Curb Your Enthusiasm: Season Two (2001)

Creator: Larry David

The chain reaction humor, the miscommunications, the victim of circumstance, all those elements that were at play in the first season of the show are once again on full display here in the second. In some cases they're refined and done even better, but most importantly there are some stakes that are introduced. Larry pitches a TV show with Julia Louis-Dreyfus and his actions during the show actually have consequences for how those pitch meetings go, which is to say not well. There is real damage done to his career and personal relationships. Now the show is still very episodic, as the TV show pitch plot comes and goes, and there's not much of a serial narrative.

The show still is a joy to watch just because it's quite expertly plotted, though the structure is a little familiar now, and so we're pretty sure that the odd thing that happened to Larry in the beginning of the episode is going to come back to bite him in the ass later on. One particular episode that stood out was the episode with Shaquille O'Neal. That episode was special because it introduces a new experience in Larry's life. We've been seeing the same side of him for the whole show but that episode we see a different side, a side that is satisfied with the worlds reaction to him. He finds himself in a situation in which he doesn't have to deal with people anymore, and he loves it. I definitely hope for more adventurous episodes like that one in the future. It's a hilarious show that I think has the potential to be even better.

Grade: B

My Favorite Television Shows of 2012

The greats continued to be the greats this year. Only two of the ten shows I mention in this post are new shows (and one of them isn't even coming back for another season). So it's basically an opportunity to continue to shower praise on the shows I've already praised so much already. As always, I haven't seen every show, though one particular show I feel that I may have liked quite a bit had I gotten to it is Treme. Maybe next year.

Homeland: Season Two (2012)

Creators: Howard Gordon and Alex Gansa

 It was in the first half of this season when I proclaimed Homeland to be the next Breaking Bad. I said this mostly due to the unpredictability of the plot, and I'm not talking about the unpredictability of what things will happen, but of when things will happen. Like Breaking Bad, this is a show in which you eagerly anticipate every single episode with bated breath because you have no idea what crazy plot twist will occur on any given night. Also like Breaking Bad, our main character is a fascinating and original character who is brilliant yet deeply flawed. By the end of this season though it's clear that Carrie is not the the only "main" character of the show, because Brody is given an even larger presence this season than the first. Damian Lewis puts in a performance just as good as Claire Danes, as he plays a man stuck between a rock and a hard place, carrying secrets upon secrets. In the first season Carrie lost her mind due to bipolar disorder, this season Brody also loses his mind but it was due to the overwhelming amount of mental stress placed on him by all the secrets he was carrying.

As compelling as the show is though, it did falter a bit this season in expanding the story and becoming almost 24-like in it's convenient plot points. It didn't quite retain the intimacy and subdued storytelling of the first season, and so the plot sometimes overwhelmed the characters and themes. Even throughout this 24 phase the show was still exciting and suspenseful, so there was never a point where I started to dislike the show, but there were moments where it turned into the show that I fear may turn into someday, one that you love but still accept the flaws of. But then the show regained its footing with a superb finale in which personal conflicts rose once again and secrets starting piling up. It set the stage for a third season that could go anywhere, and since the writers of this show are clearly talented, this gives me optimism that this newfound freedom from plot will turn out to be good for all of us.

Grade: B+

The Civil War (1990)

Director: Ken Burns

History can be just as compelling as any subject, fact or fiction. Besides the great storytelling that can be inherent in history, there is the bonus of knowing that the story you're watching has certainly happened therefore you can never accuse a story about history of being "unrealistic". When we see the many Civil War anecdotes that Ken Burns tells us during this almost 11 hour long documentary minseries, we don't question their authenticity, we just take in the emotions and ideas expressed through those stories. It makes those stories that much more effective. This expansive and ambitious documentary series is great accomplishment just on the basis of of its scope. We get the history of a grand event that has had a large impact on the world today, and multiple smaller stories that take us into the real America during the Civil War. It's an extensively researched and detailed series that took five years to finish, one year longer than the Civil War itself.

Burns' trademark classical documentary style that has been copied so much now is in full use, but despite the fact that we've seen so much of this "conventional" style in the 20 years after this film, the style rarely inhibits the film. Getting actors to recite letters, or using slow motion zooms on photographs accomplish the goals of Burns. He gets you into the world and connects you emotionally to the soldiers, the politicians, and ordinary people involved through the melancholic and humorous stories told by either the actors or talking head historians (very few appearances by them I must add). The grand scope and long length of the film enable Burns to not just tell the whole story event-by-event of the Civil War from start to finish, but also take many digressions along the way by looking at issues like women in the war, sanitation issues, and pardons for deserters. Not every digression is interesting though, and if I could change one thing it would be to add more about the political issues going on during the war rather than soldier life. Though the film can once in a while seem like a dull moving textbook, we also get somethings that textbooks overlook. These are the smaller stories, the moments and unimportant individuals who lived during this enormous conflict that created, as Abraham Lincoln called it, a new birth of freedom.

Grade: B+

The Wire: Season Five (2008)

Creator: David Simon

Lets get this out of the way first, if I had to rank each season of The Wire I would pick season four as the best and season five as the worst. But even the worst season of this show is better than almost anything on television right now. That just goes to show how great this series is, and why it's justified when people say that this show is the best ever. This final season had a few goals. The first was to bring in the institution of journalism in the world of The Wire, a profession that creator David Simon knows a whole lot about since he was a Baltimore Sun reporter before he started the show. The media is an appropriate focus for the shows final season because the media is the middleman between the people and the governmental institutions and what keeps the people from knowing about the failures of those institutions. Simon shows us why the media is as guilty as all those other institutions when it comes to the question of why nothing ever changes. The media is just another cog in the machine, being oiled by the same forces of surface-level achievement and personal success.

The second thing the season did was to give us another Hamsterdam-like solution and then shoot it down. This time we see that even when we have good people in office, getting resources to where they belong can be difficult, and so we observe what kind of drastic things need to happen in order for those resources to come. We see McNulty invent a ridiculous fake serial killer in Baltimore, but it's quite tragic how serious he needs to make it and how he needs to sacrifice his whole career in order to get the resources to fix the real problems. That reflects a theme that The Wire has advanced over and over again: The individual gets devoured by the institution. Doesn't matter if the individual does the right thing or the wrong thing, they will get devoured. It all also ties into the lies that fund all of these institutions. The newspaper gets a chance to win Pulitzer's because of a reporters exaggerations and lies the same way the police department exaggerates stats to fake success and maintain funding. The third and final thing this season does was to meticulously craft and conclude the stories of all these characters in a way that ends in mostly the same way it all started. That's the conclusion that Simon wants and that's what he shows. Despite all the strong idealistic individuals, everything is cyclical, and everything stays the same. The game is the game, and the game will always stay the game.

Grade: A

Louie: Season Three (2012)

Creator: Louis CK

 Last season, Louis CK gave us what I saw as of the best seasons of TV I had ever seen. It was completely atypical of any show that had ever aired in not only form, but also content. The show encapsulated the human condition better than any show that year. So it's pretty high praise when I say that the third season completely met my very high expectations. At the most basic level, it's a show about a man in a mid-life crisis, but that description really doesn't do the show justice. Louie is a man who takes care of his kids half the week, but he is searching for something to focus his attention in that other half of the week. This season he looks at many things to fill the void he has in his life. He comes across many women who he attempts to court, he finds a new career goal to strive towards, and even tries to make a new Cuban best friend.

In typical Louie fashion, he's not too successful with those endeavors, but it's the journey that is so touching and so affecting. As a director and writer, Louis CK is able to capture the most complicated of human emotions and feelings. He has a talent that outshines most Hollywood filmmakers. A great example of this is when Louie goes to meet his father for the first time in many years. This is a show about what Louie is feeling, so appropriately the audience views reality through Louie's eyes, and so when he is in on his way to meet his dad there is tug-of-war going on his head and Louie actualizes that brilliantly on screen through surreal moments that bend reality for the sake of Louie's inner feelings. The ultimate highlight of the season is most certainly the "Late Night" arc, when Louie gets the chance to replace David Letterman. Those episodes (which are really one big movie) not only provide a commentary on the vicious way show business makes enemies out of friends, but also give us as a "Rocky"-like arc for Louie that should have been cliche, but somehow managed to be genuinely triumphant while still keeping the downer tone and ideology of the show intact.

There were moments of the season that were certainly not as creative and ambitious as Louis CK's best work, but any show with the vignette structure will have its low points. Louie counterbalances those low points with some extraordinary high points, all capped by the amazing transcendental season finale in which Louie literally gets away from it all and goes to China. What did he do there? Nothing really. But it felt completely right, and that's what Louie is about: feeling right.

Grade: A

Curb Your Enthusiasm: Season One (2000)

Creator: Larry David

It was hard for me to figure exactly what this show was trying to do in its first season, but it was certainly funny and showed potential. Larry David plays himself, and he plays sort of a social observer role poking fun at social norms. His character is in the vein of Woody Allen, but without the personal stakes that Allen had in his films. David shows great talent in plotting episodic TV comedy, but I found his character mostly one-note, because unlike Allen's films, there wasn't much at stake. This is a show though that has gone on for many seasons, so I would not be surprised to learn quite a bit more when I see more episodes (and similarly I can't imagine a show like this going on for 5+ seasons without stakes).

The average episodes basically seem to unspool a yarn of unfortunate events that occur due to unforeseen events that unfold due to usually some innocent action that David did. It's the classic comedy of chain reaction. For example we might see one very subtle racist comment that David makes becomes so much more by the end of the night, affecting his wife's health. Even though the dialogue is improv, the plotting sure isn't, and the plotting is done very well and seems almost effortless which is remarkable considering the planning that has to go into writing these types of stories. What the show does well this season is establish a tone, and a feel for who David is. I hope the subsequent seasons do better in creating cohesive stories that actually affect David's life more substantially.

Grade: B-

The Newsroom: Season One (2012)

Creator: Aaron Sorkin

 If I were to extrapolate Aaron Sorkin's political/cultural views from this series and compare them to my own, they would compare fairly favorably. I have very few qualms with Sorkin's political views and agree wholeheartedly with most of them, yet I still have a big problem with this show, and that's because those views are never proven or argued. Sorkin's ideas and views are broadcasted loudly and literally to the audience. This is a television show that does not show, it tells. There are some great moments of wisdom from Will McAvoy or the other characters, but they only work as moments independent from the narrative. That's why the opening scene of the show went viral in our world (the blind nostalgia of that moment actually makes it one of the few things I actually don't agree with Sorkin on). It worked great as an individual scene, but in that sense it's no different from The Daily Show, which does much of what this show wants to do without the illusion of trying to be an actual drama.

While Sorkin was almost never subtle in shouting his hopeful and sometimes naive ideals there were a couple of moments that seemed to actually take place in the real world and show the difficulties of attempting to be righteous. The main one was the episode in which McAvoy goes extremely hard on a homosexual black Rick Santorum supporter, insulting the man on national television, and in the same episode Olivia Munn's character breaks journalism ethics in the pursuit of what she thinks is the truth. That episode showed that you can try too hard to make the world a better place, and that good intentions do not always result in good results. It was easily the best episode of the season in a season filled with just odd moments in which the news team would seemingly travel into the future and get information that they would use in their news reports, Sorkin was trying to make a statement on how the news should have been covered, but he was doing so frequently with the benefit of hindsight. All I've talked about so far pales in comparison though to the ambivalence I felt to the personal stories of the characters. I did not care at all if whatever-his-name got with whatever-her-name or vica versa. The relationships had almost nothing to do with the main goal of the news organizations to do the news better, not literally nor thematically (see the recently reviewed Broadcast News, or even The West Wing, if you want to know what I'm talking about). Having said all of this though, it's not a show I'd recommend, but it's a show I will continue to watch because I am deeply invested in the subject matter of the news media. And even though I like Sorkin much of the time, I also very much enjoy criticizing him.

Grade: C-

The West Wing: Season One (2000)

Creator: Aaron Sorkin

 Spending my summer interning on Capitol Hill in Washington, DC seemed like a good time to start watching this loved and popular Aaron Sorkin show about the minutiae of daily life in the west wing of the White House. There are a handful of main characters, all of whom work for the President of the United States. In true Sorkin fashion the characters are definitely idealistic, but the show recognizes that the world they occupy is not a world of idealists. I was most impressed with the fact that the show is not afraid to display the characters struggling to get things done the right way. It's the ultimate conflict between compromise and principles (Sorkin's new show The Newsroom mostly fails at this, but more on that in another post). Throughout the season the main arc seems to be this battle between playing it safe to stay alive and taking risks by doing the right thing. It's a conflict that's been present for as long as politics has existed and Barack Obama is proof that it's definitely still a huge issue today.

One of my best ways the show displayed this conflict was the personal issues of the staffers. Sam Seaborn loved a call girl, and even though there's nothing wrong with that, it's still going to be a problem because of how it might be viewed by the press. Another great thing the show did is make sure the personal stories and personal relationships of the characters were focused on the effect they had on the job they were doing. This is a show about the job these people are doing first, and the people who have the job second. We see the negative effects the time and energy the important job has on the personal lives of the characters (though I wish we would have seen more of this). While the conflicts in the job is shown very well, I do think the characters are a little too-good-to-be-true. This is most evident when it comes to President Bartlett. There are a few moments where he does things that make him out to be some Gandhi-like figure. There is a scene early in the season in which the President lets his emotions get the best of him and almost orders an attack on hundreds of innocent civilians, and I would have liked to see more of that side of the President. But I will say one thing, all of the characters on this show are incredibly likable, and because you enjoy spending time with these people it makes it so much easier to watch the show. You'll know what I'm talking about when the season-ending cliffhanger occurs and you find your heart beating a million times an hour.

Grade: B+

The Wire: Season Four (2006)

Creator: David Simon

 After three seasons in which the scope of the urban American problem was expanded each season, the fourth season of The Wire takes a few steps back and shows us the root of the problem. It all begins with the children on the street. Maybe you were wondering what all the gangsters on the street did wrong as kids to get into this situation. Why did they end up on the corner with drugs and a gun? And why can't one of these kids just focus, go to college, and make a life for himself? Well here is your answer. These kids are smart, clever, good-hearted, and innocent, but the environment they live in draws them into the harmful sludge of urban society. It's not even that these specific kids were at the wrong place at the wrong time, because the thing is, every kid in their neighborhood is in the wrong place at the wrong time. The fates of these children were planned since the day they were born.

The season follows four kids, all of whom take very different paths that seem to end up in places not too far from each other. They all display a potential to do something, to be something more. But if you've seen The Wire you know not to expect a happy ending where one of the kids from the ghetto grows up to be that astronaut he always wanted to be. But the show doesn't shy away from showing success, we see a relative win with the fate of one of the kids. But even then, we see how the system makes that success so much harder than it needs to be. The ending of this season will have you in tears, and it won't be because of some kid having a cathartic breakdown or someone dying, it will be because of the overwhelming sensation that comes over you in which your emotions finally take in the realization about how messed up everything is. It's a feeling that I've honestly never had before watch any TV show or movie. I've never felt a grander sense of tragedy than I did when I finished season four of The Wire. This is why that out of all the great seasons of The Wire, this season is the greatest.

Grade: A

Girls: Season One (2012)

Creator: Lena Dunham

This show about a mid-20's aspiring female writer living in modern-day New York City initially caught my attention due to its refreshing authenticity. The main character, Hannah, was slightly overweight who was definitely not your average Hollywood starlet. There was sex, and it was not glamorous and wild. The cast of characters were people who I could imagine meeting in the real world, flaws and all. Much of this is because creator/writer/director/actor certainly brought much from her own life into the show and that brings a lot of authenticity and honesty into the characters and situations.

Hannah is by no means the greatest person and is certainly not very "likable," and that's not a flaw. It's actually a strength. Hannah is self-obsessed and she believes that the problems she has in her life are unique to her, even though clearly they are not. This self-obsession is the main constant of the season. It's the reason she has most of the problems in her life, and it's the reason she can't solve most of those problems. While Hannah and her friends represent a small slice of humanity, this theme is what enables it to expand into other facets of culture and different types of people. The show does comment on society occasionally, but it's above all about individual problems (if it could do both it would be as good as Mad Men). As good as the show is, there is definitely room for improvement as well. The momentum of the narrative could be done better, and there are lots of moments on the show that could have a greater impact with a better visual eye. But Dunham is young, and if she is someone who learns and improves from the past, then she is definitely going to be a filmmaker to watch.

Grade: B+

Mad Men: Season Five (2012)

Creator: Matthew Weiner

 The 1960's are famous for having been the era of great social change, and Mad Men has been well aware of this during its run, but we haven't seen it manifest itself completely. Up till the fourth season it was mostly hints of what was to come. But now that we're in the second half of the 1960's we're seeing a lot more of the actual social change and seeing how it is affecting both the young and old characters. This season takes on this divide between the young and old workers head-on. The first half of the season is about the old making way for the new. We see people like Don Draper and Roger Sterling struggling to keep up with society's new trends, something that's pretty important to their jobs. The second half of the season we see their responses to that struggle, which ends up being denial. They have an increased ambition to keep up with the younger people and try to get back what they once had.

For the main character, Don Draper, we see this not only in his professional life, but his personal life as well. The beginning is the best of times for Don. He gets rejuvenated when he starts a new firm, a new account, a new family. But once that beginning ends, the dissatisfaction comes back, and a search for a new beginning begins once again. This season shows us the negative consequences that come with ambition, which is a constant sense of dissatisfaction. Mad Men goes deep into the human psyche like no other show has done before, and it does so in a sophisticated, artful, and subtle way. The show has created such complicated characters in a world that is so much like our own that makes it so easy to react to even the smallest of changes or events in their lives because we know exactly what they're going through. This is because Mad Men is a show about one of the most universal things there is, the endless pursuit of happiness. And what is Don's definition of happiness? "It's the moment before you need more happiness."

Grade: A

Veep: Season One (2012)

Creator: Armando Iannucci

 If you've seen In the Loop, the 2009 British film by the same guy who created this show, then you'll know exactly what to expect for Veep (if you haven't seen that movie but like Veep, then you really need to watch In the Loop). The comedic style is dialogue-heavy with a bit of an absurdist slant. It takes a slightly exaggerated, but true in theory, look at the world of politics. Veep gets a lot right about politics in America, even if much of the show is a bit out there. D.C. politicians don't throw creative insults around at each other or engage in the type of shenanigans the show's characters do, but the spirit of the character's actions does ring true.

The lofty over-ambition of Dan and the slave-like loyalty of Gary are two examples of characters on the show that are exaggerated for comedic effect, but are still based on reality, and they're all the more funnier because of it. The same goes for the story-lines on the show, like Selina's efforts to get a Clean Jobs bill without making anyone mad only to find that in the end she has made everyone mad (pretty much politics in America in a nutshell). The show reveals the absurdities of not just politics, but of the human desire for others to approve. Even though the show does seem a bit slight and doesn't have goals that are set too high, it's most definitely achieves the modest goals it has for itself. On top of all of its great digs at the politics, media, and culture in America, the show provides a high and frequent dose of laughs. This is an example of a comedy that does exactly what it's supposed to.

Grade: B

Game of Thrones: Season Two (2012)

Creators: David Benioff and D.B. Weiss

 It should be obvious based on the title of the show that Game of Thrones is about the pursuit of power. The first season disqualified those who were too noble and pure to gain power in a harsh and brutal world and defined what type of people won't be taking the throne. The second season takes a step back and looks at why those who want power think that they can have it. Each of the "kings" this season who want to become king of Westeros find their legitimacy coming from different places. Stannis Baratheon finds his legitimacy coming from religious authority. Joffrey has legitimacy because of his supposed royal blood (and this a point of contention in the series). The Khaleesi's legitimacy comes from the fact that years ago her families power was wrongfully taken. Power comes from many places, but only one person can have it.

This season examines all of the rulers who want to be king, and their very different reasons for wanting to do so. By looking at the show through this thematic lens, this season was definitely better than the first one, which spent a lot of time setting up everything. But there is one thing this season didn't have that last season did, and that's a definitive conclusion to the thematic arc (I'm referring to the fate of Ned Stark in season one). The Battle of Blackwater Bay is meant to be the big conclusion to the season, but nothing really happened. It was a visceral battle that was an incredibly impressive episode, but after the battle everything more or less went back to how things were, and the pursuit of power continues just as it was before into the third season. Not only that, but the final scene of this season was pretty much the exact same as the final scene of last season. In terms of plot, not a lot of progress was made this season, though it's definitely possible and probable that this is all leading to a plot-heavy and exciting third season. But I'm not complaining. Because there was still a great deal of impressive writing this season that examined the everything from the power of legitimacy, the power of gender, the power of brutality, to the power of survival.

Grade: B+

Parks and Recreation: Season Four (2012)

Showrunner: Michael Schur

 I'm not exaggerating at all when I say that currently Parks and Recreation is the best political show on television, and by the end of its run if it continues at this level, it will be known as one of the great television shows about politics ever. This season saw Leslie Knope running for a city council position. The city council race allowed the writers to do very important things at the same time. First it enabled them to comment on political campaign and elections in general using Pawnee as a microcosm of American politics, something they do frequently and effectively. We saw unrealistic campaign promises, an uneducated electorate, the importance of photo opportunities, and much more.

The second thing the city council race did was enable the audience to learn so much more about Knope. We know her as an optimistic, idealistic, and ambitious politician who actually believes in her job and genuinely wants to make an impact in the world, but in the election we see her struggle much more than we've seen in the past. Impressively, even throughout the struggles she continues to be idealistic. Rarely do we see this type of idealistic politician character on TV actually work without coming off as naive and annoying. But the characters on this show, and especially Knope, are all charming people who want to do good, and because they are in a parks and recreation department of a small town they can do so. I can't imagine a more perfect setting for a genuinely idealistic political show. The higher up you go in the political arena, the harder it is to get what you want done, and so in a comparatively low stakes setting like in Parks and Recreation, idealism works because individuals and small groups have the power to make big impacts on a small city by doing something as small as fixing water fountains. This show is not just as good as The Office when it was at its best, but probably even better. It's not just hilarious and smart, but it can also be deeply emotional sometimes, and that emotion is honestly the most impressive quality it has.

Grade: A-

The Office: Season Eight (2012)

Showrunner: Paul Lieberstein

 I think by now it's pretty much a universally accepted idea that the Michael Scott send-off episode, "Goodbye Michael," from last season should have been the series finale of this show. The first post-Michael season has been so unambitious and left a mild taste in my mouth. I didn't hate it, because I have a connection with these characters and can always watch them, but nor did I come close to loving it. This is because there was nothing to love. The writers of this show know how to write jokes and the actors know how to deliver them consistently, but the writers have no idea how (or have no desire) to write compelling story lines for these fabulous characters.

I think the failure of this season to have any real stakes is mostly just laziness on the part of the writers. They've been at it for eight seasons, and lot of them were on their way out (like Mindy Kaling and Paul Lieberstein). So it feels like the writers are just doing the motions instead of actually flexing their creative and artistic muscles. One example is the Andy and Erin relationship. The writers tried to recycle the Pam and Jim relationship because that worked out well for them, and so the natural inclination for a business is to repeat successful strategies. It feels like the writers are making sure they save their best material for their next jobs. So the writers are getting lazy, and the actors are moving on. I guess the death of The Office is now official.

Grade: C-

Community: Season Three (2012)

Showrunner: Dan Harmon

 There's a lot of talk about how Community is so experimental and how that prevents it from gaining anything more than a niche audience, but it's really not all that experimental. It may be experimental with its form sometimes, but the characters and their relationships are pretty populist and fairly easy to digest. There may be a few times when the show has done something unexpected with the character relationships, but most often the show is pretty optimistic and "feel-good" when it comes to how the group interacts. But at the same time, the experimental form and frequent references to pop culture (including references to past episodes of the show itself) are what make this show so special and inventive.

I wouldn't say this show is particularly meaningful in anyway, even if it does try sometimes, but what it does best is take advantage of the form. This season we saw musicals, characters as video games, a horror story anthology, and more. But easily the best of the season was "Remedial Chaos Theory," an episode which presents multiple alternate realities and shows us how the group would work without certain characters. It's a brilliant episode and the fact that they fit all of that in 22 minutes is incredibly impressive. The episode represents the best of what Community can do. While this season has its fair share of great episodes, it also has many forgettable episodes and lacks a satisfying season-long arc, something I always look for in a worthwhile TV show. As fun and unique as this show is, there is actually room for improvement, and this season highlighted some of that.

Grade: B+

Justified: Season Three (2012)

Showrunner: Graham Yost

The same thing is true of every season of Justified, the first 10-12 episodes are pretty good but not great, but then the last couple episodes are flat-out outstanding and make the rest of the season better in hindsight. In the case of the third season, it's really just the final episode (final scene if you want to get specific) that crosses the "great television" threshold. As great as that final episode is, it's not enough to retroactively make the whole season great, though I certainly have a better opinion of the other episodes now. The third season is not quite as good as the second, but maybe a bit better than the first. It's uneven, but it's wildly entertaining.

The main villain of the season, Quarles, was a bit too cartoonish sometimes for my taste, but he provided some great Tarantino-esque moments that made the show all the more easier and fun to watch.  It's really at the end of the season that we find some meaningful information about him that connects him to the overall theme of fatherhood and specifically the shadows a father casts over their son. The reason the show has been faltering a bit in my view has been the lack of focus on its main character, Raylan Givens. There are many supporting characters on the show now, and it has all now become about them, rather than Raylan. Like the great pilot episode in the first season, the final episode this season was about Raylan, and that is why the episode was great. If more of the show involved Raylan's issues with his family, his work, and his temperament and including them in the main plot, the show would be much better. As it stands, the show has never failed to be entertaining, and so I cannot deny its quality.

Grade: B-

The Wire: Season Three (2004)

Showrunner: David Simon

The Great American Tragedy. That is what The Wire is about. The seasons of the show I have seen so far have all expanded the scope of the show and evolved it into not just a show about cops and crooks, but a show about all the reasons urban America, and by extension America and maybe even Western civilization in general, are in decline. The third season the scope expands up into the political world and into the dealings of the most high up in Batlimore. It is used to comment on the tragic fact that how the higher up you go in the system, the more difficult it is to reform the system. The main theme of the season happens to be reform, and how difficult it is. The first two seasons laid out the problem very well, and then this season shows the potential solutions to those problems but how implementing those solutions are not so simple.

We see attempted reforms on both the police side and on the drug side, and how in both systems the traditionalists and a variety of external societal factors inhibit the reformers from successfully implementing those reforms. The "hamsterdam" plot, in which a lieutenant creates an area of the city in which there will be no drug enforcement is a brilliant story-line. That whole plot is policy analysis at its finest, examining the factors and repercussions of realistically implementing such a policy, and what needs to be done in order to actually have it succeed. Ultimately it's a tragic story-line because it's a great idea, but the climate of modern society doesn't allow it. But the true brilliance of The Wire lies in the fact that everyone is in a gray area, even those who are trying to do right in the world. Even those who genuinely want to right the wrongs of the world are shown the negative consequences on their colleagues and their boss' when they go against authority trying to do the right thing. Once again, just like all prior seasons, we see the complex nature of the world in all is ugly glory.

Grade: A

Eastbound & Down: Season Three (2012)

Showrunner: Jody Hill and Danny McBride

 The journey of Kenny Powers has always been one in which he has consistently struggled to accept his status as a regular person after falling from so high. Season one was about him getting used to his new "regular guy" lifestyle, season two was about him trying to get back into the game and becoming who he was before, and now season three was about him finally accepting that there are ways besides being a famous athlete to be a great man. It's not totally official that this is the final season of Eastbound & Down, but if it is, it is definitely a very satisfactory ending for this great character.

This season was not as consistently great as the last two, sometimes it did get too wacky and did lose its way. But it did have some great moments as well, many of them instigated by his rivalry with his new younger Russian counterpart and not to mention his infant son. Those characters force Kenny to realize his status in the world, he's not the great pitcher he once was, and he is now a father with responsibilities. I don't want to spoil the end of the season, but it's one in which Kenny keeps the personality that made him such a hilarious and entertaining character but also finally makes a smart decision but in a completely Kenny Powers way.

Grade: A-