Remember when Tina Fey announced she was doing a comedy about the behind the scenes shenanigans of a "Saturday Night Live"-like show, and then Aaron Sorkin was doing a drama about the behind the scenes shenanigans of an "SNL"-like show, and so for many a week we had both a comedy and a drama about the behind the scenes shenanigans of an "SNL"-like show?
Remember that? Well, I hope back then you managed to differentiate "30 Rock" and "Studio 60 on the Sunset Strip", because that 'huh? They're different shows?' confusion is coming right back at ya.
In the next surprisingly estrogen-filled month, we have two big-hitting shows, seven women, and one poetic match-up. Darren Star will lead off the femme-fest with a special January 6th premiere of "Cashmere Mafia", his follow-up to his HBO cultural zeitgeist "Sex and the City".
Chronicling the lives of four ambitious and sexy New Yorkers - female best friends who've formed the eponymous 'Cashmere Mafia' - you'd be forgiven for wondering whether Star is treading old ground. Hell, even I still can't tell "City" and "Mafia" entirely apart. Sure, the women in "Mafia" are mostly married and/or parents, but I'm still a little wary about the possible recycling factor involved.
That being said, if this is a thinly-disguised tell-all of what happened to Carrie, Samantha, Charlotte, and Miranda after the curtain fell on "City" - I could buy into that. One of the things I liked about "City", especially as the seasons went on, was how the women matured, even if only in little ways. Hopefully "Mafia" will continue that trajectory, and not be a backslide - or retread - for Star and his special niche in television.
Even if "Mafia" is quality television, though, there's always the chance it'll be overshadowed by "Lipstick Jungle", Candace Bushnell's own entry into the vacuum left by "City". Even if Star's genius is undeniable in crafting the "City" HBO series, let's not forget it was Bushnell who literally wrote the book on it - and first. Without Bushnell's best-selling book, Star would have had nothing to adapt.
Bushnell's "Lipstick Jungle" is also vying for the exact same eyeballs as "Mafia": according to network NBC's press notes, "Jungle" 'follows three high-powered friends as they support each other through the triumphs and tears that are part of making it big in New York' - sound familiar? Yep, that's right. Four or three women, these two shows might be entirely too much alike. Echos of the Fey-Sorkin death-match? You bet your Nielsen ratings.
Which makes this match-up even more poetic, of course. Although Star was the part of the brains behind soaps "Beverly Hills 90210" and "Melrose Place", there's no doubt that "Sex and the City" was his crowning achievement for this viewing generation. And although "Jungle" is Bushnell's first writing foray into television, she's practically the founder of the genre involved here. So the fact that it's these two who are going up against each other - it's like Mr. Sex and the City versus Madam Sex and the City. The Protege of the Genre versus the Mistress of the Genre.
Can't you already see the marquee headlines?
Whether one of them crashes and burns ala "Studio 60", whether they're both good but still too overlapping, whether all the whether's that plagued "30 Rock" and "Studio 60" - this is one catfight you won't want to miss. Let's hope that the competition spurs both creators to polish their gems even brighter, even sharper, and even more dazzling to our lucky eyes.
Besides: the fashion. The shoes! And last but definitely not least: where seven beautiful women go, how many ho-o-tt guys do you think will follow...?
"Cashmere Mafia" premieres on Sunday January 6th at 10 / 9 pm central, following the final pre-strike episode of "Desperate Housewives". "Mafia" then airs every Wednesday at 10 / 9 central, beginning January 9th.
"Lipstick Jungle" premieres Thursday February 7th at 10 / 9 pm central, and airs every Thursday thereafter at the same time.
Saturday, December 29, 2007
Friday, December 21, 2007
Gay.com Column: John Krasinski from "The Office": the Everyman Star
Is it me, or has John Krasinski suddenly become a star? And I'm not just talking about playing Mandy Moore's boyfriend: the guy now shares top billing with the Clooney and Miss Zellweger (the latter of whom, by the way, looks like a midget next to him).
And if that's not proof enough, in New York you can't walk ten blocks without seeing the shaggy-haired actor. Between the gigantic Gap posters and AMC stand-ups for "Leatherheads", he's definitely no longer just That Guy from "The Office".
Which got me thinking: this has been a very good year for the Krasinski-type Everyman. Just look at the new guys on primetime this past season: what do Ned from "Pushing Daisies", "Chuck", and Sam from "Reaper" have in common? One bakes pies, another's a tech geek, and the last is Bret freaking "Grounded For Life" Harrison. I think that's about all one needs to say.
Reality television doesn't seem much different either: between any guy from this season of "The Amazing Race", Todd Herzog from "Survivor", and Brad Womack from "The Bachelor" - who looks vaguely neutered - I think John McClane would run away screaming and tearing his eyes out.
So what is it about Krasinski and these Everymen? Why are our primetime guys these days more likely to say "aw, shucks" than "yippie-kay-yay, motherfucker", more likely to be Plain Johns than the Brad Pitts of the world?
Part of it, I think, is a compromise between the John McClane Action Hero and the Ryan Seacrest Metrosexual. After leaping from the manly men of the early 1990s (think Bruce Willis, Sylvester Stallone, etc.) to the Queer Eye revolution of the early 2000s, perhaps we're just now moving to a middle ground, where guys don't have to tote bazookas or slather on moisturizer.
Another reason for the Everyman's appeal might be his average-ness, especially in a real world that's increasingly messy and complicated. TV trends usually reflect cultural needs - see the rise of reality television with blogs, podcasts, and other Me-technology - so Krasinski's attractiveness may be his reassuring Average American-ness. I mean, look at him: there's no better embodiment of the 'white picket fence, two kids, and a suburban home' deal.
Last, but certainly not least, maybe the Everyman is simply unavoidable because it's television. Movies are only two hours long, but television series usually run for twenty-two hours or more: can you imagine watching Stallone do his schtick for twenty-two one-hour episodes? I got tired of watching Jack Shephard's Alpha-Male obsession in less than half of that.
So, because of all these reasons, perhaps it's not so surprising that Krasinski is raking in the attention. And I think that's a good thing: God knows we could use a few more not-so-unattainable (in every sense of the word) role models.
And if that's not proof enough, in New York you can't walk ten blocks without seeing the shaggy-haired actor. Between the gigantic Gap posters and AMC stand-ups for "Leatherheads", he's definitely no longer just That Guy from "The Office".
Which got me thinking: this has been a very good year for the Krasinski-type Everyman. Just look at the new guys on primetime this past season: what do Ned from "Pushing Daisies", "Chuck", and Sam from "Reaper" have in common? One bakes pies, another's a tech geek, and the last is Bret freaking "Grounded For Life" Harrison. I think that's about all one needs to say.
Reality television doesn't seem much different either: between any guy from this season of "The Amazing Race", Todd Herzog from "Survivor", and Brad Womack from "The Bachelor" - who looks vaguely neutered - I think John McClane would run away screaming and tearing his eyes out.
So what is it about Krasinski and these Everymen? Why are our primetime guys these days more likely to say "aw, shucks" than "yippie-kay-yay, motherfucker", more likely to be Plain Johns than the Brad Pitts of the world?
Part of it, I think, is a compromise between the John McClane Action Hero and the Ryan Seacrest Metrosexual. After leaping from the manly men of the early 1990s (think Bruce Willis, Sylvester Stallone, etc.) to the Queer Eye revolution of the early 2000s, perhaps we're just now moving to a middle ground, where guys don't have to tote bazookas or slather on moisturizer.
Another reason for the Everyman's appeal might be his average-ness, especially in a real world that's increasingly messy and complicated. TV trends usually reflect cultural needs - see the rise of reality television with blogs, podcasts, and other Me-technology - so Krasinski's attractiveness may be his reassuring Average American-ness. I mean, look at him: there's no better embodiment of the 'white picket fence, two kids, and a suburban home' deal.
Last, but certainly not least, maybe the Everyman is simply unavoidable because it's television. Movies are only two hours long, but television series usually run for twenty-two hours or more: can you imagine watching Stallone do his schtick for twenty-two one-hour episodes? I got tired of watching Jack Shephard's Alpha-Male obsession in less than half of that.
So, because of all these reasons, perhaps it's not so surprising that Krasinski is raking in the attention. And I think that's a good thing: God knows we could use a few more not-so-unattainable (in every sense of the word) role models.
Saturday, December 15, 2007
Gay.com Column: "I Love New York": Hell, no!
To be honest, prior to this week I hadn't watched a single minute of "I Love New York", and I didn't really have an opinion on it one way or another. When you consider the vast number of similar shows on the network, it seems unfair to single it out, positively or otherwise.
But that was before this week. Whether it's God sending me signs, or simply a mathematical inevitability, I couldn't avoid New York (the woman and the show) this week. It seemed like every time I channel-surfed her corseted boobs were jumping out at me, and the last straw was when a magazine I read infrequently featured her on the last page. So I figure these have to be otherworldly messages, from either up there or (more probably) way down there, and that's why we're here right now.
So, after my week of New York, how do I feel about the woman and her show? The concept of the show I have no problem with. If I did I would have to take issue with others like "The Hills", "Flavor of Love", and, hell, even "The Bachelor". It's not worse and certainly not better, although of course I'd prefer hot men over a self-styled inner drag queen.
But the woman, on the other hand. While reading her interview in Metro Source NY I kept waiting for the wink, the sly acknowledgment that this was her capital P Personality. But no. You'd think a woman in her position would at least have an iota of self-awareness, and would laugh off the descriptor 'classy'. But, oh no, there it is in the interview - Tiffany 'New York' Pollard would like you to know: she's not just classy, she's "so classy". And the universe implodes over the oxymoron-ness of the phrase.
But, wait, there's actually more. Barely ten questions later, she fields a question about what would tempt her to do "The Surreal Life". Her answer? If "Flavor of Love" rival Pumkin was put in the communal house for D-level celebs too. The reason? "So I could bitch-slap her face every day." Bitch-slapping is easy, but bitch-slapping classily? Ladies and gentlemen, I think we have a winner.
It seems almost pointless to ridicule delusional reality starlets, because by now they're possibly literally a dime a dozen. And, quite frankly, I wouldn't have bothered with Pollard, but for the fact that a gay magazine - and one that I somewhat like - sat her down and gave her an entire page of space. And not only that, but also headlined the page "We Love Her, Too". Really? The magazine couldn't do better than Pollard, a woman whose self-delusion flies in the face of LGBT self-awareness?
I mentioned earlier that I had no problem with the concept of the show. That's still true. It's just the show itself - and the woman, natch - that makes me want to boil my eyeballs in bleach.
But that was before this week. Whether it's God sending me signs, or simply a mathematical inevitability, I couldn't avoid New York (the woman and the show) this week. It seemed like every time I channel-surfed her corseted boobs were jumping out at me, and the last straw was when a magazine I read infrequently featured her on the last page. So I figure these have to be otherworldly messages, from either up there or (more probably) way down there, and that's why we're here right now.
So, after my week of New York, how do I feel about the woman and her show? The concept of the show I have no problem with. If I did I would have to take issue with others like "The Hills", "Flavor of Love", and, hell, even "The Bachelor". It's not worse and certainly not better, although of course I'd prefer hot men over a self-styled inner drag queen.
But the woman, on the other hand. While reading her interview in Metro Source NY I kept waiting for the wink, the sly acknowledgment that this was her capital P Personality. But no. You'd think a woman in her position would at least have an iota of self-awareness, and would laugh off the descriptor 'classy'. But, oh no, there it is in the interview - Tiffany 'New York' Pollard would like you to know: she's not just classy, she's "so classy". And the universe implodes over the oxymoron-ness of the phrase.
But, wait, there's actually more. Barely ten questions later, she fields a question about what would tempt her to do "The Surreal Life". Her answer? If "Flavor of Love" rival Pumkin was put in the communal house for D-level celebs too. The reason? "So I could bitch-slap her face every day." Bitch-slapping is easy, but bitch-slapping classily? Ladies and gentlemen, I think we have a winner.
It seems almost pointless to ridicule delusional reality starlets, because by now they're possibly literally a dime a dozen. And, quite frankly, I wouldn't have bothered with Pollard, but for the fact that a gay magazine - and one that I somewhat like - sat her down and gave her an entire page of space. And not only that, but also headlined the page "We Love Her, Too". Really? The magazine couldn't do better than Pollard, a woman whose self-delusion flies in the face of LGBT self-awareness?
I mentioned earlier that I had no problem with the concept of the show. That's still true. It's just the show itself - and the woman, natch - that makes me want to boil my eyeballs in bleach.
Wednesday, December 05, 2007
Gay.com Column: "Heroes": Godspeed, Nathan Petrelli
Killing off characters is a risky business at best, especially if those deaths are telegraphed as Very Special Events. Kill off too minor a character and it's anti-climactic (see: "Lost", Nicki and Paolo); kill off one too major and it's potentially viewed as a ratings stunt (see: "Lost", Ana-Lucia and Libby).
So when I first heard "Two Heroes will Fall", part of me approached the teaser very cautiously. Like everyone else I had characters I wouldn't mind dead (Mohinder, if only to make sure the voiceovers are gone, or Parkman), characters I preferred dead (Hi, Maya!), and characters I'd kill Tim Kring for killing (Elle, Noah Bennett, Peter, Angela Petrelli).
The two actual deaths therefore threw me for a loop, to say the least, if for different reasons. Niki / Jessica's death was obvious in retrospect, and the fact that I'd totally left her out of my Death-Watch means as a character she was done. So in this case I have to give kudos to the writers, for letting her go in a way that highlights the true heroes of our world: people who do noble things even without the benefit of superpowers. Niki / Jessica has always felt to me one of the less empathetic Heroes, but damn if dying while saving a child from a burning building - without her superpowers to boot - didn't make me feel for her in a hurry.
The assassination of Nathan Petrelli, on the other hand, shocked me for entirely different reasons. If Niki / Jessica I didn't expect because she was that superfluous, Nathan I didn't expect because there was just no reason to. Adrian Pasdar didn't get himself pregnant, the character had just reunited with his wayward brother, and, goddamnit, we were so close to a Petrelli-Adam-Petrelli manwich!
Okay. Deep breath.
To be honest I'm still not sure about Pasdar's stunning send-off. On one hand, Bra. Vo. to the writers. For a storyline that began with Claire's impetuous decision to 'out' herself, ending it with her father's death in service of that goal is unexpected and completely delicious. Already I can imagine the dramatic repercussions, and Angela Petrelli's chilling conversation with the assassin surely ranks among the Top Television Moments This Season. Cristine Rose is a fantastic actress; that Angela Petrelli is slowly evolving into a major character can only be good for everyone.
On the other hand - Petrelli-Adam-Petrelli. I'm just saying.
Regardless of my personal obsessions, however, I can say objectively that the two deaths only capped what has been an impressive "Heroes" resurgence. It's impossible to guess whether Volume Three: "Villains" can continue the trajectory, but, even if not, the tail-end of Volume Two has certainly built up a lot of credit with this fan.
So when I first heard "Two Heroes will Fall", part of me approached the teaser very cautiously. Like everyone else I had characters I wouldn't mind dead (Mohinder, if only to make sure the voiceovers are gone, or Parkman), characters I preferred dead (Hi, Maya!), and characters I'd kill Tim Kring for killing (Elle, Noah Bennett, Peter, Angela Petrelli).
The two actual deaths therefore threw me for a loop, to say the least, if for different reasons. Niki / Jessica's death was obvious in retrospect, and the fact that I'd totally left her out of my Death-Watch means as a character she was done. So in this case I have to give kudos to the writers, for letting her go in a way that highlights the true heroes of our world: people who do noble things even without the benefit of superpowers. Niki / Jessica has always felt to me one of the less empathetic Heroes, but damn if dying while saving a child from a burning building - without her superpowers to boot - didn't make me feel for her in a hurry.
The assassination of Nathan Petrelli, on the other hand, shocked me for entirely different reasons. If Niki / Jessica I didn't expect because she was that superfluous, Nathan I didn't expect because there was just no reason to. Adrian Pasdar didn't get himself pregnant, the character had just reunited with his wayward brother, and, goddamnit, we were so close to a Petrelli-Adam-Petrelli manwich!
Okay. Deep breath.
To be honest I'm still not sure about Pasdar's stunning send-off. On one hand, Bra. Vo. to the writers. For a storyline that began with Claire's impetuous decision to 'out' herself, ending it with her father's death in service of that goal is unexpected and completely delicious. Already I can imagine the dramatic repercussions, and Angela Petrelli's chilling conversation with the assassin surely ranks among the Top Television Moments This Season. Cristine Rose is a fantastic actress; that Angela Petrelli is slowly evolving into a major character can only be good for everyone.
On the other hand - Petrelli-Adam-Petrelli. I'm just saying.
Regardless of my personal obsessions, however, I can say objectively that the two deaths only capped what has been an impressive "Heroes" resurgence. It's impossible to guess whether Volume Three: "Villains" can continue the trajectory, but, even if not, the tail-end of Volume Two has certainly built up a lot of credit with this fan.
Saturday, December 01, 2007
Gay.com Column: Four Shows to get into during this Strike Time
So I was looking at my must-see television schedule, and next week marks the beginning of the WTF period. No more episodes of "Desperate Housewives", no more episodes of "Brothers and Sisters". No more episodes of "Heroes" after Monday, and "The Office" and "30 Rock" have already said goodbye. Sure, "Friday Night Lights" will still be brilliant on Friday nights, but what the hell was I going to do with my new television wasteland?
It was then that the answer came to me. Netflix. There have been so many shows that I've missed over the years, and now was the perfect time for me to get into them. "The West Wing". Early "Friends" and "Frasier". Heck, what about rewatching some of that brilliant "Freaks and Geeks"?
And it was while I was making my Personal Primetime Schedule, that the other obvious thought popped into my head. You know how you miss one episode of a show, and then you miss another one, and then suddenly you can't be bothered to keep up with the damn series? Or when your friends start talking about this brilliant new series, except the show's already on the tenth episode and you'd be hopelessly behind? What about using this strike time to catch up on those shows?
There are so many current shows that could use an extra fan, and these shows will need as much as help as they can when the strike is finally over. On that note, I'd like to recommend four of them to you. I realize not everybody will like every one of these shows, but if even one of you becomes a convert because of this post, I will consider this post my best one ever.
And so, without further ado, the four shows you might want put on your Netflix queue circa now:
"Damages": Little watched despite its star power, this sharp-edged series follows a single class-action lawsuit ala "Erin Brokovich". Where the movie is about one woman versus a criminal corporation, "Damages" pits Glenn Close against Ted Danson. Close plays yet another hard and brilliant woman, a ruthless lawyer who will do anything to win the legal battlefield. Danson, on the other hand, in a turnabout from his usual comedic roles, plays Arthur Frobisher, a corrupt and equally ruthless CEO. Toss in Rose Byrne ("Troy") as the ingenue who gets caught in the crossfire, mix it up with a dozen plot twists that will leave you reeling and slackjawed, and you get a sense of how intense the first season is. Despite low ratings, positive critical reception has led FX to renew this series, so now is the best time to get in on the action if you haven't already.
"Battlestar: Galactica": With the fourth and final season (hopefully) premiering in January, there's no better time to marathon-watch the first three seasons. Robots that look like human beings, a textured parable about what it means to be human, giant spaceships in space and - best of all - Jamie 'More Towel Scenes, Please' Bamber: seriously, what's not to like? Even if you're supremely anti-science fiction shows, this particular series will blow your mind. Just watch "33", the series pilot. After most of humanity gets annihilated in a single robot attack, the remnants try desperately to outrun the waves of following massacres. A superbly crafted hour of nail-biting escalating tension, what have you got to lose by watching it except maybe a few pesky nails?
"30 Rock": Otherwise known as 'the other behind-the-scenes show', "30 Rock" was all but crushed in the publicity battle with "Studio 60 On The Sunset Strip". Fast forward one season later, however, and "Studio 60" has been consigned to television purgatory, while "30 Rock" continues to, well, rock. "SNL" veteran Tina Fey provides snappy and quotable dialogue; she also stars alongside Alec Baldwin, Jane Krakowski and Tracy Jordan. If you haven't seen 'Werewolf Bar Mitzvah' - "where boys become men, and men become wolves" - or any of Baldwin's hilarious scenes, You. Are. Missing. Out. And that's all there is to it. Other highlights of the first season include Emily Mortimer as a gold-digging hollow-boned faux-Brit, Isabella Rossellini as Baldwin's estranged wife, Will Arnett as a gay short robe-wearing exec, and fellow "SNL" veteran Rachel Dratch as, well, just about everyone and everything.
"Friday Night Lights": I know, I know. How original, recommending "FNL". But I just wouldn't feel right without including this brilliant series. I mean, think about this: I'm a skinny Asian kid from the other side of the world, and I've never understood the point of football. But this damn show still has me crying like a crying crybaby cryster. The Panthers score the winning touchdown. I cry. The coach's daughter has the birds-and-bees talk with her kick-ass mom. I cry. The bad girl and the good girl join forces to get the footballers to strip. I - okay, I'm not so much crying as I am drooling, but that's beside the point. The point is, "FNL" is so rich, so full of great characters and actors, so freaking god-blessedly / godawfully real, that I dare you to watch it without leaking. It can't be done, I tell you! You'll be stocking up on Kleenex before the end of the first disc.
And that's the last of my four recommended shows. If you know of another series that deserves some love, remember to start telling people to watch them during the strike! If we all band together and support those shows when they come back, we might just be able to stave off that dreaded cancellation heartbreak.
It was then that the answer came to me. Netflix. There have been so many shows that I've missed over the years, and now was the perfect time for me to get into them. "The West Wing". Early "Friends" and "Frasier". Heck, what about rewatching some of that brilliant "Freaks and Geeks"?
And it was while I was making my Personal Primetime Schedule, that the other obvious thought popped into my head. You know how you miss one episode of a show, and then you miss another one, and then suddenly you can't be bothered to keep up with the damn series? Or when your friends start talking about this brilliant new series, except the show's already on the tenth episode and you'd be hopelessly behind? What about using this strike time to catch up on those shows?
There are so many current shows that could use an extra fan, and these shows will need as much as help as they can when the strike is finally over. On that note, I'd like to recommend four of them to you. I realize not everybody will like every one of these shows, but if even one of you becomes a convert because of this post, I will consider this post my best one ever.
And so, without further ado, the four shows you might want put on your Netflix queue circa now:
"Damages": Little watched despite its star power, this sharp-edged series follows a single class-action lawsuit ala "Erin Brokovich". Where the movie is about one woman versus a criminal corporation, "Damages" pits Glenn Close against Ted Danson. Close plays yet another hard and brilliant woman, a ruthless lawyer who will do anything to win the legal battlefield. Danson, on the other hand, in a turnabout from his usual comedic roles, plays Arthur Frobisher, a corrupt and equally ruthless CEO. Toss in Rose Byrne ("Troy") as the ingenue who gets caught in the crossfire, mix it up with a dozen plot twists that will leave you reeling and slackjawed, and you get a sense of how intense the first season is. Despite low ratings, positive critical reception has led FX to renew this series, so now is the best time to get in on the action if you haven't already.
"Battlestar: Galactica": With the fourth and final season (hopefully) premiering in January, there's no better time to marathon-watch the first three seasons. Robots that look like human beings, a textured parable about what it means to be human, giant spaceships in space and - best of all - Jamie 'More Towel Scenes, Please' Bamber: seriously, what's not to like? Even if you're supremely anti-science fiction shows, this particular series will blow your mind. Just watch "33", the series pilot. After most of humanity gets annihilated in a single robot attack, the remnants try desperately to outrun the waves of following massacres. A superbly crafted hour of nail-biting escalating tension, what have you got to lose by watching it except maybe a few pesky nails?
"30 Rock": Otherwise known as 'the other behind-the-scenes show', "30 Rock" was all but crushed in the publicity battle with "Studio 60 On The Sunset Strip". Fast forward one season later, however, and "Studio 60" has been consigned to television purgatory, while "30 Rock" continues to, well, rock. "SNL" veteran Tina Fey provides snappy and quotable dialogue; she also stars alongside Alec Baldwin, Jane Krakowski and Tracy Jordan. If you haven't seen 'Werewolf Bar Mitzvah' - "where boys become men, and men become wolves" - or any of Baldwin's hilarious scenes, You. Are. Missing. Out. And that's all there is to it. Other highlights of the first season include Emily Mortimer as a gold-digging hollow-boned faux-Brit, Isabella Rossellini as Baldwin's estranged wife, Will Arnett as a gay short robe-wearing exec, and fellow "SNL" veteran Rachel Dratch as, well, just about everyone and everything.
"Friday Night Lights": I know, I know. How original, recommending "FNL". But I just wouldn't feel right without including this brilliant series. I mean, think about this: I'm a skinny Asian kid from the other side of the world, and I've never understood the point of football. But this damn show still has me crying like a crying crybaby cryster. The Panthers score the winning touchdown. I cry. The coach's daughter has the birds-and-bees talk with her kick-ass mom. I cry. The bad girl and the good girl join forces to get the footballers to strip. I - okay, I'm not so much crying as I am drooling, but that's beside the point. The point is, "FNL" is so rich, so full of great characters and actors, so freaking god-blessedly / godawfully real, that I dare you to watch it without leaking. It can't be done, I tell you! You'll be stocking up on Kleenex before the end of the first disc.
And that's the last of my four recommended shows. If you know of another series that deserves some love, remember to start telling people to watch them during the strike! If we all band together and support those shows when they come back, we might just be able to stave off that dreaded cancellation heartbreak.
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