Hey, you know what I just realized? This is the last year of the decade! Why isn't anybody talking about this? I would have expected every media outlet to be coming up with some sort of "Best Of" lists to sum up the cultural landscape of the last decade. Maybe I've missed them because I've been busy lately.
But just in case nobody else has thought of it, Jim and I decided to take some time and total up the past decade in the most thorough - and thoroughly ridiculous fashion - we could think of. We're starting with TV. We did a reverse gonzo draft Top 10, where Jim and I each take turns picking a show to fill out our top 10, except we did it in reverse. So Jim picked 10, then I picked 9, all the way down (up?) to #1. Why not start at #1? Because the first show Jim emailed me was #10, and instead of restarting, he insisted we do this. So blame him if your favorite show got squeezed out because we forgot about it until too late.
(Also, because we watch alot of TV but not all of TV, we'll try to briefly justify our choices - and omissions - by indicating at the end what shows were excluded because we didn't watch them as opposed to the shows we did watch but couldn't make room for).
(Also also, this is easily the longest single piece Jim and I have generated. So you might want to print it out and take it to the john or something.)
#10: Dexter (Jim's pick)Coming it at #10 with a stab wound -- sorry, no bullets on this
serial killer/cop show -- is Dexter. Michael C. Hall plays the title
character, a serial killer who only goes after the scum of the earth
(at least at first), and spends his days working as a forensic blood
spatter analyst for the Miami PD (minus David Caruso, thankfully). I'll
be the first to admit -- I was wrong about Dexter upon my initial
viewing. I was introduced to the show by viewing a few episodes of the
second season and found it to be trite and unbelievable. I'm happy to
admit that my first impression was wrong. I went back and started
viewing the show from the beginning, and quickly became acclimate to
the surreality that is the show.
One cannot expect the cinema verite reality of
other "cop dramas" (see: Hill Street Blues, Homicide, The Shield [and
we'll get to The Shield later, I promise you]) from Dexter. You get
brightly lit, stylized Miami, complete with Dexter's late
cop/stepfather giving him advice on how not to get caught. The first
two seasons of the show are very, very good. The third -- which
featured Jimmy Smits in a fantastic supporting role, turned the show up
about three notches. The recently completed fourth season, which capped
out Dexter's run during the aughts, took the show to new heights. John
Lithgow turned in an amazing guest performance as The Trinity Killer, a
serial murderer with a family and a home life. He and Dexter shared
some wonderful scenes before the season came to its predictable, bloody
end. But no spoilers, because if you haven't seen it yet... well, you
should.
Dexter's supporting cast helps to make the show.
His forensic partner, Matsuka, is an ever-pervy Japanese-American man
who -- from what we can grasp -- spends most of his free time driving
around in a pimped out pickup truck and watching Japanese tentacle
anime porn. His sister (and real-life wife, eww) Deb is a homicide cop
with a mouth that is almost as dirty as the Suze's (almost, trust me on
this one). And who can forget Miguel Batista, the Cubano homicide cop
who dresses like he should be part of the waitstaff at Cuban Pete's (or
is it vice versa?). Oh, and don't forget Doakes: the big black
ex-Special Forces homicide cop who knows that there is something *off*
about the title character. Outside of work, Dexter tries to live a
normal life -- he struggles with personal relationships with his wife
(ne girlfriend) Rita, who wants to connect with the outwardly-likable
and perfect Dex.... but he won't show her his dark side, no sir.
If you haven't seen Dexter, it's time that you did.
The first three seasons are available on Blu-ray and DVD -- and for
free on the Internet if you know how to use BitTorrent. So get on
that... you won't regret it.
#9: 24 (Jesse's pick)I can't decide if this show had the worst timing or the best timing
ever. Less than a month after actual terrorists flew actual planes into
some of our largest and most pentagonal buildings, 24 closed its
premiere episode with a sexy lady boning an Arab in an airplane
bathroom before (surprise twist!) revealing that she was a terrorist
and parachuting out just before it exploded.
Instead of
recoiling at our recent national horror converted into small screen
escapism, audiences reveled in the chance to cheer for a government
agent who was actually capable of hunting down the terrorists and
foiling conspiracies while our own, real life chase of terrorists
unraveled into a kind of Strangelovian (or perhaps you would prefer
Kafka-esque) purposeless string of invasions and terror alert codes and
airport shoe removals. It helped that Kiefer Sutherland's Jack Bauer is
one of the indelible creations of the aughts, injecting a show that
sometimes became overwrought with the necessary evil of twists and side
stories to fill out the time while Jack Bauer traveled in real time
from location to location.
While later seasons of the show
buckled under the weight of referencing a real-life war on terror that
its creators couldn't have anticipated when it was conceived (not to
mention putting me off with their blatantly Republican political agenda
and over-reliance and subsequent glorification of torture), the first
five seasons of this show were can't-miss water cooler television.
#8: South Park (Jim's pick)
South Park, which premiered on the lowly Comedy Central network in
1997, really hit its stride as we entered the aughts. At first a
raunchy cartoon which relied on foul-mouth kids and absurdist humor
(Don't believe me? Remember the first season? Cartman Gets an Anal
Probe, Weight Gain 2000, Mecha-Streisand, Pinkeye, and Starvin' Marvin
all aired during the show's first year), the 1999 feature film marked a
huge change in the show's quality, even if we didn't know at the time.
Audiences expecting a rough, raunchy, over-the-top, extended episode
were treated to a full-fledged musical, with superior animation, Saddam
Hussein and Satan having a love affair, the sound of a giraffe dying,
and so much more.
When the show returned to the airwaves for its
first-movie season (Season 3), it certainly kicked it up a notch, but
it still hadn't hit on what made the show a truly wonderful reflection
of the aughts -- which is appropriate enough, as season 3 aired in
1999. Season 4, premiering in April 2000, gave us one of the most
draw-dropping awesome moments that I can remember seeing on TV. Mere
days after federal marshals raided the home in which Cuban refugee
Elian Gonzalez was staying in Florida, South Park aired the
"Quintuplets 2000" episode. In it, a group of Romanian contorting
quintuplets attempt to seek refuge in the US. And there is a custody
battle. And Janet Reno raids the house where they're staying in an
Easter Bunny suit and wielding an M-16. Hilarity ensues.
Seeing this air a mere three days after the Easter
Sunday Gonzalez raid was a revelation -- that a TV show that wasn't SNL
or The Daily Show could react so quickly to world events. South Park
continued to do this through the aughts -- the boys went to Afghanistan
shortly after 9/11 (in a send-up to the Looney Tunes propaganda films
of the 40s), find a bearded Saddam Hussein in a Canadian spider hole,
and deal with Britney Spears' self-destruction.
The show has also given us two of the best
characters in animation history: Eric Cartman and Butters. And it has
used them to their fullest potential. Who can forget Cartman's maniacal
plan in "Scott Tenorman Must Die," or Butters struggles with his
father's homosexuality (and love of Bennigan's) in "Butters' Very Own
Episode"?
Look, I could go on all day about this. Instead,
I'm just going to list a few other awesome things about South Park: It
taught me the true story of the Mormon church AND Scientology. Towlie.
ManBearPig. Imaginationland. The Warcraft episode. AWESOM-O. Butters'
"kissing company."
Do you know what I am saying?
I see your animated sitcom that originally started airing in the late 90s and raise you.
Surprised
to find the show this high on my list? Well, as the Professor would
argue, we altered the outcome by measuring it. In the other alternate
universe that exists (according to Futurama there are only two), this
show was a huge hit. A funny and literate animated series from the
creator of the Simpsons that also happens to be beautifully drawn,
endlessly inventive, feature incredible voice talent, and (unlike the
Simpsons) narratively compelling? How did this not work? Ironically for
a show about the future, it may have been ahead of its time. The show
premiered when Fox first started airing Sunday football, and the
uncertainty of game end times resulted in the show being pre-empted,
rescheduled, and basically hard to find (a problem which Fox has only
recently solved). I loved it, and I only watched the first two seasons
as they aired - you couldn't find this show even if you wanted to!
Time
has been kind to Futurama; like Family Guy before it, the intensity of
its fan base led to huge ratings on Cartoon Network's Adult Swim, a
resurrection on DVD, and soon, new original episodes.
#6: The Shield (Jim's pick)
Premiering on FX in 2002,
it could be argued that The Shield was the first high-quality original
drama to be produced for basic cable -- paving the way for Mad Men,
Damages, and Breaking Bad. The show focuses on a cop with questionable
ethics, Vic Mackey (Michael Chiklis) who leads an anti-gang "Strike
Team" in the fictional Farmington section of LA, one of the city's
roughest neighborhoods.
The series' first episode shows us how far Mackey
is willing to overstep the law. Along with partner Shane Vendrell
(Walton Goggins), they kill a fellow member of their team (Reed
Diamond) because they believe him to be a mole sent in by the brass to
go after Mackey and company because of their illegal activity. (They
are right, by the by).
The first episode really sets the tone for the
series, which is shot in a hand-held cinema verite style. I don't know
if they used a tripod in any shot over the course of the show's
7-season run. Visually, the show is super-grainy, with lots of blown
highlights and wonderful available-light night cinematography.
If the show was just dirty cops doing bad things
and kicking ass on the street, it wouldn't be worth talking about.
However, Mackey's strike team is surrounded by a fantastic ensemble
cast. Dutch Wagenbach (Jay Karnes) considers himself to be the best
detective in the building, relying on psychological profiles and
attempting to think like a killer to catch them. Claudette Wyms (CCH
Pounder -- most recently seen on Brothers, I'm sad to say) is his
partner, who just knows that Mackey is dirty (if only the bosses would
let her prove it!)... and there is politically-ambitious precinct
captain David Aceveda (Benito Martinez -- who we'll see palling around
with Jack Bauer next month), who just wants to keep everything clean
enough so he can become mayor.
The show transcends these stereotypical character
descriptions. There is not a single character on the show that isn't
fleshed out by the writing staff and made real by the actor. The series
is consistently excellent from season 1 through the end... but the
reason that it's on this list is because of Forest Whitaker's amazing
turn as Internal Affairs detective Kavanaugh in season 5. Whitaker
steps in out of nowhere and become's the show's star for a year, and
sets the show up for its defining moment -- the final episode of the
fifth season blew me away the first time I saw it. It's one of the few
times that I've watched a TV episode within days of first viewing, and
have revisited it on DVD on a few occasions. However, saying that The
Shield is worth watching for that episode alone would not be doing the
show justice -- it's worth watching for every episode.
#5: The Office (Jesse's pick)It is a small miracle that this show is still on
the air. After watching the (still horrible and unforgivable) first
episode, I didn't watch the show for another three years. By that time,
the critical buzz about the show's quality had built to such a roar
that I could no longer ignore it. As the show has developed, it has
relied less and less on the cringe humor that defined its British
predecessor, and has found its own voice.
Starting out as a showcase for Steve Carrel as horrible boss
Michael Scott, the show now milks laughs from every corner of its
talented ensemble. The driving emotional force of the show, the
coupling of Jim and Pam, has completely sidestepped the "Will they or
won't they?" question by getting them together and making them the most
likeable couple on TV. In fact, I would call the plotting on this show
sneaky good. The typical open-ended scripted show on American
television finds itself hitting the reset button year after year,
making story arcs retrospectively meaningless. Now, think about The
Office. The Michael Scott Paper Company. Jim's transfer to Hartford.
The cuckolding of Andy. Rarely do the story arcs on this show exist
just to chew up time. Instead, they provide a sense of compelling
forward momentum from week to week that never feels cheap or unearned.
Also, jokes.
#4 - Curb Your Enthusiasm (Jim's pick)
Let the sitcoms roll!
Larry David's follow-up to Seinfeld was a documentary-style show about
a fictionalized version of himself, and is largely improv'd. Like most
improv comedy, it took a little while for the show to hit its stride:
the first season is a bit rough around the edges, but the from the
second season on the show is gold, Jerry, GOLD.
Viewers familiar with Seinfeld will quickly
recognize Larry as an unfiltered version of George Costanza. Not
surprising, as the character was based on him. He and his wife Cheryl,
living a life of luxury off of the Seinfeld money, are constantly
bumping heads while doing rich liberal things (saving the planet,
hosting fundraisers, driving a Prius, etc etc etc). Larry's cohorts
include his agent Jeff, Jeff's wife Susie (who shares more in common
with The Suze than a name... let's just say, she's got a mouth on her),
Richard Lewis, Ted Danson, Wanda Sykes, Rosie O'Donnell (Larry is a
friend to the lesbians!), Marty Funkhauser (played by Super Dave
Osborne) and others.
And there's no shortage of celebrity run-ins --
let's not forget that Larry lives in LA. In season 2 he injures Shaq,
only to later play Scattergories with him in the hospital. Later in the
series he stars in a stage production of The Producers -- first
opposite Ben Stiller, and later David Schwimmer.
The show keeps getting better and better. One of
Larry's funnier -- and more awkward -- traits is his inability to talk
to black people without discomfort (then again, there is little that
Larry does without discomfort). This leads to encounters with a rapper
named Krazy Eyez-Killa, and a later, classic sequence where he and
houseguest Leon Black (Larry is hosting a family of displaced hurricane
victims named the Blacks.. and they are Black.... which leads to the
classic exchange: "Oh, your last name is black, and you're black.
That's like if my name was Larry Jew!") drive around LA trying to
locate Larry's stolen Joe Pepatone jersey.
The most recent season of Curb really cements its
place in the pantheon of shows of the aughts. Larry gets the cast of
Seinfeld back for a reunion show -- and reminds us that yes, Jerry
Seinfeld can still be funny. I'd forgotten that was possible.
And if you're still not convinced, do you want to hear a joke?
A
girl is getting married. She goes to her mother, and she says she's
concerned about the wedding night because her opening is really big.
Her mother says "That's fine, do what I did. Just stick a piece of raw
liver inside, he'll never know the difference." So on her wedding
night, she slips the liver in her opening. They make love all night,
for hours and hours. She wakes up, her husband is gone, but there's a
note. "My darling love, I would be here, but I had to go to work so
that I could earn money to buy you a house, flowers, and all the
wonderful things that you desire. I love you, I love you, I love, and I
cannot wait to see you this evening. PS, your cunt is in the sink."
Now pictured this delivered by Super Dave Osborne
to a rather disgusted Jerry Seinfeld and you'll understand why Curb is
the best comedy of the aughts.
#3: Lost (Jesse's pick)This feels a little premature. Depending on the final
season, this could turn out to be one of the best shows ever made, or a
total disappointment. Such is the highwire that this show has walked
from its premiere season. But, as with other seasons, I remain wildly
optimistic.
When it premiered in 2004, it was a huge hit,
culminating in one of the most talked about season finales in recent
memory (
we're gonna have ta take tha boy now). But as Season 2 wore on
and it became clear that answers to the shows biggest questions would
not be quick in the offing, the show's audience dwindled and doubts
started to creep in. Was this story actually going anywhere, or just
spinning its wheels? The doubter's crescendo reached its peak during
the first 6 episodes of the 3rd season, which found our heroes spending
most of their time locked in cages and basically boring the crap out of
us. Ironically, this turned out to be the best thing that could have
happened creatively for the show; the creators negotiated a series end
date with the network that allowed them to pull out all the stops, and
it has never looked back.
Lost is a show built for the internet
age. Its myriad mysteries, clues, and mysterious clues have been
obsessed over in detail in the way that only nerds can (you've seen
Lostpedia, right?) In much the same way, the internet influenced the
direction of the show; its head writers, Carlton Cuse and Damon
Lindelof, have made no secret of the fact that they get caught up in,
and sometimes find themselves guided by the internet community (as the
introduction, backlash, and subsequent elimination of Nikki and Paolo
demonstrate).
While the seasons have seen ups and downs, the
defining moments of Lost have always been in the beginning and the end;
nobody does a season premiere or a season finale like Lost. I would
argue that the season 4 finale ("WE HAVE TO GO BACK!!") was perhaps the
best hour of scripted television this decade. Which is why, as the
premiere of the finale season approaches, I find myself absolutely
giddy with anticipation.
#2: The Wire (Jim's pick)
Part of me is putting this here just to
screw with Jesse... but also to give him the opportunity to make an
upset pick of his beloved Battlestar: Galactica (the Edward James Olmos
years) over the crowd favorite Mad Men.
Where to begin with The Wire? A show with so many
layers and threads that it's like an onion made of of lots of tiny
threads. On its surface, it's a cop show. Not in the Steven Bochco vein
that started with Hill Street, was taken to the next level with NYPD
Blue, and finally evolved into The Shield... not in the Law and Order
procedural vein, and not in the vein of another David Simon-inspired
show -- Homicide: Life on the Street. No, The Wire is something else
altogether.
The Wire is a five-year exploration of the death of
an American city -- in this case, Baltimore, Maryland (aka Bodymore,
Murderland). We start with cops -- Jimmy McNulty, an eternal drunkard
who shows no signs of ever leaving an adolescent state. Bunk Moreland,
Jimmy's dapper partner. Kima Greggs, a tough-as-nails lesbian. Herc
& Carver, two narcotics street cops who are more muscle than mind
(well, Carver's smarter than Herc, but you get the idea). Lester
Freeman, a mysterious man who dresses himself with 'tweedy
impertinence.' And Roland Pryzbylewski ("Prez" or "Prezbo"), the
fuck-up son-in-law of a district captain who shot up his own police
car. These misfits are thrown together under the command of Cedric
Daniels, a politically ambitious unit commander. Thanks to McNulty's
manipulation of the system, they are tasked with bringing down the
local drug lord -- Avon Barksdale.
And that's where we meet the street. Avon's nephew,
D'Angelo, is a low-level operator, lording over slingers with names
like Poot and Wallace. Avon's right-hand-man, Stringer Bell,
understands the need to move away from street violence... but Avon?
Let's just say he's more into that gangsta shit.
And that's just the first season. Each year The
Wire explores a different aspect of Baltimore. The second season, in a
drastic departure, is about white people. In it, we follow dock workers
as they bring drugs -- and eastern European hookers -- into the
country... the cops get involved only when they realize that the
hookers are, unfortunately, deceased.
The third season takes us back to the street, and
starts exploring the political corruption that allows all this to go
on. Land grabs, money laundering, that kind of stuff. Season 4 -- the
best single season of television that I've ever seen -- takes us into
the school system. Season 5? The death of journalism, shown through the
eyes of the staff of The Baltimore Sun. Of course, each story builds
upon what has come previously -- we don't stop paying attention to the
drug dealers just because we start following the kids. Quite the
opposite -- we see how the kids and drug dealers work together, find
out which kids will be dealers, which will be hitmen or stickup
artists, and who may possibly make it out.
Lastly, no review of The Wire will be complete
without a mention of Omar Little. Omar is Barack Obama's favorite TV
character. Omar is black, with a huge scar on his face (it's real,
actor Michael K. Williams got in a 'barroom brawl'). He's gay. He
carries a big, big gun, and he whistles 'The Farmer in the Dell' as he
robs drug dealers of their money and merchandise. There is no way that
you could watch The Wire for any significant amount of time and not
fall in love with the idea of Omar Little. No way.
That brings us to the show's greatest flaw --
watching it for an significant amount of time. For the uninitiated, the
show is really tough to get into. Characters are introduced at
seemingly lightning pace, and it's tough to keep everyone straight. The
show takes a lot of concentration, and it gets off to a slow start. The
fact that season 2 resets everything and starts concentrating on white
people (who are much less interesting than black people. It makes me
ashamed to be a honky) doesn't help in the least. However, getting over
the slow start and the seeming 180 degree turn that is season 2 is a
rewarding experience indeed. The inaccessibility - and the fact that I
really wanted to write about The Wire, moreso than Jesse Craft (who,
when I was discussing my latest rewatch of the series, admitted that he
did not remember who D'Angelo Barksdale was), is why this show is at #2
on the countdown. I think it's safe to say that this is a photo-finish,
too close to call, a tie, a push. Or you can just say that the #1 show
is #2 on this list because I'm a selfish jerk. I'm fine with that.
#1: Mad Men (Jesse's pick)
Jim... how could you? Did you put the Wire at #2 just to screw with me?
You and I both know that not only is The Wire the greatest show of the
Aughts, it might well be the greatest show of all time. Well, whatever,
rules are rules, and since you jumped the gun on The Wire, I'm left
with what is my second favorite show at #1.
Because it must be
number one, I'm going to write this review from the point of view of
someone who loves Mad Men more than both of us do: the Suze. When you
and I watch Mad Men, we see a great character drama set in an
impeccable recreation of a certain time and place that can whip from
engrossing and soapy melodrama to black comedy and back again to tragic
in a matter of minutes. (I would now like to state that the "Carousel"
scene from the Season 1 finale is one of the crowning achievements of
modern television. I think I might have actually clapped in my living
room when it concluded.) But the Suze, who is in the biz, sees all that
and more. If she could pick a time and place to be born, she would pick
Don Draper's office in Sterling Cooper in 1959. She would be Don
Draper. Her office is full of vintage design books featuring ads from
the 50s and 60s. We went to Borders yesterday, and she bought two
calendars: a 1950s pinup calendar, and a Mad Men calendar. Two
calendars! 2010 is only one year, why do you need two calendars to keep
track of it?
The fun of Mad Men is being wholly transported to
another era. But to really love Mad Men, you can't just appreciate its
artistry. You have to want to live in it.
-----
Didn't see your favorite on the list? Give us just a second to justify ourselves. Here's how to read the following:
1 - Shows we loved but couldn't squeeze into the Top 10 cause, well, there are only 10.
2 - Shows we watch and like but aren't Top 10 material
3 - Shows we watched, or tried to watch, and hated
4 - Shows we didn't watch
5 - Shows that were amazing but didn't last long enough for real consideration
Jim justifies himself as follows:
1 -
Arrested Development (Wonderfully paced, manic, crazy, off the
wall, original, but I decided that Curb's longevity won out as far as
comedy goes),
The Sopranos (A popular pick, a popular show, but it's no
Mad Men, that much is clear after three years -- although it's nice to
know that Little Stevie can act),
The Daily Show (Has never been
appointment or even DVR TV for me),
Buffy the Vampire Slayer (the best
season -- 3 -- was in the 90s... and that cements this is a 90s show
for me),
Angel (I really disliked season 4, but thought 3 and 5 were
freaking brilliant... still, it didn't make the cut),
30 Rock ("THE
COSBY SHOW LIED TO ME!"),
True Blood (Too young, perhaps for the 2010s)
2 - Sons of Anarchy (Biker Hamlet is pretty young, but I don't see this
ever cracking the top ten), House (to quote Jesse Craft, an A character
on a B show), The Colbert Report (Never got really enamored with this
one. Sorry Stephen), SNL (Uneven, uneven, uneven. You've got stick
hands. I've got real hands. We can still hang out), The Simpsons (Its
best years did not happen in this decade)
3 - Veronica Mars (The lighting on this show was atrocious), Firefly (I just never got it. The movie was ok)
4
- American Idol (Reality competition TV is not my bag baby {how's that
for a dated reference?}), Survivor (ditto), Amazing Race (double
ditto), Battlestar Galactica (Is Lorne Greene in this one? Or is he
dead?), Deadwood (This has cowboys, right?), Six Feet Under (Dexter is
in this one, no?), Friday Night Lights (Football!), The West Wing
(Politics! Martin Sheen!), Breaking Bad (Cancer! Drugs! Tim Watley!),
Damages (It's on my netflix queue at position 50 or 60
5 - Pushing
Daisies (Unique, original, awesome, but too short), Studio 60 on the
Sunset Strip (Brilliant for 3/4 of a single season, then it got
super-preachy), Carnivale (Clancy Brown! I've still only seen the first
half of the series)
Jesse justifies himself as follows:
1 -
Battlestar Galactica and
30 Rock are my greatest regrets. BG gets nixed because no series finale has ever done more to damage the goodwill garnered over the course of a series than that one, 30 Rock because it slipped to #11 with a so-so 3rd and 4th season.
Veronica Mars had one great season, one good season, then one pretty lame one.
The Daily Show and
The Colbert Report also got squeezed out of my list.
CSI (original flavor) can be cool and brilliant at times. If you haven't seen the Quentin Tarantino directed Season 5 finale, you should check it out.
Generation: Kill was a miniseries, so I don't know if it qualifies, but it was brilliant.
2 -
House, House, and House again.
So You Think You Can Dance is a favorite of mine, but I wouldn't sacrifice my cred on this. The later years of
Buffy also fall into this category. Seasons 1 and 5 of
Angel are brilliant, bookending 3 years of *shrug*.
Project Runway actually had a couple of watchable seasons, but too often sacrificed annoying drama at the expense of me giving a shit.
American Idol is like watching a can of soda. Fizzy and popular but ultimately unsatisfying.
Damages lost me during a busy TV season in its second year. Should have stayed in the summer.
Family Guy's got jokes and not much else. Which is fine, I like jokes.
3 -
The Shield. I watched one episode, and it made dizzy. There were also alot of jokes about a bathroom not working. GROUNDBREAKING TELEVISION!
Nip/Tuck,
Six Feet Under, and
America's Next Top Model form the unholy triumvirate of Suze Television. And for the last time, Kevin:
John from Cincinatti was horrible.
Dollhouse (sorry, Joss).
4 - I've seen some of
The Sopranos but not all of it (all of Season 1, which was admittedly great, and then the series finale, also great).
Deadwood.
Entourage.
Arrested Development.
5 -
Firefly.
Pushing Daisies.
Community is off to a great start, but its only 10 or so episodes in.
