Showing posts with label amc. Show all posts
Showing posts with label amc. Show all posts

Thursday, October 3, 2013

Alternative Breaking Bad endings

1. Walter White goes Rambo
The writers of “Breaking Bad” gave Walter White his M60 before they knew who it would kill.

Vince Gilligan says in the final “Breaking Bad Insider” podcast that he and his team had no idea, when they gave Walt the machine gun at the start of the final season, that he would eventually motorize it mow down Neo Nazis. They didn’t even know the show would have Neo Nazis.

It was a classic case of the “Breaking Bad” writers writing themselves into a corner and trying to find a way out. They created Uncle Jack’s gang in part because they needed villains worthy of a massacre, Gilligan said.

“We went through every possibility in the book,” he said. “You’re planting a flag at that point… We were saying you know what? An M60 machine gun, Rambo’s machine gun, something cool has to happen with that. We’ll figure it out later.”

As he has done since the start of the podcast, Gilligan gave fans a remarkable look inside his team’s writing process – and the potential endings they tossed out. Fans will want to listen to the podcast in its entirety, but here are some of the rejected ideas:

“Our original version was that Walt would use it somewhat in Rambo fashion,” Gilligan said. “Hand held. But the closer we got to the end we realized how Walt’s cancer would resurface and how sick Walt would be. That felt wrong for Walt to go out brawn over brain, go out like Rambo. Walt on his best day was never Rambo. Very late in the game we came up with mounting it in the trunk and using the garage door motor as a way of sweeping it back and forth and automating the process. Everyone, me included, loved the moments where Walt was MacGyveresque.”

2. Walt Kills Cops“We thought, gee, is it too obvious he’d use it on a bunch of bad guys? … He wanted to be known as Jesse James. He wants the credit. So we had versions that we talked about for instance where the police come to get him. He uses it on the police. But we didn’t like that. It just didn’t seem right.”

3. Walt Takes Out a Jail“We had a version where he goes and breaks Jesse out of jail just as the Nazis were gonna knock Jesse off in jail, and he comes in and uses an M60 to lay waste to an entire prison or a prison bus.”

Gilligan says of the alternate M60 scenarios: “I’m not saying we got far with those, but we would talk them through for hours on end. … We were like, you know what? as bad as Walt is we don’t want to see him killing good guys. If he’s going to use this M60, even if it’s slightly less surprising, let’s see him use it on guys even worse than he is.”

4. Skyler Kills Herself“I was leaning toward that and the other writers were like, that’s a bridge too far. Let’s not do that. And they were right. I think that would have been very unnecessary. … I was thinking at some point she went with the Disappearer. We talked about every option under the sun… and one of them was that Skyler leaves with Walt and the Disappearer. … We could almost kinda sorta see where Skyler would go if she was sort of like zombified. But we could never figure out how to get Jr. to go along. … There’s no bringing Jr. if Jr. doesn’t want to go. We talked about a possible version where Skyler and Walt are tied up at a Motel 6 kind of place and he’s talking to her in a bathroom saying, ‘It’s going to be alright… I’ve got a plan. Skyler? Skyler?’ And he finally forces the door open and she’s in a bloody tub or something like that.”

5. Jesse Dies, Then Walt Jr. DiesThis wasn’t necessarily a finale ending, but it was an idea Gilligan kicked around before Season 1 even began. He says he considered a sequence in which a very ruthless drug dealer – he would include elements of Gus Fring, Krazy 8 and Tuco Salamanca – would kill Jesse. Walt, “filled with rage,” shackles him in a basement. He rigs a tripwire with a shotgun, so that the dealer can kill himself by pulling it. Walt wants the dealer to do it, so he begins torturing him from the ground up. He starts at the toes and begins “lopping off bits of this guy and cauterizing it with a blowtorch or something.” This goes on for weeks, but the dealer won’t kill himself. Eventually Walt Jr. discovers him and tries to give him some water. When the dealer realizes Walt Jr. is Walt’s son, he trips the wire and kills them both.

Gilligan said no one at AMC was wild about the idea, and eventually his team of writers – “people with more sense,” he joked — reined him in.

“And you’ll notice we never actually did that scene,” he said.

Sunday, September 29, 2013

Breaking Bad montage

Series finale tonight. So not prepared mentally, emotionally, or physically for this.


Friday, September 20, 2013

Six predictions about The Walking Dead spinoff show

The world of The Walking Dead is expanding.

On Monday, AMC announced plans for a companion series that is set in the same world, but will follow new characters, which will offer a different perspective on the zombie apocalypse. With those parameters in mind, TVGuide.com came up with six ideas for the series, which will be executive-produced by Robert Kirkman, Gale Anne Hurd and David Alpert. Keep in mind that introducing new characters doesn't mean that familiar faces couldn't take center stage in the spin-off. Take a look at our list: (Warning: Comic book and series spoilers below!)

1. Tank Soldier: The second season almost kicked off with a tale about the tank soldier whom Rick (Andrew Lincoln) came across in the pilot when he made it to the overrun Atlanta. It would've seen Being Human'sSam Witwer trying to lead a group of soldiers to provide reinforcement. (Read all about it here.) The new spin-off could have that same documentary-style as it chronicles different factions of the military, police force and U.S. government in the days immediately after the outbreak.

2. Centers for Disease Control: The end of Season 1 saw the group finally make it to the CDC only to discover that it was pretty much hopeless. But the series could flash back to Dr. Edwin Jenner's (Noah Emmerich) quest to find a cure, as well as the other CDCs across the nation and even the world. Maybe then we'll finally learn what caused the zombie outbreak.

3. Morgan: Morgan Jones (Lennie James) finally returned at the end of the third season, but there's a huge gap of story missing since his meeting with Rick in the pilot. The spin-off could go even further back to before his wife turned into a walker and it could eventually show how his son Duane died.

4. Michonne: Fans of The Walking Dead comics know that there was a greater significance to Michonne's two pet zombies from her introduction: The arm-less, jaw-less walkers on chains were actually her boyfriend and his best friend. The story of her life before joining the group was catalogued in a 2012 special issue, but it could be expanded. After all, Michonne is a fan-favorite character, so who wouldn't want a double dose of Danai Gurira on AMC?

5. An anthology series: Each season would tell the backstory of a different character during the immediate aftermath of the zombie outbreak who eventually died. You could start with Andrea (Laurie Holden) and Amy (Emma Bell), as they head off on their pre-apocalypse road trip before getting stranded in Atlanta only to be rescued by Dale (Jeffrey DeMunn). There's also a whole story to be told about Merle (Michael Rooker)'s whereabouts after he chopped his hand off. What about the team of military men in the helicopter? Or Dave (Michael Raymond-James) and Tony's (Aaron Munoz) group from Season 2? There are plenty of stories ripe for the picking here.

6. Negan: This is the one we want to see. In the comics, this villain is even more dastardly than The Governor (David Morrissey) — and that's saying something. But how did the leader of The Saviors — who leaves quite a mark on Rick & Co. starting in the 100th issue — build his empire? The spin-off could tee that up before setting the stage for a crossover in which Rick comes across one of his greatest foes.

Thursday, June 28, 2012

Friday, April 20, 2012

Potential AMC pilots presented


During a recent AMC pilot presentation, in which hopeful writers and producers laid out plans for their shows to the network’s Powers That be, “six scripts [were] identified…as the strongest pilot contenders,” according to Deadline. TOLD YA.com also got a bit of information about each series. After the jump, I’ve ranked the series on how badly I’d want them on AMC, from the least to most interesting sounding.

One note: It’s not a guarantee any of these series from the program will go to pilot (none did last year), but, says Deadline, “The year before, when the showcase was introduced for the first time, the script for “Hell on Wheels” was among the finalists.” So you never know. Here they are.

#6. Chris Mundy‘s “Low Winter Sun,” an adaptation of the New Zealand Gothic murder mystery series

Sounds like “The Killing,” so NEXT.

#5. Jason Cahill‘s “F/V Mean Tide,” about a Maine lobster fishing family

Aren’t there already 67 shows with this exact premise on the Discovery Channel? Jason Cahill does have the “Fringe” background going for him, though.

#4. Craig Silverstein‘s “Turn,” about George Washington’s spy ring

The Culper Ring helped take down the original Benedict Arnold, Benedict Arnold, so it’s an interesting topic. But I’d like to see AMC stay in the present, considering they already have two “historical” shows.

#3. Richard LaGravenese‘s “Philly Lawyer,” about a law student

“PHILLY JUSTICE”??? Alternate title: “The Danger Guerrero Story.”

#2. Jake Paltrow & Robbie Kinberg‘s “Crystal Pines,” about a journalist who signs up for a cloning experiment

It’s no “Dog with a Blog,” but I’m a sucker for TV shows about journalists, like, um, “Sex and the City” and “The Lone Gunmen”…OK, so maybe I like the IDEA of TV shows about journalists.

#1. Kerry Williamson‘s “Sacred Games,” an epic story of crime and punishment in modern Mumbai based on the novel by Vikram Chandra.

The book is nearly 1,000 pages long (plenty of material) and India is a fascinating, essentially untapped setting for a TV show. Plus, the plot – having to do with a Sikh member of the Mumbai police force and an Indian gangster – sounds intriguing. This show should happen.

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Wednesday, March 14, 2012

Television networks rank their favorite seasons

Many websites are doing March Madness-style brackets to declare the Best Drama Series of All-Time or the Best Sitcom Episode Ever. We’re getting into the fun, too, BUT BIGGER. This is our power rankings of the greatest seasons from nine of our favorite networks. Here’s how we did it:

1) We looked at the schedule for every season for ABC, NBC, CBS, Fox, HBO, Showtime, AMC, FX, and Comedy Central (sorry, WB/UPN/CW!), ranging from the 1950s to the present, and chose the best overall one for each. (For network channels, we did 2011-2012; for cable, just a single year, like 2011. That’s just how they work.) We put into account not only the fact that, for example, “Cheers” was on, but whether “Cheers” was any good in that particular season.
2) We then compared the best season of each network against the best seasons of the other eight networks, to decide if, say, Showtime’s best year is better than Fox’s best year. (HINT: it’s not.)

9. Showtime
Winner: 2006 (“Brotherhood,” “Dexter,” “Huff,” “The L Word,” “Weeds,” etc.)
Runner-Up: 2011 (“The Big C,” “The Borgias,” “Californication,” “Dexter,” “Episodes,” “Homeland,” “Nurse Jackie,” “Secret Diary of a Call Girl,” “Shameless,” “United States of Tara,” Weeds,” etc.)

Showtime finally premiered its first HBO-level series last year in “Homeland,” and though I could be persuaded to declare 2011 the winner, based simply on the merits of that one show, I can’t forget season six of “Dexter” and season seven of “Weeds” and season one of “Episodes.” (Seasons one and four of “Shameless” and “Californication,” those were OK.) Instead, the honor goes to 2006, when Showtime’s slate included the Ice Truck Killer year of “Dexter,” season two of “Weeds” (MILFweed), and the underappreciated freshman season of “Brotherhood,” as well as “The L Word” and “Huff” (I guess).

8. ABC
Winner: 1977-1978 (“Barney Miller,” “Battlestar Galactica,” “Happy Days,” “Laverne & Shirley,” “Starsky & Hutch,” “Taxi,” “What’s Happening,” etc.)
Runner-Up: 1990-1991 (“Roseanne,” “Twin Peaks,” “The Wonder Years,” etc.)

ABC has never really had an identity, or at least an all-together positive one. NBC was the blockbuster network of the 1990s which now has a number of low rated, critically beloved series; Fox was built on “The Simpsons” and the crassness that followed; and CBS revolutionized the sitcom multiple times, with “I Love Lucy” and “All In the Family” and others. As for ABC, um, it aired “Who Wants to Be a Millionaire?” which effectively started the reality show craze that continues today. FU*K THAT. Ditto many of its older hits, like “Welcome Back, Kotter” and “The Brady Bunch,” that are still spoken of today only due to misguided nostalgia. Also: “Cop Rock.” So you have to look deep within the network’s best season, 1977-1978, past “Apple Pie,” to see its best series, like “Barney Miller,” “Laverne & Shirley,” and, most importantly, “Taxi,” a remarkably well written ensemble sitcom. Or just choose 1990 because it had both “Twin Peaks” and “The Wonder Years,” and those shows own.

7. Comedy Central
Winner: 2004 (“Chappelle’s Show,” “Comedy Central Presents,” “Crank Yankers,” “The Daily Show,” “Drawn Together,” “Reno 911!” “South Park,” etc.)
Runner-Up: 2011 (“The Colbert Report,” “Comedy Central Presents,” “Comedy Central Roast,” “The Daily Show,” “Futurama,” “Jon Benjamin Has a Van,” “South Park,” “Ugly Americans,” “Workaholics,” etc.)

People still talk glowingly about “The Daily Show” in 2004 – rightfully so. It was the second time Jon Stewart & Co. aired under the “Indecision” banner, after the 2000 election selection, but it was the first time the show was a cultural force. It suddenly didn’t seem peculiar for TV viewers to get their news from a so-called “comedy show.” And if comedy fans weren’t discussing Stewart (and correspondents Samantha Bee, Steve Carell, Stephen Colbert, and Ed Helms) it’s likely they were quoting season two of “Chappelle’s Show” (featuring Negrodamus and Rick James) or season eight of “South Park,” which included such instant classics as “The Passion of the Jew,” "AWESOM-O,” and “Woodland Critter Christmas.”

6. Fox
Winner: 2003-2004 (“24,” “Arrested Development,” “The Bernie Mac Show,” “King of the Hill,” “Malcolm in the Middle,” “The O.C.,” “The Simpsons,” “Tru Calling,” “That ‘70s Show,” and “Wonderfalls”)
Runner-Up: 1994-1995 (“Beverly Hills 90210,” “The Critic,” “Married...with Children,” "Melrose Place," “The Simpsons,” “The X-Files,” etc.)

It’s tempting to choose 1994-1995, which was when my favorite "Simpsons" season ran (six), but the rest of Fox's schedule had “The X-Files”...and not much else. (“The Critic” was stronger on ABC, and “Beverly Hills” and “Married...with Children” are more guilty pleasures than anything.) Temptation aside, 2003-2004 is the winner, mostly due to “The Simpsons” and “Arrested Development,” but also because season one of both “The O.C.” and “Wonderfalls” are great, and the schedule also had a still-exciting “24” and “King of the Hill.”

5. NBC
Winner: 2006-2007 (“30 Rock,” “ER,” “Friday Night Lights,” “Heroes,” “Law & Order: SVU,” “My Name is Earl,” The Office,” “Scrubs,” “Studio 60 on the Sunset Strip,” etc.)
Runner-Up: 1991-1992 (“Cheers,” “The Cosby Show,” “The Fresh Prince of Bel-Air,” “L.A. Law,” “Night Court,” “Seinfeld,” etc.)

I came into this entry expecting to crown 1991-1992 the winner, because it was a good cross-section of NBC’s best from the 1980s (“Cosby Show,” “Cheers”) with their upcoming greatness from the 1990s (“Seinfeld”). But by seasons 8 and 10, “Cosby” and “Cheers” weren’t as sharp anymore, “Seinfeld” was just starting to find its footing, and the rest of NBC’s schedule wasn’t very good. So that’s I’m picking 2006-2007 (but just barely). It has both quality and quantity, including the first seasons of “Heroes,” “Friday Night Lights,” and “Studio 60," as well as comedy classics, like “30 Rock,” “The Office,” and “Scrubs.”

Though 1999-2000, with “Freaks and Geeks,” “Friends,” and “The West Wing,” is mighty good, too...

4. FX
Winner: 2011 (“American Horror Story,” “Archer,” “It’s Always Sunny in Philadelphia,” “Justified,” “The League,” “Louie,” “Sons of Anarchy,” “Wilfred,” etc.)
Runner-Up: 2010 (Most of that, plus “Terriers”)

What separates FX’s 2010 from FX’s 2011? The former had “Terriers,” the latter had “Wilfred” and “American Horror Story.” The canceled-far-too-soon “Terriers” is superior to both of those shows, so why is 2011 the winner and 2010 the runner-up? Because last year was when “Archer,” “Louie,” and “Justified” all transformed from very good shows to GREAT ones. “Louie” had an incredibly strong freshman year, but none of those episodes were nearly as impressive as “Oh Louie/Tickets” or “Duckling” – the same goes for the differences between season one of both “Archer” and “Justified” to the brilliance of episodes like “Stage Two” and “Brother’s Keeper,” both series’ highpoints, in season two. Sorry “Terriers” fans, but you’re probably used to disappointment, right?

3. AMC
Winner: 2010 (“Breaking Bad,” “Mad Men,” “Rubicon,” and “The Walking Dead”)
Runner-Up: 2011 (“Breaking Bad,” “Hell on Wheels,” “The Killing,” and “The Walking Dead”)

This wasn’t a tough choice. Both years have “The Walking Dead,” a solid B, B- series, but only one has “Mad Men” AND “Breaking Bad,” two of the greatest dramas ever. Plus, “Rubicon,” though it had many, overly complicated faults, was better than the shockingly boring “Hell on Wheels” and the dreary tease that is “The Killing.” (Pre-“Mad Men” AMC was LOLtastic – anyone have fond memories of “The Lot”? Or any memories?)

2. CBS
Winner: 1976-1977 (“All in the Family,” “The Bob Newhart Show,” “The Carol Burnett Show,” “Good Times,” “The Jeffersons,” “Kojak,” “The Mary Tyler Moore Show,” “M*A*S*H,” “Maude,” “Phyllis,” “Rhoda,” etc.)
Runner-Up: 1955-1956 (“Alfred Hitchcock Presents,” “The Ed Sullivan Show,” “Gunsmoke,” “The Honeymooners,” “I Love, Lucy,” etc.)

It’s kind of sad, actually. CBS, now the home of bland comedies and unimaginative procedurals, was the ideal network for, well, decades. In the 1950s, it had “I Love Lucy” and “The Honeymooners.” In the 1960s, “The Twilight Zone” and “The Prisoner.” In the 1970s, “All in the Family”, ”Maude," ”WKRP in Cincinnati," "The Carol Burnett Show," "Rhoda," "The Bob Newhart Show," "The Mary Tyler Moore Show”...the list goes on and on. These were high-rated shows that changed TV as we know it, tackling topics that had never been discussed during primetime before, and I singled out the 1976-1977 season because it includes “Chuckles Bites the Dust,” one of the funniest episodes ever, from “Mary Tyler Moore.” Imagine that: hit shows worth watching. On CBS!

1. HBO
Winner: 2004 (“Curb Your Enthusiasm,” “Da Ali G Show,” “Deadwood,” “Six Feet Under,” “The Sopranos,” “The Wire,” etc.)
Runner-Up: Didn’t want to choose another “Sopranos” or ”Wire” year, so…either 1998 (“From the Earth to the Moon,” “The Larry Sanders Show,” “Mr. Show with Bob and David,” “Oz,” “Sex and the City,” etc.) or 2011 (“Boardwalk Empire,” “Bored to Death,” “Curb,” “Enlightened,” “Game of Thrones,” “Treme,” “True Blood,” etc.)

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Thursday, January 19, 2012

The Walking Dead season three info

AMC announced today from the Television Critics Association (TCA) Press Tour in Pasadena, CA that the third season of The Walking Dead will consist of 16 episodes. Previous season orders were for 13 episodes. AMC's international broadcast partner FOX International Channels (FIC) will follow the 16 episode order and structure a similar schedule worldwide. Season 2 of the critically acclaimed global hit series continues to deliver the strongest telecasts for any drama in basic cable history against Adults 18-49, as well as, top international pay-TV ratings on Fox International Channels' (FIC) major markets. The Walking Dead is based on the comic book series written by Robert Kirkman and published by Image Comics. Glen Mazzara serves as the series' showrunner and executive producer. Kirkman, Gale Anne Hurd, David Alpert and Frank Darabont are executive producers with Greg Nicotero as co-executive producer.

The Walking Dead has received rave reviews from countless critics, both domestic and international, who heralded the series as "above all else, The Walking Dead hasn't lost the most important ingredient in its strangely successful recipe: it's thrilling" (The Hollywood Reporter), "...with Dead's riveting cast of characters, the personal dynamics are almost as potent as the gory thrills" (Us Weekly), "The Walking Dead is a feast. Dig in." (The Guardian, UK), "It doesn't even take three minutes to realize that this series is setting standards" (Der Tagesspiegel, Germany).

The Walking Dead secured a 2010 Golden Globe® nomination for Best Television Series - Drama and won the 2011 Emmy® Award for Outstanding Prosthetic Makeup. The series tells the story of the months and years that follow after a zombie apocalypse. It follows a group of survivors, led by police officer Rick Grimes, who travel in search of a safe and secure home.

The Walking Dead's second season returns with all-new episodes Sun., Feb. 13 at 9/8c on AMC.

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Sunday, November 6, 2011

Best characters on television right now

Now that nearly all the new shows of the fall TV season have premiered (Once Upon a Time and Grimm both unmagically limped onto the scene last week), let's take a look at who we like the best right now. Television is largely about telling the same story over and over again. The one thing that can save the medium is a great character: part actor's performance and part writer's creation. Stumbling onto a great character is like discovering a particuarly pretty pebble on a rocky beach. From listless New Yorkers to men with half a face, these are our favorite TV characters right now.

The Wounded Soul: Richard Harrow on Boardwalk Empire
While Harrow (fitting name!) first appeared on HBO's oftentimes deceptively shallow crime series as merely an oddity -- half of his face was blown off in the Great War, so he wears a creepy painted half-mask -- he has become, thanks to a few generously written scenes and to Jack Huston's lovely, quiet performance, a more fully realized and sympathetic character this year. The grimly efficient expert marksman has gone from creepily tragic righthand man for a young upstart gangster in the Atlantic City bootlegging scene to something a bit deeper -- he serves as both a reminder of the visceral horror of the 1910s and as a chillingly saturnine omen of all the bad that's still to come. So, of course, nobody on Boardwalk Empire wants to look at him. Better for them to just enjoy the rah-rah roaring '20s in peace. But we here in the future can't look away.

The Villainess: Constance, American Horror Story
Sure FX's new horror series is oftentimes a jangly, garbled mess, but boy oh boy is Jessica Lange's Contance -- the next door neighbor from hell (perhaps quite literally) who torments, with a malevolently chipper smile, the fractured family inhabiting the show's house of horrors -- a whole lotta fun. We're not sure if the scenery is lined with chocolate or what, but Lange sure does seem to enjoy chewing on it. But it's not just Lange's fin-de-Dunaway performance that makes Constance so compelling -- it's that she's really the only character who seems fully instep with the show's lugubrious rhythms. Dylan McDermott and Connie Britton's characters are intentionally drawn as the plain ol' regular folks confronted by crazy psychosexual phantasmagoria, of course, but they could at least be a little outsized in order to better fit in with the show's kitchen sink aesthetic. Basically, they're no fun! Constance, though, with her Ipecac cupcake baking and daughter tormenting ("Go to your closet!"), both lives up to and raises American Horror Story's grand, often laughably over-the-top stakes. It seems as though Ryan Murphy and Co. created one great camp-fabulous character and then built a whole series to showcase her. To that end, the show would be nothing without her.

The Slickster With a Heart of Gold: Eli Gold, The Good Wife
Long one of the secretly best actors of his generation, Alan Cumming finally gets the kind of big, smart, meaty role he deserves. First introduced during the first season of CBS' stylish legal drama as a snappily amoral campaign manager, as Eli has moved into the law firm populated by Julianna Margulies et al. to act as an elite damage control consultant, he has evolved into a far knottier and more morally complex character. Sometimes he is still charmingly conniving and ruthless, but we've also seen him be earnestly passionate about a cause or, on Sunday night for example, reduced to a brokenhearted divorced guy. The Good Wife is often hailed as network TV's most intelligent drama because its writers are able to create full-bodied, wholly compelling characters like Eli. Never does he wander into the ho-hum realm of obvious character sketch; he constantly reveals new and surprising, yet still wisely subtle, facets, ones that Cumming and the writers show off with aplomb. Now writers, an assignment: Give him a real, serious love interest and see how weird things get.

The True Heroes: The zombies, The Walking Dead
Think about all the exciting, interesting scenes on The Walking Dead, AMC's plague of the undead thriller series. Are the zombies in those scenes? Most likely yes. And the duller scenes? No zombies, right? Right. The zombies are really the ones we care about on this show -- their story is the most compelling (what happened to them? What willhappen to them?), their motivations are clear and well-stated, and they enliven (endeaden?) the show every time they're on screen. The zombies are why we watch! Do we root for them? No, not usually. But are we alone in kinda sorta starting to wish these shambling ghouls would just go ahead and eat up the weeping, moralizing mortal folks at the center of this increasingly listless show? Give the best characters their beloved brains, please.

The Real Girl: Rachel Chapman, How to Make It in America
OK, yes this HBO trifle is mostly just an East CoastEntourage, the kind of we-own-this-town boys fantasy that has no room for women characters unless they're disrobing while saying cool, sexy things. But somehow one real, fleshed-out female character has sneaked past the man censors on HTMIIA, and thus we have Rachel, a young woman navigating various aspects of the Manhattan media scene who is a bit lost and unsure of herself yet also still coolly savvy and humbly competent. Though she once functioned primarily as the love interest for the show's male lead, the writers have done well this season in turning Rachel into her own, believable human being -- she's the kind of young woman you may know these days if you live in any major city full of strivers and dreamers. Sure she's portrayed by the gorgeous and willowy Lake Bell, so she is certainly still eye candy, but Bell is also such an assured, naturalistic actress that she manages to fill even Rachel's smallest scenes with a gently whirring pathos and intellect. We know that using that kind of language about a show like this seems silly, but compared to, say, the manic froofing of Zooey Deschanel's character on New Girl, a desexualized childwoman fit for any indie boy's curio collection, Rachel is that rarest of TV creations: A character you might actually know, andlike, out here in the real world.

The Comedy All-Star: Frank Reynolds, It's Always Sunny in Philadelphia
Bouncing back to form after last year's lackluster season, FX's gutter-garbage band of Philly friends are in top form in this year's crop of episodes. And none more so than Danny DeVito's near-feral father figure Frank. Between the wild thicket of flyaway black hair, the bought-at-a-Walgreens glasses, and DeVito's naturally strange and delightful physicality, the mere sight of Frank is funnier than all the past and future episodes of Whitney combined. Frank's doomed romance with a hooker was a highlight of this season, as was simply watching him interact with the group while they played a bizarre and menacing board game on last week's episode. Frank might not get the attention that Charlie Day's addled manchild Charlie does, but he's so consistently weird and filthy and lovably unconcerned about the polite trappings of society that he deserves singling out.

The Loose Cannon: Carrie Mathison, Homeland
Everyone thought that Cassandra was crazy, though of course they were wrong. She wasn't a raving lunatic, but a true foreteller of doom. The interesting thing that Showtime's paranoid spy drama Homeland has done with its own fortune telling young woman, CIA analyst Carrie, is that she may actually be crazy for real. Carrie, who is trying to reveal what she suspects is the secret terrorist sleeper agent status of a returning American war hero, lamely tries to seduce her boss when things don't go her away, she doesn't eat, she stays up til all hours staring wild-eyed at surveillance footage, and, oh yes, she pops anti-psychotics like Altoids. That Carrie, played with vibrating smarts and anxiety by Claire Danes, may be both right and crazy is one of the show's fun and clever conundrums. (That "fun" and "clever" are being used to describe a Showtime show is a small revolution in its own right.) We both root for Carrie's assuredness and are turned off by her brash, erratic, and occasionally reckless behavior. She's actually sorta what you'd imagine a real CIA analyst to be like in these shadowy times, when it's difficult to tell whether we're tilting at giants or windmills -- she's a paranoid, but still smart, mess. Wracked with 9/11-related guilt enough to make her a bit too close to the case, but possessed of enough intelligence and authority to make us believe her, Carrie is "the thinking person's" Jack Bauer.

The Tragic Heroine: Kim Richards, Real Housewives of Beverly Hills
Let's try for the time being to forget about the fact that Kim, former child star and current brain-fried Bravo reality TV Housewife, is a real person. That's too depressing. As a TV character, though, Kim's arc these past two seasons has been a fascinating depiction of mental catastrophe. Oscillating unpredictably between (alleged) mysterious substance-fueled cuckoo-birdiness and sober self-help platitudes, Kim -- in her interactions with the other Housewives (especially her constantly undermining, Little Miss Perfect sister Kyle, who is also on the show), with her children, with the maid -- is just so darn deliciously bleak and tragic. She's a modern day Mary Tyrone, wandering around Beverly Hills with a camera crew chasing after her. Again, if we dwell too long, or at all, on the fact that Kim is a real-life lady with real-life problems it all becomes too sad to enjoy, but for those 42 or so minutes every week we can turn off our moral sensors and just enjoy this gravelly voiced generator of grand human drama.

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