TV Feature: The 10 Best Television Shows of 2011

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5. “Community” (NBC)

If you’re lying to me, if my father isn’t coming, if a car pulls up and anyone other than my father steps out, say an actor or you in a wig, if you pull any Ferris Bueller, Parent Trap, Three’s Company, FX, FX2: the Deadly Art of Illusion bulls**t I will beat you. And there will be nothing madcap or wacky about it.
—Episode 2.16, “Intermediate Documentary Filmmaking,” 2/17/11

Community
Community
Photo credit: NBC

If this NBC gem doesn’t return from its forced hiatus to make room for Chelsea Handler, it will be the greatest TV tragedy since the cancellation of “Arrested Development.” All signs point to one of the smartest shows on TV returning to it and having at least one more half-season to try and get viewers to tune in. There’s always a few shows on TV that simply aren’t watched by a large portion of the viewing audience, but those who do tune in love them. What’s even more interesting is how often these same shows become legendary after they’re off the air. The number of people who claim to love “AD” and “Firefly” now would have made either of them a smash hit were they on the air. Where were you back then fanboys? In some wonderful alternate universe, “Community” is the hit it has long deserved to be. Joel McHale is a household name and an Emmy winner. Danny Pudi and Alison Brie have run out of awards space on their shelves. And the show has been renewed for two more years. I sometimes wish I lived in that alternate universe. Especially if there’s no “Whitney” there.

4. “Homeland” (Showtime)

Why kill a man when you can kill an idea?
—Episode 1.12, “Marine One,” 12/18/11

Homeland
Homeland
Photo credit: Showtime

The best new show of the year, barely eking out said victory over “Game of Thrones” & “American Horror Story” is this complex, rewarding gem, the most nail-biting drama since “24.” Not only is this an incredibly satisfying series on a pure thriller level but the show is greatly elevated by four of the best performances on television from Claire Danes, Damian Lewis, Mandy Patinkin, and Morena Baccarin. There’s something particularly rewarding about a program that takes a structure as familiar as “Homeland” — it’s basically a spy thriller — and delivers in an unexpected, unique way. Was there anything this year more riveting than the final episode of this incredible series (except maybe the final hour of my #1)? THAT is how you do a season finale — providing a perfect mix of character development and action while tying up enough loose ends and starting a few new ones for next year. Remember back in “Justified,” I wrote about how often shows improve in their second season? “Homeland” could be scary-good next year.

3. “Parks and Recreation” (NBC)

I guess I kind of hate most things. But I never really seem to hate you. So I want to spend the rest of my life with you, is that cool?
—Episode 3.9, “Fancy Party,” 4/14/11

Parks and Recreation
Parks and Recreation
Photo credit: NBC

It’s hard to pick just a few highlights. April and Andy’s wedding. Every appearance of Tammy 1 & Tammy 2. The supernova of Entertainment 720. The Halloween party. The cook-off. “Parks and Recreation” is the smartest, funniest, most well-acted show on network television and some weeks it’s not even close. What truly elevated this season was an emotional depth of character that hadn’t been there in seasons past. Sure, there had been glimpses of it, but the hipster irony that sometimes held back the program gave way to an amazingly romantic arc between Amy Poehler and Adam Scott, and both actors did the best work of their career this year. Leslie Knope and Ben Wyatt are my favorite couple on TV BY FAR. And, as I always say, a program is only as good as its worst supporting character. Pick one here. Hell, Jerry is funnier than anything on most of the competition. This is the best comedy ensemble on TV, period. And what’s perhaps most remarkable is the variety — you look back at “Cheers” or “Friends,” and everyone kind of sounds the same. They all have the same style. Aziz Ansari, Nick Offerman, and Chris Pratt have COMPLETELY different comic rhythms and talents and the writers keep figuring them out with each season. They took a leap forward this year and delivered the best show on network TV.

2. “Louie” (FX)

Americans only buy things that come from suffering. They just enjoy it more when they know someone’s getting hurt.
—Episode 2.10, “Halloween/Ellie,” 8/18/11

Louie
Louie
Photo credit: FX

There was no program more daring on television this year than Louis C.K.’s brilliant and riveting rewriting of the rules of TV comedy. Every once in awhile a series comes along that redefines its genre. “Seinfeld” did it. “The X-Files” did it. “24” certainly did it. “Louie” is doing it by daring to make TV comedy that doesn’t wear its desperation on its sleeve like so many laugh-track-driven yukfests. Instead it’s merely the work of a genius saying to his viewers, “Here’s something I find interesting, I bet you will too.” Whether it’s the reaction of his children as he sings along to the entirety of “Who Are You,” his using a real-life controversy with Dane Cook as fuel for an episode, a moving encounter with a suicidal colleague, a hysterical piece on masturbation, or the most interesting episode of television this year as Louis tracked his USO tour to Afghanistan, “Louie” was brilliant in the most inspired way a show can be — completely unpredictably.

1. “Breaking Bad” (AMC)

I am not in danger, Skyler. I AM the danger.
—Episode 4.6, “Cornered,” 8/21/11

Breaking Bad
Breaking Bad
Photo credit: AMC

There has been so much positive press aimed at one of the biggest shows in the history of cable television this year that what could I possibly add to it? Not only am I here to tell you that Cranston is going to make it four-in-a-row (and go for the complete sweep…a Best Actor trophy for each season of the show…with the final season next year) and Paul is likely to make it two but that this was the best season of the show to date. I’m stunned at the dexterity of the writing on “Breaking Bad” with a staff that has achieved that perfect balance of character and plot that allows them to consistently surprise. There is no formula. What I mean by this is that most shows have what feel like episodic requirements — they must move the plot in a certain direction a certain number of degrees every episode. Not “Breaking Bad.” It can go anywhere at any time and yet it never feels uncontrolled. You can sense the sure hand of the best writing staff on TV guiding one of the best single actor performances in history. You know the way people talk about “The Sopranos” and “The Wire” now that they’re off the air? They will gush in much the same way about “Breaking Bad.” It’s a classic airing in our time. In a very, VERY good year, it was the best show on television.

HollywoodChicago.com content director Brian Tallerico

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

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