WINNER: Q&A for "Homeland"
RUNNER UP: Red Team/Blue Team for "The Good Wife"
3rd PLACE: The Rains of Castamere for "Game of Thrones"
New Car Smell for "Homeland"
What to My Wondering Eyes for "Parenthood"
Honorable Mentions: What's In The Box? for "The Good Wife," Chapter 11 for "House of Cards," Killer Within for "The Walking Dead"
I fully believe that we are the prime of drama television right now, with exciting leaps and bounds in cable programming, and reliable and risky broadcast programming. These nominees clearly show that television from basic cable channels to premium channels to online web initiatives are firing on all cylinders. The best written episode of television this year, in my opinion, is the episode Q&A from the outstanding second season of "Homeland." In this episode, we are not only seeing thrilling twists and turns that the show has now been expected to deliver weekly, but we see a rare glimpse into the personal, raw, and completely dysfunctional relationship of Carrie and Brody. The centerpiece of the episode is a masterful twenty minute scene in which Carrie lays it all on the line to get Brody to tell her the truth. It is deeply personal and real, and while Claire Danes and Damian Lewis are definitely a part of what makes it so successful, the words themselves obviously come into play. The runner-up, Red Team/Blue Team, was the highlight of a resurgence of "The Good Wife." Rather than having our protagonists go up against another lawyer/client team, this episode has them going against each other in a "mock trial" type situation. While at first playful, the claws dig deeper and the episode ends with a few shockers that change the course of the rest of the season. It is fast-moving, smart, and witty, all in "Good Wife" style, and if there is one episode to watch of season four, it is absolutely this one. The third place episode is the much talked about The Rains of Castamere from "Game of Thrones," affectionately referred to as The Red Wedding. Without giving much away, this episode is essentially a game changer in every sense of the word. I cannot think of the last time a television show has had such a massive twist ending that had not only fans, but non-watchers talking about it for days and weeks after it aired. And to those who say the episode only revolves around the last ten minutes, I definitely disagree. Other storylines, specifically Jon Snow's emotional scenes, showcase what "Game of Thrones" does best in packing emotional punch to crazy, fantastical situations.
The other nominees absolutely warrant recognition here. New Car Smell is another game changer that defined season two of "Homeland," and What to My Wondering Eyes is sure to warrant tears with stories such as Kristina's goodbye video and Ryan's post-war depression. The honorable mentions are also worthy of praise. What's In The Box? is another outstanding episode that juggles all of the best traits of "The Good Wife." Chapter 11 is shocking, yet based in human truth and is a realistic and scary depiction of real-life demons finally catching up. Killer Within is the centerpiece of this season of "The Walking Dead," and challenges all beliefs that this is "just a zombie show."
WINNER: One Man's Trash for "Girls"
RUNNER UP: Running for "Veep"
3rd PLACE: Together for "Girls"
The Closet Reconfiguration for "The Big Bang Theory"
Leslie and Ben for "Parks and Recreation"
Honorable Mentions: A New Start for "Arrested Development," It's a Shame About Ray for "Girls," Virgins for "New Girl"
As far as comedy series directing attempts go this year, the unparalleled winner, for me, is One Man's Trash from the wonderful second season of "Girls." The episode, which only contains three characters (and only one appears for five minutes in the beginning), feels like a thirty minute short film. It is beautifully shot by Richard Shepard, and is just a gorgeous episode to watch. Taking place in only two locations (barely), the direction here makes the most of what it is given. That does not even begin to mention the acting direction, as Shepard really challenged his two main actors, Lena Dunham and Patrick Wilson, to stretch for insecurity, and perhaps giving us the most real Hannah Horvath scene we've seen to date. The runner up is Running from "Veep," an episode that is paced like your average "Veep" episode, but is given a special, exhilarating touch during the last ten minutes as the Vice President's staff takes on a wild goose chase in the middle of a marathon. It is so perfectly choreographed that nothing gets missed (that is, unless, your howls of laughter cover up the dialogue). Even the character development here owes a lot to the direction as we begin to see wheels turning that set up for a big season of "Veep" in 2014. In third place is the "Girls" season finale, Together. Perhaps most well known for its rom-com-esque final sequence, this episode is the true definition of light at the end of the tunnel. After a mostly dark season two, this finale ties everything together in a neat bow, and leaves you cheering for every character. It is certainly inspired by Lena Dunham's vision for the season two tagline: "Almost getting it kind of together" (see, even the word together is there).
The Closet Reconfiguration features one of my favorite "Big Bang Theory" scenes to date, as the group presents Howard with multiple scenarios of what his father left behind in a card. It is both funny and emotional, and finally presents these characters in a light where it isn't hard to see that this cast will go down in history with the classic comedy ensembles of all time. Leslie and Ben of "Parks and Recreation" also features an emotional wedding between the two lead characters, all while perfectly juggling the chaos of pulling off a last minute wedding. No comedy packs an emotional punch like "Parks and Rec," and this episode is the perfect reminder of why that is. The honorable mentions merit recognition here. A New Start, one of the highlights of the new season of "Arrested Development," is the first piece of the complicated puzzle that begins to tie in jokes from previous episodes, and it is done with admirable skill and grace. It's a Shame About Ray, the most traditional episode of "Girls," finds great balance between the quirky humor the show is noted for and the deep, human emotion it can reveal. Virgins from "New Girl" calls back to the heyday of "Friends" episodes that centered one solely the main cast and provided some insight that let the audience know these people a little better. And in my eyes, a comparison to "Friends" is unequivocal praise.
WINNER: Madness Ends for "American Horror Story: Asylum"
RUNNER UP: Death of a Client for "The Good Wife"
3rd PLACE: The Rains of Castamere for "Game of Thrones"
The Choice for "Homeland"
Chapter One for "House of Cards"
Honorable Mentions: First You Dream, Then You Die for "Bates Motel," Pilot for "The Following," Truth (Part 2) for "Revenge"
Dramatic television has greatly improved over the years, and often, many episodes feel like hour-long films. These nominees and winners certainly prove that the cinematic feel is not relegated to the big screen. The winner for Best Directing for a Drama Series goes against all odds to prove that, in the horror/thriller/sci-fi genre, there can real emotion, real romance, and real drama. The masterful season finale of "American Horror Story: Asylum," Madness Ends, is so beautiful that you seem to forget you are watching an episode of a genre television show. Spanning over a handful of decades and weaving seamlessly through multiple storylines, this episode is a cornerstone of the series and proves that scary shows don't have to just be scary. They can provide catharsis and empathy for characters we have come to root for or cheer against. Madness Ends is a sweeping achievement of television. At the opposite end of the spectrum, Death of a Client appears to be your typical episode of "The Good Wife," but soon it becomes a gritty, witty, and marvelous depiction of politics, relationships, and mystery. It is amazing how the episode carries so many stories, each given their own time, while also coming across the screen with blazing energy. This is "The Good Wife" at its best. The Rains of Castamere, as noted above, is a game changer for "Game of Thrones," but I believe the directing truly captures the catharsis the audience feels when the hour has ended. Jon Snow's scenes tug at the heartstrings, but they aren't even the biggest moments of the episode, if that is any indication. The final scene is pulled off so as not to seem cheap, tacky, or useless. Instead, audiences are left in total shock and left unable to process what they've just seen. That can't come alone from a good script, and that is why the direction of this episode is recognized here.
The Choice features a classic "Homeland" shocker, and it is a beautiful episode that could've drowned in tackiness, but artfully depicts a successive rise and fall of not just characters, but a country. Chapter One from "House of Cards" is the episode that set the new tone for online television. With these first fifty-six minutes, "House of Cards" established itself as a real force in television, much of it thanks to the beautiful direction from David Fincher. The "Bates Motel" premiere First You Dream, Then You Die has the difficult task of persuading "Psycho" fans to keep watching and attracting a new audience at the same time, and it does so in a way that is so mysterious, intriguing, and (at times) terrifying that it is hard for audiences to not want to come back for more. Second that for the Pilot of "The Following," an episode that features many jaw-dropping moments and perfectly sets up a roller coaster of a season. Finally, after what was considered an uneven season, Truth (Part 2) reminded "Revenge" fans such as myself of how good this show can be. Featuring twists and turns and character development that cannot be beaten, the episode sets up what should be a great season three.
Best Writing for a Comedy Series
WINNER: Virgins for "New Girl"
RUNNER UP: It's a Shame About Ray for "Girls"
3rd PLACE: A New Attitude for "Arrested Development"
Redefining Jenna for "Awkward."
The Closet Reconfiguration for "The Big Bang Theory"
First Response for "Veep"
Honorable Mentions: Last Lunch for "30 Rock," One Man's Trash for "Girls," Leslie and Ben for "Parks and Recreation"
Comedy series nowadays must face a challenge of balancing comedy with heartfelt stories. These nominees show that it is not only possible, but it is masterful. The winner here is the standout episode Virgins from the outstanding second season of "New Girl." This episode balances laughter, heartfelt stories, crazy story lines, and real drama in no less than twenty-two minutes. The episode calls back to the classic comedies of the 80's and 90's and by focusing on the core cast, it is a testament to the power of the writing for "New Girl." If you aren't laughing your butt off or having your heartstrings tugged at during this episode, maybe television isn't for you. The runner-up is another perfectly balanced episode, It's a Shame About Ray from "Girls." The episode features some of the strongest writing to date on the show, a perfect blend of Lena Dunham's brash, young criticisms of society, as well as real experiences that anyone can relate to. Jessa's arc, in particular, should dispel any beliefs that the show is not based in reality. If you don't like this episode, "Girls" just isn't for you, because you won't find another episode that is as funny and heartfelt as this study of relationships among lovers, exes, and best friends. A New Attitude from "Arrested Development" highlights the gross, sly humor the show does best, and with excellent writing, the show reaches new heights of crazy while maintaining a feel that you are watching something completely innovative. It warrants multiple repeat viewings to catch every small detail, and such is the wonder of the fourth season of "Arrested Development."
Redefining Jenna is the episode that may just redefine "Awkward." Although the show may be based around a misunderstood "suicide attempt," this is the first case of real talk that we've seen on the show. Written by creator Lauren Iungerich, the show craftfully tapes together the fast-paced language of high schoolers with the raw emotions of young adults. It seems like the kind of episode that should almost be taken too seriously, and for a high school comedy, some may think so, but I think this is the episode that could change the course of the show. The Closet Reconfiguration, as stated above, is such a sweet, funny episode that it deserves to be recognized here. After spending six seasons with most of these characters, this episode is the pinnacle of understanding their relationship. Everyone's quirks are front and center, but at the end of the day, we know that these are people that really care about each other. Finally, for the wittiest and driest episode of the bunch, First Response is a wonderfully crafted bottle episode that features almost entirely the main cast and highlights the show's best assets: the antics of Selina Meyer and her staff. Everything you love about "Veep" is here in one episode, and the build to the end warrants a delicious payoff. Last Lunch walks the line of crazy humor and powerful emotion as perfectly as an episode of "30 Rock" could, and it reminds viewers why this show changed television. One Man's Trash is an oddly unique character study that was almost unthinkable for a comedy series years ago, but now sets a standard for what to expect in comedic storytelling. Leslie and Ben features the entire cast bonding over one storyline, and it really shows off the magic of "Parks and Recreation."
So, mull over that! I'll be back soon with the next set of categories for the 2013 TV Evannies!
Evan
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