[Televisionary]

"A prince never lacks legitimate reasons to break his promise." - Niccolo Machiavelli Machiavelli's words continue to hold power today, though in the current era, it's context is limited not to royalty but to those who hold elected office as well: the leaders of dominant world powers, the prime ministers and presidents whose decisions echo through the lives of ordinary folk. Promises are made and broken, alliances tested, enemies courted and appeased. This is felt most keenly within the stellar Danish political drama Borgen (or, literally, "The Castle"), from creator Adam Price. Borgen wrapped up its second season run last night on U.S. cable/satellite network LinkTV following a 20-episode run that asked tough questions about policy makers, mothers, and citizens. I've been writing and tweeting almost incessantly about the show for the last few months, having fallen under its intelligent, incisive, and gut-wrenching spell. (Missed the series? No wor

It's a little bit off the beaten path for this site, but as much as I'm passionate about television, I'm equally obsessed with food and cocktails, particularly the spirits made by Art in the Age, an organic, artisan spirits company based out of Philadelphia that produces “historically based artisanal crafted spirits, each one completely different.” At The Daily Beast, you can read my latest feature, "Art in the Age: Ex-Ad Man Steven Grasse’s Wonderfully Weird Spirits," in which I talk to Hendrick’s Gin creator and former ad man Steven Grasse—once called “the Don Draper of outrageousness”—about his eclectic spirits venture, Art in the Age. The shelves of local liquor stores are piled high with concoctions such as bubble gum vodkas and root beer schnapps, sickly sweet libations that are not only synthetically flavored but also reminiscent of a candy store. On the other end of the spectrum, there’s Art in the Age, a Philadelphia-based spirits company that ha

Is anyone watching Mad Men live? At The Daily Beast, you can read my latest feature, "TiVo’s 20 Most Time Shifted TV Shows of 2011-12: Mad Men, Fringe , and More," in which I examine TiVo's Top 20 TV shows with the highest percentage of time-shifting, from Showtime's Nurse Jackie and AMC's Mad Men to Fox's Fringe and ABC Family's Switched at Birth . TiVo singlehandedly changed the way that many viewers watch television, allowing consumers to record their favorite shows and time-shift their viewing altogether. Increasingly, time-shifted viewing is having an enormous impact on television ratings, and the networks have begun to consider the uptick in DVR-viewing when calculating their overall ratings. According to the data provided by TiVo to The Daily Beast, the shows with the highest aggregated rating of time-shifted viewing during the 2011–12 season are the usual suspects: Modern Family, The Big Bang Theory, Glee, and NCIS, to name a few. In oth

The nominations are out: Homeland, Downtown Abbey , and Girls get their shot at the awards, while The Good Wife, Community, Louie, Justified , and many others are shut out. Over at The Daily Beast, you can read my latest feature, "2012 Emmy Nomination Snubs & Surprises," in which I discuss which shows and actors were snubbed by the TV Academy as well as a few surprise nominations. Plus, view our gallery of the nominees . The Television Academy has today announced its nominations for the 64th Primetime Emmy Awards and, looking at the list, you may be forgiven for thinking that every single member of the casts of Downton Abbey and Modern Family had walked away with nominations. (It just seems that way.) AMC’s Mad Men and FX’s American Horror Story tied for the most nominations, with 17 apiece, while PBS’ cultural phenomenon Downton Abbey—which shifted from the miniseries category into Best Drama this year—grabbed 16 nominations (tying with History’s Hatfields &

I talk with creator Greg Berlanti about Political Animals , which begins Sunday, about whether his characters are analogs for Bill and Hillary Clinton, and more. Over at The Daily Beast, you can read my latest feature, " Political Animals : Greg Berlanti on the Clintons, Fiction, and More," in which I talk to Berlanti about USA's new soapy political drama, whether Sigourney Weaver's Elaine Barrish and Ciaran Hinds' Bud Hammond are stand-ins for Hillary and Bill Clinton, the future of the show, and more. It’s difficult to avoid the Bill and Hillary Clinton comparisons in Political Animals , USA’s ambitious and soapy six-episode miniseries, which begins Sunday. Created by Greg Berlanti ( Everwood ), the limited-run series’ plot revolves around Sigourney Weaver’s Elaine Barrish, a former first lady who becomes the U.S. Secretary of State after a failed presidential bid, and a highly public sex scandal involving her husband, Bud Hammond (Ciaran Hinds). Sound

Watched last night's, uh, surprising season opener to Damages ? Over at The Daily Beast, you can read my latest feature, " Damages Premiere: The Creators on That Twist, Julian Assange & The Final Season," in which I talk to the creators of the serpentine legal thriller Damages about the show’s final season, WikiLeaks and Julian Assange, and THAT shocking twist. (You know which one I'm talking about.) Damages, which began its life in 2007 on FX before moving to DirecTV last year, began its fifth and final season last night, promising a bloody final showdown between two adversaries, malevolent and dangerous litigator Patty Hewes (Glenn Close) and her former protégé, Ellen Parsons (Rose Byrne). Season 5 revolves around a WikiLeaks-esque website and issues of corporate transparency, but what fans are really waiting for is for Patty and Ellen to finally throw down against each other. One of them, it seems, may not walk away from this five-years-in-the-making

Jeff Eastin, the creator of USA’s con-man drama White Collar , which returns tonight for a fourth season, discusses his real-life con: pretending to be happy, even in the face of crushing depression. Over at The Daily Beast, you can read Eastin's first-person story, "My Biggest Con," in which he describes just that: a con perpetrated on those around him by a showrunner and creator whose own conman character is much beloved by the public. It’s a night a writer dreams about. My show, White Collar , has just screened at PaleyFest to a packed house. David E. Kelley mediated because he’s a fan of the show. And it’s my birthday. The crowd sang to me. If E! ever does my True Hollywood Story, this will be the part right before the commercial and it all goes to shit. Walking the red carpet later that night, a blogger tugs my shoulder and pushes a recorder at me. “I love Neal Caffrey,” he says. Neal is the charming and debonair criminal I created for the show, played brill