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2009 was a weird year for television. While the dramas turned the volume up on the gravitas (I’m looking at you Breaking Bad and Mad Men), the comedies seemingly brought less and less of the funny (here’s hoping for next year The Office). Fox’s American Idol, once again, dominated the ratings chart (go Kris!) but reality television, as a whole, seemed to be wavering (although Survivor was back at the top of their game). We had another year where television movies and miniseries appeared to be nowhere (but let’s give one last shout out to Grey Gardens and the performances of those ladies). And to be honest, the most satisfying moment of 2009 probably came from the Academy Awards telecast (Sue me. I loved the acting presentations). Nevertheless, the year was filled with some delightful surprises (Modern Family! Glee!) and some things we didn’t even realize we wanted (The Seinfeld reunion! Julianna Margulies’ comeback!). Here now is a look at what one person considers the best television programs, as well as the best episodes that aired in 2009. –Big Ted

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“The Ceiling,” written by Kevin Brockmeier

Kevin Brockmeier tells stories like they’re myths, passed down from generation to generation. He doesn’t so much as invent stories (though he does, and quite well) as conjure them from history. He writes in a realm that almost flirts with magical realism, as his stories concern the fantastic in the everday without quite landing in fantasy or science fiction. And in the mode, we encounter “The Ceiling.” Paralleling a disintegrating marriage against the backdrop of impending planetary doom (“the sky is falling”… literally), Brockmeier weaves his sense of unease throughout. There’s something almost primitive about his story – again, it’s as if he’s simply calling up an old Norse myth or something and resetting it in modern times. I feel like I’m doing him a disservice describing it as such, as if he didn’t invent the world, the characters, the narrative himself. He did. But it’s just the way he does so is so old school, so natural that it feels like these stories have been kicking around the planet for centuries, and just needed a giften intepreter to call them to life. Well, they found one in Brockmeier.

Ten Greatest Male Solos

The art of the female solo is simple. 11:00. A bare stage. A soul bared. For the guys, it seems more difficult – for whatever reason. Maybe we don’t associate the medium with the guys, but there’s no denying that the composers this decade gave the men some thrilling solo turns that deserve praise. So here’s eight. [Read more →]

“Something Very Expensive,” Deadwood (writer and director: Steve Shill)

My response to Deadwood was a stage by stage affair. It took about four episodes in the first season for me to go “this is a show I’m gonna watch because it’s on HBO and looks interesting” to “this is an interesting, good show.” By the end of the first season, it was a show verging on greatness. This episode catapulted this beyond greatness into the realm of “very special/holy-mother-of-GOD!!!” It’s a stunning episode, extremely well written and directed, with a mastestroke casting decision at it’s core. Garrett Dillahunt, poet-laureate of country rubes and plain simpletons, asssayed an intriguing character in the first season of Deadwood, but was killed off and many of us assumed that would be the end of him. But Milch, in a creative maneuver, recast Dillahunt as the suavely sociopathic Wolcott, a man tortured by demons and with a flair for violence and prostitues. Kim Dickens gives her finest performance in the series thus far, and the Yankton plot thickens (as do many others). But it’s the scene that cements this as a decade classic. The writing (achieving a level of poetry that is rare even on this show, let alone television in general – so richly eloquent I’ve committed it to memory), the direction (the way the camera weaves by obstacles; the claustrophobically beautiful murder sequences) and the acting (Dillahunt is so cooly evil that it remains one of the decade’s finest performances). The attention to detail is always top notch, but there’s a moment during the murder sequence that always sends chills up my spine (Wolcott moving the knife in the background) for it’s visual elegance. A remarkable hour of television.

Tape (2001)

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“Entertain,” - Sleater-Kinney

You know you’re good when what is widely considered the worst song on your greatest album would be the greatest song on any lesser band’s albums. A masterpiece of that combines the full throttled ambition with Sleater-Kinney’s unparalleled ability to play the game of “tension and release.” I know people have problems with the lyrics, and the message they contain does border a little on the trite, but the delivery and general wit of construction make up for much of that. But it’s the tidal-wave like musical construction that really puts this over the top. Starting with Lorna McFarlane’s drums, everything about this song is urgent and incendiary. The drums themselves call to mind some of John Bonham’s best moments as she pounds away furiously, and the caterwauling interplay of voice and guitar remains one of the most distinctively thrilling sounds in music. The way the band raises and releases the tension throughout is remarkable and makes it one of my favourite songs of the decade.

Underrated Songs: “Could Well Be In,” The Streets
Underrated Movies: The Good German
Noteworthy Episodes: “Last Ex to Brooklyn,” Will and Grace
Top Ten(ish) Lists: Seven Great Second Acts
Brilliant Short Stories: “The Smoker,” written by David Schickler
Amazing Seasons: Friends’ Season 8

Friends, season 8

The show was tired. It’s last good idea was three seasons earlier (throwing Chandler and Monica together). The show was staggering through unfunny episodes and terrible character assassinations (Ross became a sociopath, Monica became a shrew – it was as if they took the least endearing trait about any character and made it their leading trait.). There were rumours that the cast wanted too much money but NBC didn’t want to pull the plug (remained a ratings sensation, of course). If ever a show looked like it needed to end immediately to avoid further embarassment; end soon so as to leave some lingering good memories, this wasit. And then we had the eighth season. To this day, having seen some episodes many times, I simply do not understand how they righted the ship (for this season only, admittedly). I don’t understand what triggered the shift in storytelling in terms of situation or depth. But they managed to pull off one of the most astonishing 180s I’ve had the pleasure of witnessing. [Read more →]