I’m still interested in finding out what answers the show can deliver. It’s currently not as good as a few shows on the “Honorable mention” list, maybe even all of them, but like a mystery novel I’m almost done with, I’ve put in too much time to give up now.

10. Curb Your Enthusiasm – This deserves to be higher, but I’m penalizing it for taking the better part of two years off. Still, I haven’t forgotten the show’s unique blend of both dry and broad humor, or the eminently watchable Larry David.

Honorable mention: Sons of Anarchy, Life, Damages, Friday Night Lights, CSI.