Last Minute Emmy Predictions

Emmys are tonight, and with a ton of fresh blood in the field it's actually tough to predict this year's crop. Will Emmys keep to their infamous tradition of rewarding the same old same old? Or will they recognize one of the strongest crops of new shows since, well, the year Lost premiered? Here are my (probably very wrong) guesses:

Best Drama

Will Win: Lost (but realistically probably Mad Men)

Should Win: Lost or Dexter

Dark Horse: Pretty much anything but True Blood

Snubbed: Damages

This is a really tough category to call. Do they reward Lost for finishing strong despite a controversial ending (like they did with The Sopranos)? Do they recognize Dexter's best year? Do they reward The Good Wife for being a break-out freshman and a traditional network drama? Do they side with the critics in calling Breaking Bad the top show? Or do they let Mad Men go three for three? Seeing as it's the Emmys, it will probably be Mad Men, but for some reason I'm going with Lost.

Best Comedy

Will Win: Modern Family

Should Win: Modern Family or Glee

Dark Horse: Glee

Snubbed: Party Down

This one's a little easier. Despite 30 Rock winning in all of its three previous years, I think everyone knows this one's really between the two break-out new shows: Glee or Modern Family. Glee's won most of the awards for being the phenomenon of the year, and Emmys have occasionally gone that route in the past (like giving Lost a win in its first year). But Modern Family's so much more Emmy-friendly (and consistent) that I bet it takes the win.

Best Actor, Drama

Will Win: Michael C. Hall, Dexter

Should Win: Michael C. Hall, Dexter

Dark Horse: Bryan Cranston, Hugh Laurie, Jon Hamm

Snubbed: Timothy Olyphant, Justified

Another really tough category. Bryan Cranston won the past two years and Breaking Bad fans say this season's been his best yet, so he's definitely the favorite. But Michael C. Hall's won other awards this year for his best year yet. Plus he's shockingly never won here before. But neither have Hugh Laurie and Jon Hamm, both of whom had very strong submissions. Could go any of the four ways.

Best Actress, Drama

Will Win: Julianna Margulies, The Good Wife

Should Win: Glenn Close, Damages

Dark Horse: January Jones, Mad Men

Julianna Margulies has won everything else so far, and I think it's a safe bet she'll take this one too.

Best Supporting Actor, Drama

Will Win: Michael Emerson, Lost

Should Win: Terry O'Quinn, Lost

Dark Horse: Aaron Paul, Breaking Bad

Snubbed: Campbell Scott, Damages

There is a very strong chance the two Losties (both of whom have already won) will cancel each other out, and Aaron Paul will win for what I'm told is a fantastic performance. But here's my thoughts: Michael Emerson has the better episode submission, since Dr. Linus is one of the best of the season. But Terry O'Quinn gave the better season-long performance, since he had to play polar opposites in the Man in Black and Sideways Locke. And there's always the chance Andre Braugher takes it instead.

Best Supporting Actress, Drama

Will Win: Christina Hendricks, Mad Men

Should Win: Christina Hendricks, Mad Men

Dark Horse: Archie Panjabi, The Good Wife

Snubbed: Jennifer Carpenter, Dexter

Joan may have been woefully underused last year on Mad Men, but the episode she submitted is a knockout, plus everyone loves her. Though Archie Panjabi is just as much of a scene-stealer on The Good Wife, so the Emmys' clear love for the show could carry over to her. I also wouldn't count out Elisabeth Moss or Christine Baranski.

Best Actor, Comedy

Will Win: Tony Shalhoub, Monk

Should Win: Alec Baldwin, 30 Rock

Dark Horse: Jim Parsons, The Big Bang Theory

Snubbed: Jay Harrington, Better Off Ted

Tony Shalhoub has won this category so many times that I don't think the rest of the world's disdain will keep Emmy voters from giving it to him one final time. Though in recent years they've loved Alec Baldwin even more. Most people are rooting for Jim Parsons though, so maybe that will pay off?

Best Actress, Comedy

Will Win: Edie Falco, Nurse Jackie

Should Win: Tina Fey, 30 Rock

Dark Horse: Toni Collette, United States of Tara

Snubbed: Portia de Rossi, Better Off Ted

Emmy voters love Edie Falco, so expect her to be rewarded for making them forget about Carmela. But they also love Toni Collette playing multiple personalities. And they love Tina Fey. But Edie Falco will ultimately win this.

Best Supporting Actor, Comedy

Will Win: Ty Burrell, Modern Family

Should Win: Ty Burrell, Modern Family

Dark Horse: Eric Stonestreet, Modern Family

Snubbed: Ed O'Neill, Modern Family

As long as this isn't a repeat for Jon Cryer, I'm happy with anybody who wins here. NPH absolutely deserves this award, but deserved it more the past 4 years. Eric Stonestreet would be the obvious Emmy pick, but Ty Burrell is really the stand-out. And while Chris Colfer's nomination was a pleasant surprise, he's probably too young and too dramatic a role to take it. But you never know.

Best Supporting Actress, Comedy

Will Win: Jane Lynch, Glee

Should Win: Jane Lynch, Glee

Dark Horse: Sofia Vergara, Modern Family

Snubbed: Lizzy Caplan, Party Down

This seems like one of the biggest no-brainers of the night, though Sofia Vergara is also hilarious. But how can they keep Sue Sylvester from adding another trophy to her case?

Christmas in August

Mad Men typically takes its time to get its seasons started, doing a slow build that pays off big time by the finale. But after two episodes, it seems season 4 is no typical Mad Men season. That extra energy present in the season 3 finale that had been absent in the rather gloomy and downbeat season preceding it was back in full force in last week's premiere, as we watched Sterling Cooper Draper Pryce well into their start-up mode and very much in action.

There's a new feel to this season, and so far the change is for the better. Sure it's sad to see characters like Paul go, but that just means more time for favorites that had been neglected last year, like Peggy and Roger. And I imagine we'll see everyone soon enough, seeing as we've already had returns from Freddy Rumsen and Glenn, both of whom I'm pretty sure haven't been seen since season 2. Though I may need to refresh my Mad Men memory. Is Peggy's boyfriend new, or was he on last season?

As fun as the premiere was, it was actually the second episode I'd put as the first classic of the season. As odd as it may be to watch a Christmas episode in the midst of this heat wave filled summer, it was certainly a great one. Last week I think we witnessed the emergence of Diva Don - Don's the star of the new agency and everyone else pretty much has to do what he wants. But Don's star was nothing compared to that of Lucky Strike Lee, who's previously used his power to get Sal fired. As the sole person keeping the new venture afloat, he got to act like a little kid and have everything his way. The big party, the present, and most forcefully Roger in a Santa suit all came about to attend to his desires. Who else thought Roger might put the company in jeopardy by punching him in his over-tanned face?

While Roger was swallowing his pride to keep the agency going, Don didn't worry about his. Needing to be tucked in at night first by the nurse down the hall and then his secretary, it's clear his post-divorce life isn't going so hot. Though this week's Don's storyline was really ruled by his secretary, who I can't say I had noticed before (did she come over from Sterling Cooper or was she new last week?) but did a pretty great job establishing her character within the one episode. From competently yet flirtily taking care of Don's holiday shopping to thinking her crush had gone requited only to seemingly be paid off to keep quiet, she got quite the arc for a character whose name I still don't know. May be interesting to see if that continues this season.

Finally, I guess Glenn was always kind of creepy, but he definitely went big time creepy this week. I'm not sure if his sneaky phone calls or his breaking in was worse, but he seems to be getting kind of stalkerish towards Sally. Or maybe he's just trying to make Betty jealous. I have to admit I'm not minding the diminished screentime for Betty so far. Her courtship with Henry last year took away valuable time from the office. She's clearly sticking around, but for now at least she's taking up an appropriate amount of the episodes.

Oftentimes when shows try to change things up, it either fails miserably (Weeds moving to the Mexican border) or devolves back into the show the writers were trying to escape from (Nip/Tuck moving to LA). But while it's only been two episodes, it's looking like the move to SCDP was just what Mad Men needed after all. I'm looking forward to seeing how the new agency manages.

Elsewhere on AMC, Rubicon, the network's third original series, premiered last night. Due to a DVR mix-up I've only seen the first of the two episodes, but I can't say I'm excited to keep going. While the premise certainly sounds like my kind of show and the opening credits had me intrigued, Rubicon's pilot had to be one of the slowest moving hours of TV I've ever seen. I swear if they eliminated every long silence it would have been a third as long.

So what did happen? Not too much. Kim Bauer's ex now has Will Schuester's hair and first name and works at some government office where he sits around and does crossword puzzles all day. One of the crossword puzzles turned out to be dangerous and got his boss/father-in-law killed. This caused him to stare at a parking lot for 20 minutes. And....that was the first episode!

I will say that the preview for coming episodes did look a whole lot more interesting, but maybe that's because they took the entire season's worth of plot and condensed it to 30 seconds. I don't want to dismiss this one too soon because I wasn't wowed by Breaking Bad either and now I've got 3 seasons to catch up on since everyone says it's the best show on TV. But so far Rubicon is feeling to me like Treme did: something that's slow and boring but gets critical acclaim anyway. While I now know Treme never did pick up, there's still a chance Rubicon could. Did anyone watch the second hour? Will it change my mind? Or should I just enjoy Mad Men and not worry about what comes after it?

The Ricky Gervais and James Cameron Show

When it comes to the Golden Globes, we watch more for the show than the awards. After all, it's supposed to be the more fun, wacky version of the Oscars, with alcohol actually served and everyone taking their wins a little less seriously. In that respect, tonight's entertainment factor was, as usual, less than might be hoped for. Sure, there was some incoherence (Felicity Huffman) and clearly under the influence of something speeches (Kevin Bacon), but generally it was the same old same old of awards shows.

Which is why it was nice to have Ricky Gervais there to keep things a little more interesting. Usually hosts are expected to follow the Billy Crystal or, more recently, Neil Patrick Harris model, keeping things positive and fun. Anyone who gets a little too snarky (Jon Stewart or Chris Rock, for example) get called a bad choice. So I fully expect most of the media to dismiss Gervais for either being too insulting, or, more likely, not going far enough.

But Gervais' "I don't give a shit" attitude, whether sincere or feigned, was refreshing for a job usually suited by those eager to please, and gave the show a different kind of energy. Whether making jokes at Mel Gibson's expense or bringing up UK vs. US Office yet again, he consistently made me laugh. And in a night filled with routine and unmemorable speeches (except for Robert Downey Jr., obviously), somebody had to. Although what is entertaining is seeing whose speeches they cut off and whose they don't. Meryl Streep? Can talk as long as she wants. Drew Barrymore? Martin Scorsese? Same deal. Everyone else? No such luck.

As for the awards themselves, they brought the usual mix of the expected and the unusual. I was fairly satisfied with the TV awards. Very happy with the well-deserved Dexter double dip for John Lithgow and Michael C. Hall (how is this his first win?). Probably should have taken best drama as well, but I won't complain about Mad Men's win. Also great to see Glee taking best comedy, but seriously, Chloe Sevigny over Jane Lynch for supporting actress? I realize it's hard to compare drama and comedy, and that I haven't watched Big Love since season 1 so how can I judge, but it still should have been Sue Sylvester.

In the movies things got a little more interesting. First of all, a big hooray for Nine's well-deserved shut-out in all categories. I guess the voters actually saw the movie. Or they listened to their friends and didn't. On the fully expected and deserved front, Mo'Nique, Christoph Waltz, and Up continued their awards sweeps that will continue through the Oscars. In toss-ups, Up in the Air stood out in a combined screenplay category cause it's really that good, Up got recognized for its great score, and Jeff Bridges got properly appreciated for Crazy Heart (though between here and on Conan, I'm starting to wonder if he's turning into Bad Blake). Crazy Heart also got recognition for having the only good song in the best song category, so suck on that "Cinema Italiano."

Moving to the odder wins, who would have expected The Hangover to take the top comedy/musical award? Certainly it wouldn't have been Nine, but I would have expected something a little more serious-seeming, like maybe (500) Days of Summer. So kudos to the Globes, then, for changing things up a little. The Hangover was just part of a streak towards more popular movies, which included Sandra Bullock winning for The Blind Side. Now, I haven't seen The Blind Side, and maybe her performance really is better than what's featured in the trailers, but this feels like the same instinct the HFPA had to give her 2 nods in the first place. Star whoring.

Of course, the biggest wins were Avatar's in drama and director. I have to admit, I'm disappointed that The Hurt Locker didn't take director, or anything for that matter. But my theory on the Globes is that their drama prize goes to whatever they think is going to take the Oscar. That explains past wins for movies that once seemed hot than faded by Oscar time, like Babel and Atonement. But since the foreigners have a less populist streak than the Oscars, if they're putting their bet on Avatar, it may really be unstoppable. Barring a surge from Hurt Locker or, looking less likely by the day, Up in the Air, this may just be a practice round for James Cameron before repeating at the Oscars.

TOP 10 TV SHOWS OF 2009

It may be 2010, but 2009, I'm not done with you yet. I've still got a few more movies to see before I can do my movie list, but here is my official list of the top 10 TV shows of 2009:

1. Glee

Not since Lost premiered in 2004 have I seen such instant devotion for a new series. From the extremely feel-good pilot last May to the immensely satisfying fall finale, Glee is easily the most enjoyable hour of TV in addition to the first successful musical program. I'd never claim it's objectively the best show on this list, with its myriad pregnancy issues and occasional cheesiness. But between the awesomeness that is Sue Sylvester and the joy of the musical numbers, I'm just having too much fun to care.

2. Dexter

It didn't seem like Dexter could ever top its first two seasons, but it at least came close this year with its most terrifying villain yet in John Lithgow's Trinity Killer. Dexter already had enough to deal with in his new marriage and newer baby while trying to remember where he stashed a recent kill. But Trinity made the drama all the sweeter, whether creating the most horrifying Thanksgiving dinner ever put to television or confronting Dexter eerily in his workplace. And in a year filled with big finales, Dexter wins for the most shocking and talked about ending.

3. Battlestar Galactica

I hope the Lost writers were taking notes, because this is how you end a show. BSG has disappointed me in the past by its regular midseason water treading, but this final season was just one big episode after another. Gaeta and Zarek's attempted coup made for two episodes of quality suspense, and the big cylon reveal episode downloaded a ton of information and answers into our brains without exploding them. But it was the pitch-perfect finale that cements its place on this list, giving the right amount of action, twists, answers, and closure we expect from a classic piece of sci-fi television. So say we all.

4. Lost

Lost's bump from the top isn't intended as a punishment, but it certainly did air its strangest season yet. The season's strongest episodes for me came at the beginning when the island jumped through time, giving glimpses of island history that put a lot of pieces together. But if the long sojourn in 1970s Dharmaville lacked the immediacy of other seasons, it did allow Sawyer to emerge as a hero and Juliet to provide him with the series' most believable romance. With the biggest clean slate of an ending the show's done yet, I don't know what the final year will bring, but I can't wait to find out.

5. Modern Family

At first glance, this so doesn't seem like a show I would watch. Why do I want to help bring back the family sitcom? Well, because it's the funniest thing on TV. With characters so instantly defined and developed, every gag's pay-off hits harder and the occasional "aww" moment works. The reason for all those Arrested Development comparisons isn't just for the dysfunctional family; it's cause that's the last time we laughed this hard.

6. Mad Men

Frustratingly and often infuriatingly, Mad Men loves the slow burn. It leaves you trudging through lame plots like Don's affair with the teacher and Betty's flirtation with the politician until you wonder why you're still watching. Then it slams you with three of the best episodes it's ever produced right at the end. From Don's emotional confession to Betty to the phenomenal JFK assassination episode to the massively entertaining caper of a finale, Mad Men earned its label as the best show on TV.

7. True Blood

I started watching True Blood over the summer, and it's easily the most fun thing to come out of HBO in a long time. Season 2 was where it went from cult fave to legitimate hit, through crazy storylines like a maenad who inspires orgies, a church that actively seeks to rid the world of vampires, and a 2000 year old vampire who looks like he's 13. The vampire craze may irritate me in almost every way imaginable, but this is one way I'm happy to indulge it.

8. Dollhouse

I'll admit upfront that Dollhouse is majorly uneven, to the point where even some hardcore Joss Whedon fans couldn't stick with it. They're missing out. Dollhouse not only has one of the coolest premises on TV, but a story that really kicked into gear with Alpha in season 1 and again with the fight against Rossum this season. With a cast that's finally starting to gel and a ridiculous amount of geek-friendly guest stars, it's a shame Dollhouse won't have the chance to become the great show it's proved more and more capable of being. But the accelerated finish sure makes these final episodes all the more riveting.

9. How I Met Your Mother

Having just hit its 100th episode in early 2010, HIMYM is showing some signs of aging, most notably with the not-so-satisfying handling of the brief Barney and Robin relationship. But the advantage of its experience is that the cast plays off each other so well that watching HIMYM really is like hanging out with your (cooler than real life) friends. I certainly wouldn't want the mother to stand in the way of my weekly trips to McLaren's.

10. Damages

In its second season, Damages got so complex that all these months later I couldn't try to tell you what happened. Something about a big company, GPS coordinates, shady FBI guys, and Darrell Hammond playing what seemed to be a gay Donald Trump. But no matter how crazy Damages gets, you can be sure of two things: Glenn Close will be fantastic, and the crazy plot twists will send your mind reeling and begging for more.

Honorable Mentions:

Better Off Ted - Which went from amusing to hilarious in its second season, and deserves a "Save This Show" campaign

30 Rock - Which may be uneven but continues to produce some very funny episodes

The Office - Which saw a huge quality comeback at the beginning of the season...only to sink back down again

Now for my TV awards:

Best Drama: Dexter

Runners-Up: Battlestar Galactica, Lost

Best Comedy: Glee

Runners-Up: Modern Family, How I Met Your Mother

Best New Show: Glee

Runners-Up: Modern Family, V

Best Actor, Drama: Michael C. Hall, Dexter

Runners-Up: Jon Hamm, Mad Men; Josh Holloway, Lost

Best Actress, Drama: Glenn Close, Damages

Runners-Up: January Jones, Mad Men; Mary McDonnell, Battlestar Galactica

Best Supporting Actor, Drama: John Lithgow, Dexter

Runners-Up: John Slattery, Mad Men; Michael Emerson, Lost

Best Supporting Actress, Drama: Jennifer Carpenter, Dexter

Runners-Up: Christina Hendricks, Mad Men; Olivia Williams, Dollhouse

Best Actor, Comedy: Matthew Morrison, Glee

Runners-Up: Alec Baldwin, 30 Rock; Danny McBride, Eastbound and Down

Best Actress, Comedy: Tina Fey, 30 Rock

Runners-Up: Toni Collette, The United States of Tara; Lea Michele, Glee

Best Supporting Actor, Comedy: Neil Patrick Harris, How I Met Your Mother

Runners-Up: Ty Burrell, Modern Family; Eric Stonestreet, Modern Family

Best Supporting Actress, Comedy: Jane Lynch, Glee

Runners-Up: Portia de Rossi, Better Off Ted; Julie Bowen, Modern Family

Top TV Shows of the Decade

Yesterday was movies, today is top TV shows of the decade. In some ways, picking the TV shows of the decade is even harder, as what shows belong to the '00s? Should we count a show like Buffy, that spent half its time in the '00s but had all its best seasons in the '90s (I'm saying no)? Or what about a show like True Blood, which has already made an impression this decade even though most of its seasons will air in the '10s (again, no)?

In most other ways though, picking TV shows is a lot easier. You don't have to sift through previous lists to find the brightest gems; these are shows we've watched for years and spent countless hours obsessing over. So before I begin, I just want to explain a few high-profile omissions: The West Wing may very well deserve to be on this list, but I never regularly watched it, something I'll someday remedy on DVD. While I do love The Wire, the two seasons I've seen aren't enough to beat what's already on here. And finally, I've never seen a single episode of The Shield.

With that out of the way, let's get to it:

11. Freaks and Geeks

Ok, I'm cheating, but I couldn't leave Freaks and Geeks off. In only 17 episodes, Freaks and Geeks became the most believable high school show on TV, with kids that actually looked their age and problems they would actually face. And in one of my favorite storylines, the geek won his dreamgirl...only to immediately realize she's boring! The show would go on to launch the careers of Judd Apatow, James Franco, Jason Segel, and Seth Rogen, to name but a few, but on its own it's a high school show that anyone can relate to, even those of us too young to be there in 1980.

10. Mad Men

Mad Men may still be young in its run, but it's gone through so much in three seasons that it has certainly earned its spot. A historical show so compelling it actually got me to watch (unlike Deadwood and Rome), Mad Men makes 1960s New York come alive while also serving as a great character piece for any age. In every way it earns the title of "the next Sopranos."

9. Battlestar Galactica

It may have been set in a sci-fi universe, but Battlestar Galactica had more to say about our world than anything else on TV, and showed sci-fi can be a powerful way of making a statement. With fascinatingly dark characters and twists out of nowhere, BSG's four seasons stand as a fully realized vision complete with a great ending.

8. Farscape

Keeping up with the sci-fi theme, Farscape may be the least watched and least remembered show on this list, but it's also the first sci-fi show I loved and one of the first shows that showed me what TV can do. With cool plots, great characters, and muppets, Farscape was the kind of cult show you felt unique for watching, which just made its cancellation all the more difficult.

7. The Office (UK)

The American remake may have more viewers and has certainly had more episodes, but I still say the original 12 episodes + Christmas special of the British version accomplished more. Less cartoonish and more heartfelt, the original let Tim be as pitiable as he was likable and made Gareth the kind of rule-following dork you might actually find in your office (as opposed to Dwight's over-the-top buffoon). The second series finale is still one of the most depressing TV endings I have ever seen, and the Christmas special one of the happiest. That's some impressive range.

6. Dexter

Hard to believe a show about a likable serial killer could be one of the best shows of the decade, but with other shows glorifying killers like Tony Soprano and Vic Mackey, Dexter Morgan's killer with a code doesn't seem so bad. More importantly, Dexter started big with the Ice Truck Killer, and every year works to up the ante with the Bay Harbor Butcher and the Trinity Killer. With four great seasons, it's not only one of the most consistent shows on this list, but also the most addictive show to ever air on cable.

5. Six Feet Under

Further proof that Michael C. Hall has had a great decade: that he was equally convincing in the most un-Dexter part imaginable. You didn't always like everyone in the Fisher clan (in fact, I hated everyone for a full season each), but that just made their stories all the more compelling. It may have started as American Beauty: The TV Show, but by the time it reached its unforgettable ending it had evolved into something more.

4. The Sopranos

No show had more of an influence over the '00s than The Sopranos. Not only is it single-handedly responsible for the emergence of cable as a place for quality original programming, but it also led television to be taken seriously as an art form. Without The Sopranos, there would be no Mad Men, no The Shield, and no Dexter. And regardless of what you thought of the still-discussed finale, it had a pretty remarkable run.

3. 24

The Sopranos may have had the biggest influence on TV this decade, but 24 best represented the decade on TV. Premiering right after 9/11 in 2001, 24 brought the War on Terror to TV screens, and cemented terrorists as the new communists as far as action villains go. With its crazy twists and infamous character deaths, 24 is the reason every show goes kill crazy each May. And as much as I like Christian Bale's Batman, Jack Bauer is the real superhero of the decade.

2. Arrested Development

It may have only lasted three low-rated seasons, but Arrested Development is also the smartest and funniest comedy of all time. That's right I said it: Arrested Development is better than Seinfeld. After all, what other show do you need to watch five times just to get most of the jokes? Or features so many recurring gags that real fans always laugh harder than casual ones? With one of the looniest ensembles on TV and the most endlessly quotable lines, Arrested Development is a no-brainer for comedy of the decade.

1. Lost

So many shows have tried to imitate it (cough FlashForward cough), and so many have tried to explain its roots, but the fact is that Lost is a true original, the kind of experience that can only come but once a decade, if ever. A cult show that finds room for oven ten million viewers. A mystery that asks three new questions for every answer it gives. And a character piece that regularly makes even the most minor supporting character seem fascinating after a few well-placed flashbacks. With some of the most iconic characters, images, and storylines currently on TV, Lost is more than a more popular Twin Peaks, a more serialized X-Files, or a more intelligent Gilligan's Island. It's the show of the decade.

So there's my picks. Some shows that just barely missed the cut include The Wire, Veronica Mars, How I Met Your Mother, Scrubs, Alias, The Office (US), and 30 Rock.

Which shows topped your decade? What am I overrating? What am I missing? And what do you think will make this list ten years from now for the 2010s? Let me know in the comments.

Sterling Cooper Draper Price

It's odd to think of an episode that saw the dissolution of the Draper marriage as being one of the least depressing episodes of the season, but after the downward spiral Don and everyone else has been on of late, a fresh start seems like a good idea. And Mad Men's season 3 finale was certainly a game-changer. With most of the main characters from Sterling Cooper (sorry, Kinsey & Ken) heading into a new agency and Betty heading to Reno, season 4 looks likely to be nothing like the first 3 years, which should make even the most strident season 3 haters excited about what's to come.

After the past two seasons, we know the drill: Mad Men slowly and frustratingly puts its pieces into play, letting it all explode in the final few episodes. And we had already gotten a ton of pay-off this year, between the phenomenal episode 2 weeks ago in which Don confessed his past to Betty, and last week's equally instaclassic in which JFK's assassination led everyone to rethink their lives. Well, those thoughts clearly lasted, as many big changes occurred this week.

All things considered, the Brits haven't had too large of an impact on Mad Men this season. Moneypenny, who initially seemed a kind of British Pete Campbell, has had practically no role. Price has had more of an impact, but still didn't irritate Don nearly as much as Duck Phillips ever did. Still, it was clear that the British storyline would have its resolution this season, and sure enough, the sale of Sterling Cooper was announced right off the bat (and goodbye Conrad Hilton. I can't say I'll miss you).

What I hadn't guessed was that instead of a repeat of last year's finale we'd get something different: a new agency headed by Don, Roger, Cooper, and more surprisingly Price. Most of the fun of the episode (that's right, I used the word "fun" in describing season 3 Mad Men) came in watching the recruitment, providing a number of nice moments between Don and his would-be proteges. Pete, whose need for Don's approval fueled so much of season 1, finally got his much desired pat on the back as Don praised his ability to anticipate future needs. And Peggy finally told Don off after all the many times Don yelled at her this year. It all led to a very nice scene of Don begging her to join, but who else thought Peggy might blow the whole thing by telling Duck first?

Still, as much as I loved Cooper's threat to lock Harry up if he didn't join in, the best recruitment had to be Roger's call to Joan, finally getting her back in the mix. These past few episodes it seems the writers realized fans demanded more Roger and Joan, and made up for it big time. Very welcome to have her be the one answering the phone to first say the new agency's name, even as they work comically out of a small hotel room. Hey, it's a hell of a lot better than Michael Scott Paper Company.

I should mention the other big storyline of the finale: Don and Betty's road to divorce. I guess it's been so inevitable that it didn't even seem too sad, though we did get a rare side of Don as he grabbed her and (almost comically hypocritically) called her a whore. That can go right up there on the Don's Proudest Moments list with "you people." Speaking of Sal, I'm hoping his lack of appearances since his firing doesn't mean he's really off the show. SCDP's going to need an art department, after all.

I'd also like to pause and note the writers managed to go THE ENTIRE SEASON without referring to Peggy and Pete's baby (at least not in words). Though it was delightfully uncomfortable when Trudy came to visit the office and Peggy had to thank her for the sandwiches. There was also no Duck Phillips this episode, so if he has some evil agenda beyond grossing America out with his relationship with Peggy, it's still yet to come.

So, there may have been no one scene that instantly made the season, like Pete and Peggy's talk or Duck's conference room storm out from last year or Don's "The Wheel" pitch from season 1. But what we got was a thoroughly satisfying episode that tied up most of this season's storylines with a promising fresh start for next year. I know Mad Men's taken some heat on the internet for this season, but for all its ups and downs I'd say the past three episodes more than made up for any shortcomings. And I'm certainly eagerly awaiting the official launch of Sterling Cooper Draper Price.

Who Wants to be Don Draper for Halloween?

A lot of people have been asking when Mad Men was going to pick up the pace, and not without reason. For every big drama moment like Sal's firing or the British guy's foot being lawnmowered off, there's been half an episode about Don and the teacher or Betty and the politician. With only 3 episodes left of the season, we wanted to see some pay-off. Which is why Sunday night, Mad Men produced its best episode of the season, and one of its best overall.

Now, the past few episodes I've started to tire of the Sopranos-like device in which Matthew Weiner and co. choose to focus on only three characters each week. Since most weeks Don and Betty made up two out of three, that meant weeks at a time without any noticeable imput from Pete, Peggy, Roger, Joan, etc. This week wasn't any different. There were still only three storylines - Don/Betty, Roger, and Joan. The difference is this week all three were gold.

First up, Joan. Now that she's left Sterling Cooper, we see far too little of Joan, so any sighting is cause for excitement. And unlike her memorable but brief appearance with Pete in the department store, this time there was plenty of Joan, and even more reasons to think her husband is the most unworthy human being on the planet. As he flubbed his interview prep and bitched and moaned about how unfair life is that he's not a good enough surgeon, Joan did what every one of the show's viewers wanted to: hit him in the head with a vase. Sadly, his decision to join the army seemed to just keep Joan trapped in the marriage even tighter (though clearly leading into a Vietnam storyline), but for that faked smile at the end alone, this should be Christina Hendricks' Emmy submission episode.

Next Roger, who's been barely present this season. His Casablanca and Hemingway referencing encounter with an ex who left him in Paris twenty years earlier brought Mad Men back to part of its original appeal: the glamour of an earlier era. Watching Roger and Annabel discuss the old days was like watching an old black-and-white Hollywood romance, except older and sadder. His simple "you're not" when she called him "the one" hit harder than any of his more obvious attacks the night before. Definitely John Slattery's Emmy submission episode.

But as great as it was to see Roger and Joan get so much screen time, this episode will really be remembered as the one where Betty confronted Don about his past. This episode's been in the making ever since that guy on the train called Don "Dick" in season 1, and man, did it not disappoint. Watching the way Don completely collapsed once he accepted his past must come out, dropping cigarettes and unable to pour his own drink, well, certainly a different person than the one who sneered "you people" at Sal just two weeks ago.

As Don slowly and methodically went through his past, you could see the pain each word brought, as Betty found herself unsure how to react. I admit I kept asking throughout "what about the teacher in the car?!?!" Would she leave, or spend the night there? Very grateful for the shot showing she did indeed leave. But otherwise, the kind of subtle scene Mad Men excels in, up there with Peggy telling Pete about their baby last season. Jon Hamm and January Jones, I think you know what to do come Emmy time.

The episode ends with possibly the series' best final line ever, "And who are you supposed to be?" Isn't that always the question. And with Don's past opened up, there's now tons of material feeding the final two episodes. Plus, the following storylines still need some kind of resolution by season's end: the Brits' ownership of Sterling Cooper, Duck's attempts to steal Peggy and Pete, Sal's firing, Joan's connection to Sterling Cooper, Roger and Jane's marriage, and Betty and the guy from the governor's office. Maybe not everything will be addressed by season's end. But whatever happens, this week at least showed what Mad Men looks like at its best.

Mad Muppets

The long-anticipated Sesame Street spoof of Mad Men has arrived. Take a look:

As far as spoofs go, this one wasn't all that Mad Men specific. The only actual character in it was Don, and he said far more in these 2 minutes than he generally says in any given one hour episode.

On the other hand, the take-off on the opening credits with the silhouette slipping on a banana peel was genius, and you have to give props to a kids' show that features the line, "Good work, sycophants." Also "Watch the suit."

All in all, just goes to show that Muppets are awesome.

Don Draper: Problem Solver

Fall TV season may still be a month away, but it sure doesn't feel like it with Top Chef, Project Runway, and most importantly Mad Men all premiering within the same week. And unlike last season, Mad Men's showing no signs of waiting until the fall to really get going.

That's right, no episodes centered around a new copy machine this season. Last week's premiere got the season off to quite the start, having a number of those "this won't happen for years" things happen all at once. Pete got his big promotion (sort of)! Sal got together with a guy! Don knows his secret!

But first, let's talk about what they didn't address, namely a lot of the cliffhangers from last season. Duck Phillips? Gone without a trace. We even got to see his replacement (or replacement's replacement?) following him out the door. Hard to think of a better exit for him than his season-ending meltdown. Continued tension between Peggy and Pete after she told him about the baby? Don't expect that for awhile. At least in episode 2 we found out about Roger and Jane's status (married!)

We've also gotten a taste of life under British rule. Impressively, episode 2 already showed some colonial tension, with Don questioning new boss Pryce after Home Office pulled the plug on the Madison Square Garden account (which was a nice bit of New York City history right there). Figured it would take more than two episodes before they'd start getting into it. My favorite new character though is Moneypenny (sadly missing from episode 2), a Pete Campbell lookalike male secretary who thinks of himself as more powerful. So essentially a British Pete Campbell. Awesome.

As for the original, Pete had one of his best episodes when he finally got the promotion he tried to blackmail Don for in season 1....only to lose all the joy from his goofy victory dance when he found out he had to share the honor with Ken. For Ken (and most rational human beings), it was a cause of celebration. But as Pete whined in his best little girl voice, "Why can't I get everything all at once? Why do I have to wait?" Personally, I'm happiest when Pete's at his most slimy and ambitious, so his competition with Ken is my favorite new storyline this season.

Though the bigger shocker last week was Sal, taking action where he couldn't just two seasons ago, and having to now share his secret with Don. That scene on the plane afterwards, where Don asks him to be completely honest before going into a new pitch for London Fog...amazing. Between that scene and the one with Pete and Ken in the elevator, it's clear that Mad Men's at its best when everything's said in the subtext.

Now, admittedly, this week wasn't quite as jaw-dropping as the premiere, but it still had a fair amount of forward motion. We got a nice return to the Don/Peggy relationship, as each of them set to problem solving in their own way. Don wooed a client (who he would later have to drop) and ended a feud between Betty and her brother by dictating what would happen. Must be scary to have Don Draper as a brother-in-law. While Peggy decided to follow Joan's lead (or more accurately Don's) by picking up a guy in a bar and slipping out in the middle of the night. Bye bye birdie indeed.

As great as the season's started out, I was satisfied as soon as I heard that opening theme music. It feels good to be back in the '60s.

TOP 10 TV SHOWS OF 2008

2008 was not a strong year for TV. The writer's strike nearly destroyed the spring season and left the fall season with no new shows worth putting on my list. But those shouting that this Golden Age of Television is over are a bit premature, as I've got ten shows right here that prove TV is doing just fine. Here are my top 10 TV shows of 2008 and my 2008 TV awards:

1. Lost
Lost may always top my top 10 list, but rarely has it deserved the spot so much. This season Lost found the perfect balance between mythology and character. For every Ghost Christian in a cabin, there was a heartwarming phone call between Desmond and Penny and a personal tragedy for Ben. Lost also finally figured out how to bring in new characters, teasing Faraday and Co. without letting them take over. Just as last year's finale changed the game with flashforwards, this season's final scene left a freighter full of questions. Who's alive? Who's dead? Who cares! Being confused has never been this exciting, and I can't wait until January 21st.

2. Mad Men
Mad Men's first season was hard to top, bringing us into the world of 1960s advertising and the life of the mysterious Don Draper. Season 2 started slow, with a new copier and the insufferable Barretts. But every story served its purpose by the end. Peggy had a great season, moving up the creative chain while hiding her secret until a heartbreaking scene with Pete. Betty became a whole new person after kicking Don out. Even minor characters like Duck Phillips and Freddy Rumsen got episodes to shine. By the time the Cuban Missile Crisis hit in the explosive finale, it was clear Mad Men is no one season wonder.

3. Dexter
Season 1 was the hunt for the Ice Truck Killer. Season 2 saw Dexter hunted. Season 3 was...the friendship of Dexter and Miguel Prado? Doesn’t sound quite as cool. Yet as their relationship shifted from best friends to student and teacher to enemies, their psychological games created all the suspense needed. It helps that Jimmy Smits was able to play both charismatic and deranged so fantastically. Who cares if the IA girl was annoying or the Skinner plot didn’t satisfy? The Dexter/Miguel face-off, along with Dexter’s shift to family man, made season 3 must-see TV.

4. How I Met Your Mother
It may have seemed like a Friends rip-off at first, but How I Met Your Mother quietly became the best comedy on TV. HIMYM came back from the writer’s strike with nearly a full season of episodes. And good ones, too. Like Ted’s very sweet two-minute date for Stella. And Robin Sparkles’ hilarious break-up ballad “Sandcastles in the Sand.” Plus, Neil Patrick Harris’ Barney Stinson may be the single best character on TV. Season 4 got a bit more serious with everyone looking to the future. But whether the gang is addicted to interventions or singing “Let’s Go to the Mall” karaoke in a Canadian bar, the show is consistently legen – wait for it – dary.

5. Pushing Daisies
The fact that the most innovative comic fantasy on TV has been canceled is sad. But the fact that it got canceled just when it was getting so good makes it tragic. Pushing Daisies has done procedural better than CBS since day 1, with crimes involving a comfort food bake-off, gambling with Chinese food, and magicians. But with the arrival of the mysterious and deadly Dwight Dixon, the serial element kicked in just as strong. The last episode, which saw the gang covering up a murder from Norwegian detectives, was as suspenseful as anything on Dexter. With one hell of a cliffhanger, it will be a long wait until those final three episodes air.

6. The Daily Show/The Colbert Report
The presidential election was the TV event of the year, and Comedy Central was the place to watch it. From the primaries to the transition, Jon Stewart and Stephen Colbert had more insight than any of the real news networks. On The Daily Show, Stewart brought out all the ridiculousness and hypocrisy of the campaign to hilarious effect. On The Colbert Report, Colbert personified said ridiculousness and hypocrisy. Both of them had their best material since, well, Indecision 2004.

7. Top Chef
Top Chef is my favorite reality show for combining two great things: food and competition. I may not get to taste anything the chefs make, but it all sure looks good. Season 4 had some of the most talented chefs yet, as Richard, Dale, Antonia, and Andrew all had a decent shot. But it was still satisfying to see the very deserving Stephanie become the first female Top Chef. This season has seen a number of early stand-outs while taking full advantage of the New York setting. Top Chef makes it on because unlike in most reality shows, talent wins out over drama.

8. 30 Rock
Tina Fey's Sarah Palin impersonation may have made her the Comedienne of the Year, but she brought the funny just as hard in her day job, as writer/star of 30 Rock. Her Liz Lemon has gone from best straight-man to straight-out funny as the show has gone on. But best is still Alec Baldwin's Jack Donaghy. From greenlighting "MILF Island" to working for the Bush administration, Jack always gets the funniest stories. Throw in Will Arnett in a hilarious recurring part, and I'm starting to understand why critics love 30 Rock so.

9. Battlestar Galactica
Despite the jaw-dropping reveal of four secret Cylons in season 3's finale, season 4 had a rough start. First there was Crazy Kara yelling, "WE'RE GOING THE WRONG WAAAAAAY!" Then there was Chief shaving his head. But somewhere around the midpoint of the season, BSG got awesome again. There was the Cylon civil war (badass), President Roslin's visions (creepy), and finally the landing on Earth (really creepy). I have no idea where this final season is going, but I know it will be frakking amazing.

10. The Office
In 2008, The Office showed its age. It put out a weak slew of episodes after the writer's strike and similarly dropped the ball after Amy Ryan's Holly was transferred back to New Hampshire. But when Amy Ryan was onscreen, The Office was often season 3 level good. The idea of a perfect woman for Michael is so mind-boggling that the joke never got old. From insulting Toby to beatboxing for Michael's lame rap, Holly's presence made everyone around her funnier. The Office needs her to transfer back, stat.

Now for my TV Awards:

Best Drama: Lost
Runners-Up: Mad Men, Dexter

Best Actor, Drama: Michael C. Hall (Dexter), Dexter
Runners-Up: Jon Hamm (Don), Mad Men; Bryan Cranston (Walt), Breaking Bad

Best Actress, Drama: January Jones (Betty), Mad Men
Runner-Up: Mary McDonnell (President Roslin), Battlestar Galactica

Best Supporting Actor, Drama: Michael Emerson (Ben), Lost
Runners-Up: Jimmy Smits (Miguel), Dexter; Vincent Kartheiser (Pete), Mad Men

Best Supporting Actress, Drama: Elisabeth Moss (Peggy), Mad Men
Runners-Up: Christina Hendricks (Joan), Mad Men; Jennifer Carpenter (Deb), Dexter

Best Comedy: How I Met Your Mother
Runners-Up: Pushing Daisies, 30 Rock

Best Actor, Comedy: Alec Baldwin (Jack), 30 Rock
Runners-Up: Lee Pace (Ned), Pushing Daisies; Steve Carell (Michael), The Office

Best Actress, Comedy: Tina Fey (Liz), 30 Rock
Runners-Up: Anna Friel (Chuck), Pushing Daisies; Mary-Louise Parker (Nancy), Weeds

Best Supporting Actor, Comedy: Neil Patrick Harris (Barney), How I Met Your Mother
Runners-Up: Chi McBride (Emerson), Pushing Daisies; Justin Kirk (Andy), Weeds

Best Supporting Actress, Comedy: Amy Ryan (Holly), The Office
Runners-Up: Kristin Chenowith (Olive), Pushing Daisies; Jenna Fischer (Pam), The Office

Last Post of the Year

Happy New Year's Eve everyone! On my last post of 2008, I thought I should do some kind of reflection on the year. I have to see a few more movies and catch up on a few more shows before I can do my top 10 lists, but they are coming. As for what else is coming up: tomorrow is blog resolutions, Friday is a midseason TV preview, and next week will be season premiere recaps. Now back to 2008:

It's a really good thing Barack Obama won the presidency in 2008, since that's about the only thing that kept it from being The Year That Sucked. Just look at today's news stories. In real news, the Israeli/Palestinian conflict has come back full force, and controversy over disgraced Governor Rod Blagojevich's senate pick will spill far into 2009. In entertainment news, a Viacom/Time Warner dispute could mean no Daily Show for the forseeable future, while a SAG strike is still a possibility. And that's just this week.

Here's just a few things we've dealt with this year: the worst economic crisis since the Great Depression, the fall of Wall Street, the beginnings of the fall of Detroit, record-high gas prices, terrorist attacks in Mumbai, Russia's invasion of Georgia, the Eliot Spitzer scandal, the Rod Blagojevich scandal, a writer's strike that led to one of the worst TV seasons in memory, and a very weak year for movies.

But there were some bright spots, mostly in the election. From the epic Hillary/Obama primary battle to the conventions, debates, and Sarah Palin, the 2008 election was THE entertainment event of the year. People who never voted in their lives were suddenly political junkies, checking daily poll results and tracking debates like play-offs for the World Series. The election even spilled over to real entertainment, giving The Daily Show and The Colbert Report tons of material, and revitalizing Saturday Night Live with Tina Fey's instant-classic impersonation of Sarah Palin. And best of all, it had a happy ending.

While the overall field of movies and TV shows this year may have been weak, the best were comparable with any other year. The Dark Knight was the best superhero movie ever, one of the best crime epics ever, and featured one of the best movie villains ever. Wall-E was so much more than Pixar's best film, being as well a definitive look at our era. Slumdog Millionaire's frontrunner status for best picture may come out of lack of competition, but it would be at the top in any other year too. I'd put these three above my top three movies from last year, easily.

As for TV, I may not have added any new shows to my dvr in 2008, and a lot of my old favorites may have disappointed, but that didn't stop shows from continuing to wow. Lost, already the best tv show ever, proved it more by changing up the formula with flashforwards. Mad Men avoided a sophomore slump by going even deeper into its characters in year 2. And Dexter showed it could still be suspenseful without as compelling a central device as the Ice Truck Killer or the Bay Harbor Butcher.

So 2008 wasn't ALL bad, just mostly bad. On January 20th, 2009, Barack Obama gets sworn in as president. I certainly hope that means my final post for 2009 will be very different from this one.

Best Shows You're Not Watching: Winter Break Edition

Most TV shows won't be airing any new episodes until the week of January 5th, leaving two weeks without TV. So whether you've got a month-long winter break from school, a week or two break from work, or you're just missing Top Chef, now's a good time to catch up on those shows you've been meaning to get to. I'll tell you the top 5 shows worth checking out on DVD this month. My criteria are quality, addictiveness, and how recent the show is, so you can catch up quickly. Hence the absence of older shows like Lost.

5. Mad Men

Mad Men has replaced The Wire as the show you are sick of critics telling you to watch. But with only two seasons having aired, it's easy enough to catch up. The show's about Don Draper (Jon Hamm), a tight-lipped ad agency exec in the 1960s. Between the history of 1960s New York, the focus on advertising, the amazing characters, and the excellent acting and writing, there's something for anyone to enjoy. Mad Men moves with the same slow pace as The Sopranos, so it's not the best choice for a winter break marathon. But it is the show of the moment, so best get on the bandwagon now.

4. Dexter

Super-addictive and unlike anything else on TV, Dexter makes perfect TV on DVD. Season 1, in which friendly serial killer Dexter Morgan (Michael C. Hall, as amazing yet completely different than he was in Six Feet Under) faces off against the Ice Truck Killer, just gets better and better with each episode. Season 2, in which Dexter finds himself the target, is even more exciting. Season 3 won't be on DVD until late summer, and with season 4 a year away there's no rush. But if you want a show that will send you flying through the discs as fast as Lost, this is the one.

3. Pushing Daisies

Yes, it's been canceled, which may seem like a reason not to bother starting now. But since there's only been 19 episodes between the two seasons, it's hardly a big commitment. It's the story of piemaker Ned (Lee Pace), who has the power to bring the dead back to life for 60 seconds, which he uses to solve crimes. There's a lot of fantasy, and the show can get cutesy at times, so it's certainly not for everyone. But the show's wacky mysteries are unlike anything on any procedural, and the top-notch cast makes their quirky characters funny and adorable. Check it out now and you can still catch the last three episodes in 2009.

2. How I Met Your Mother

Regular readers of Zandervision know I'm a big fan by my frequent posts. In its fourth season, HIMYM is the oldest show on this list. But with half hour episodes, the seasons will fly past. If the title doesn't do it for you, don't worry. It's basically just a younger, hipper version of Friends. Except it's also got an obsession with continuity to rival Lost, a knack for coining phrases to rival Seinfeld, and one of the best characters on TV in Barney Stinson (Neil Patrick Harris). It's hardly great TV on the level of Mad Men or Dexter, but the cast is so much fun you'll wish they were your friends. Watch enough of the show, and you might think they are.

1. Damages

Having only had one hyper-suspenseful season, Damages is very easy to catch up on. And with season 2 starting January 7th, now is the time to do it. Don't make the mistake of hearing "lawyer show" and tuning out, because this is unlike any lawyer show you've ever seen. The series begins with an attempted murder on protagonist Ellen (Rose Byrne) and a real murder of her fiance, David. From there, it flashes back six months to when Ellen started working for high-profile New York lawyer Patty Hewes (Glenn Close), in the middle of a lawsuit against corrupt CEO Arthur Frobisher (Ted Danson). Close, Danson, and Frobisher's lawyer Ray Fiske (Emmy winner Zeljko Ivanek) are all fantastic, and the constant double crosses and manipulations keep you guessing until the last second. With more time spent on hit men than courtrooms, this is the 24 of lawyer shows. Start watching now before it becomes the cool thing to do.

Missiles Fly in Mad Men's Finale

Mad Men, like The Sopranos, is often slow-paced, letting tensions play out over time. Which makes it all the more incredible when all of those tensions pay off so well as in Sunday night's explosive finale. The episode is set during the Cuban Missile Crisis, best to parallel all the character crises that have built up this season. As most of the country panics about the end of the world, Don, Betty, Pete, and Peggy face military stand-offs of the metaphorical variety.

Betty's missile silo comes in the form of an unexpected pregnancy. Estranged from Don and unhappy with the two kids she already has, Betty uses some quality 1960s code words, "It's not the right time," to look into her options. Don sort of admitting his affair with Bobbie Barrett doesn't make the decision for her, but it does lead her into her biggest plunge out of her role yet: a bathroom tryst with a complete stranger. Betty's gone through a lot of changes since she told an 8-year-old she had no one to talk to last year. Maybe this signals an even more evolved Betty in season 3. But whether moved by Don's touching note or just needing someone to help her raise the baby, she lets Don back home. Like with the US and Cuba, the immediate crisis may have ended but the uneasiness remains.

Then there's the season-long cold war between Don and Duck, which comes to a head at the meeting to officially merge Sterling-Cooper with the three-name British company (I'm not learning the name until I'm sure they're staying). At the meeting, Don doesn't give a fancy speech (like last year's classic Wheel pitch) but undermines Duck through a to-the-point resignation and a great exit. The look on Duck's face when he finds out Don doesn't have a contract is priceless, but the horrified look of the Brits as Duck goes into an alcohol-fueled meltdown is even better. It certainly feels like karmic payback for what he did to Chauncey. This scene left Duck's future, Don's future, and the future of Sterling-Cooper all completely up in the air for next season. But regardless of what happens, this battle clearly goes to Don.

Despite Don's multiple crises, Pete may have been this finale's stand-out. Pete's always been my favorite character for his unabashed sleaziness. He's always dependable to screw someone over for his career and to act like a child. Yet even when abandoning his wife for another woman in an emergency, he shows more maturity than it seemed he had in him. He's offered the two things he's wanted most since the pilot: Head of Accounts and Don's approval. Yet though he was willing to blackmail Don for the job last season, he risks it to warn Don of Duck's plans. In the process, he shows a quality it didn't seem he had: loyalty. Way to go.

But the best and most hotly anticipated scene of the night is where Peggy finally reveals to Pete and explains to us what happened to their baby. Father Gil sees the missile crisis as an excuse to get Peggy to confess her secret to him. She doesn't bite, but does take his advice to heart when Pete declares his love for her. As usual, the scene's power rests in the subtext. Pete's shock to find out a baby Campbell exists after being unable to conceive with his wife. Peggy, after growing into a successful ad woman this season, letting herself deal with the secret she worked so hard to hide away, and FINALLY saying that she gave the baby away (so it was not one of the many children in her sister's home after all).

As Cuba stands down, the end of the emergency only leads to continued unease and uncertainty. Don and Betty's marriage, the ad men of Sterling-Cooper, and Pete and Peggy's relationship are all very much undecided. But as unresolved as it may be, this finale did address nearly every major issue of the season (sorry to those wanting more on Dick Whitman). As the high point of a very strong second season, this closer proved why Mad Men is one of the best shows on TV.

TV Catch-Up: Thursday-Monday Edition

Gossip Girl

Best part of the episode for me was that so much was shot right outside of Dodge Hall (see above) where I had all of my film classes (the Yale they visited is actually Columbia). It's been interesting to see how Blair has become the main character this season. The Blair and Serena fight was nearly identical to the one last season. But this time it's through Blair's perspective, as Serena has started to feel more and more like a minor character. Dan has also had trouble staying part of the show post-break up. But I kind of liked his interactions with Chuck and Nate. I'm sure he and Nate discussed being new bffs over burgers at HamDel. And Chuck's playing of the not-so-secret society was what he does best.

How I Met Your Mother

Best episode yet of the season. I'm not sure which was funnier, the series of interventions or Barney convincing a girl that he has come from the future to tell her to sleep with his present self. That's not even including the stories of how Ted's apartment was banged up. Wtih Robin in full-on Canadian mode, Lily getting an intervention for her bad British accent, and R2 Sweet Tooth, there were a lot of laughs to go around. But it was also nice to see how all of the funniest gags led to more serious moments, as the interventions led Ted to question moving in with Stella and Barney the Old Man convinced him to go through with it. After Ted's decision last week to leave Manhattan for New Jersey, this episode continued to show the life-altering decisions people make in their 20s/30s. But it's nice to see they can make those decisions while still being funny.

Heroes

4 episodes in, Heroes is a bit of a mess. Last week there were enough time jumps to leave everyone spinning, and this week we can't tell who's alive and who's dead. Mohinder's foray into being a mad scientist has become far more ridiculous than I could have ever imagined. And I don't believe Ando is really dead, because if so that is the worst character death I have ever seen. So where's the upside? Well, even with all the flaws, it is still kind of fun. The emphasis on the vortex guy (Bubbles from The Wire) helped focus the episode somewhat with all of its many plotlines. Sylar's far from my favorite character, but partnering him with Noah has been fun to see. And it's nice to see Angela's secrets unraveling. The writers just need to bring Parkman back from Africa, get Nathan to stop talking about God, and get rid of Mohinder and Majjjja.

Mad Men

Is Don really returning to Dick Whitman? Who did he call at the end? Was it that woman from the flashback at the used car dealership? Plenty of questions left at the end of an episode that saw Don, Roger, and Duck Phillips all dealing with divorced futures. First Don, who took the vacation he denied to Pete by driving off to Palm Springs with a 21-year-old aptly named Joy who sounded a lot like Betty. Joy's crowd hardly seemed like Don's people, but it seems he may be through with being Don Draper. Next Roger, preparing to lose his money to divorce in order to marry the secretary he barely knows. But the most interesting one this episode was Duck, plotting to improve his job by selling Sterling Cooper. Roger and Cooper may have jumped at the thought of new clients, but Don won't be happy to see he's reporting directly to Duck. Don't trust him. Remember Chauncey.

Grey's Anatomy

If you look back to my post on the season premiere, you'll see I was giving this one more chance before dropping it. Unfortunately, Grey's managed to be just watchable enough to delay that happening. I can't say I really remember what happened 5 days after watching. But I do remember it being lighter than the usual melodrama and that some of the characters may have been momentarily likeable. I guess I'm stuck watching for now.

The Office

Another great episode. Best storyline was easily Jim keeping track of all of Dwight's personal time. Trying to draw Dwight out of work by calling Battlestar Galactica a shot-for-shot remake of the original and describing its plot as Dumbledore Calrissian needs to take the ring back to Mordor? Hilarious. Meredith's confession provided lots of great Michael/Holly moments as well. The Office is definitely back from its post-writer's strike slump.

SNL: Thursday Night

Much like the debate it spoofed, the first sketch of the new half-hour edition fell a bit flat. Joking about the time limits might have worked once, but making it the main joke of the sketch left little else. There were some good McCain moments though, even if SNL still doesn't know how to spoof Obama. Things improved with Weekend Update (outside of Kenan Thompson's "Fix it" bit). But there was nothing within the half hour that could compete with any of Tina Fey's sketches this season. It seems SNL needs Palin as badly as the news media does.