[Televisionary]

I've been vocal on Twitter about my confusion about why David E. Kelley was given the right to develop DC Comics' 70-year-strong "Wonder Woman" into a pilot script, which was initially passed on and then given an eleventh hour reprieve by NBC, which ordered it to pilot. Over at The Daily Beast, you can read my latest feature, entitled "8 Crazy Scenes from David E. Kelley's Wonder Woman ," in which I sort through Kelley's first draft pilot script to Wonder Woman and choose the most head-scratching, ridiculous, or just plain awful moments therein. Is this a take on Wonder Woman/Diana that you're excited to see? Or has Kelley gotten the character completely wrong? Head to the comments section to discuss.

It's nearly time to say goodbye... This week's penultimate episode of Friday Night Lights ("Texas Whatever"), written by Kerry Ehrin and directed by Kyle Chandler, moved the pieces into place for one final emotional sucker punch as we prepare to say our goodbyes to this remarkable and intelligent series. It was no surprise that, going into the series finale, things would look so dark and grim, as the future of the Dillon Lions was called into question even as the team prepared for the state championship. In fact, everybody's future seemed up for grabs-- from Tami and Eric Taylor to Tim Riggins, from Luke and Becky to Billy and Mindy Riggins--as the episode offered up a sense that anything was possible as these characters considered their own paths, even as we get ready to see them walk off into the sunset next week. The result was a beautifully realized episode that was a shining example of the kind of deeply nuanced storytelling that Friday Night Lights does be

It's said that in writing, as with most things, you shouldn't break the rules until you've mastered them. That is, until you truly understand the logic behind why certain guidelines exist, you shouldn't seek to subvert them. It's clear to me that the writing staff of Community , operating under visionary creator Dan Harmon, not only understands the rules but relishes the opportunity to throw them out the window, stomp on them, and have Leonard repeatedly run them over in the parking lot. This is, after all, the same collective that has produced over the course of two seasons such innovative and mind-blowing installments of television such as "Modern Warfare," "Epidemiology," "Contemporary American Poultry," "Cooperative Calligraphy," "Abed's Uncontrollable Christmas," and "Basic Rocket Science," all of which tested the resilience and scope of the American sitcom form. This Thursday evening, the brains b

I've been candid over the years about my love for Chuck , supporting it and nurturing it and standing up for it whenever renewal seemed like a distant proposition rather than a sure thing. But I've also been upfront about my thoughts about this creatively uneven season, which seemed to veer from strong episodes to really weak ones on a weekly basis. Last night's episode ("Chuck Versus the Push Mix"), written by Rafe Judkins and Lauren LeFranc and directed by Peter Lauer, was originally intended to be the season finale for Season Four of Chuck , back when the season had only gotten a thirteen-episode commitment, but as with last season, an eleventh hour order of additional episodes meant that the semi-season finale wrapped up several storylines but wouldn't be the end to the season. Which brings us to the here and now, as I have to take an unpopular stand and say that I didn't enjoy this episode as much as others seemed to. In fact, I'll admit that I

"Stop. Pooping." The MVP award for last night's fantastic episode of Parks and Recreation ("Flu Season") goes to Rob Lowe, for his sensational delivery of the above two words as Chris succumbs to the virulent strain of flu infecting everyone in Pawnee. Chris' ouright outrage and horror, upon learning that the "microchip has been compromised," is transformed into self-loathing and ultimately a complete and utter breakdown as he vomits into a drawer, makes friends with the hospital room floor, and manages to make would-be girlfriend Ann at ease with him for the first time during their nascent courtship. But the heights that "Flu Season" reached (which, I might add, for all of their strengths are topped by other upcoming episodes this season) are due to the tremendous work being done by all of the members of Parks and Rec 's talented ensemble. For all of the scene-stealing done by Lowe here, there are standout moments for Aubrey Plaza (

I'm of two minds about last night's crossover cold open on NBC's The Office ("The Seminar"), which, if you missed it, can be viewed in full below. Let's be upfront about this: I'm an obsessive fan of the original UK Office , so the chance to see Ricky Gervais don David Brent's goatee was absolutely priceless, but I've also given up watching the US version for a while now as, in the last few seasons, it's descended into a bit of a tired and humorless mess. Having said that, I thought that the chance encounter between Steve Carell's Michael Scott and Gervais' David Brent was a bit of a hoot at first, and easily the funniest cold open The Office has pulled off in quite some time (from what I remember of the last few seasons I watched). Seeing the simpatico spirit that exists between the two men, each versions of each other, was unexpectedly touching, even as the two joked around and David asked if there were any jobs going around at Dund

Each episode of Friday Night Lights brings with it the double-edged sword of satisfaction, delivering another impassioned and poignant installment but also bringing us ever closer to the precipice itself: the end of the line. This week's beautiful episode ("The March"), written by Rolin Jones and directed by Jason Katims, painfully reminded me of why I love Friday Night Lights in the first place, setting up conflicts both internal and external, transformative events and those quotidian moments that add up to a life in the end. For the characters of Friday Night Lights , victory on the field doesn't translate to personal glory, as this episode showed in no uncertain terms. The March of the title might be that towards the state championship, but it's also the march that each of us endures in our own way: one day turning to the next, a broken-down door, a conversation with a spouse, a misunderstanding, a tear-filled goodbye, a brawl between brothers. While life goe

The end is almost here. While I've felt the looming end of Friday Night Lights throughout this season, never have I felt the urgency as keenly as I did with this week's eloquent installment ("Don't Go"), written by Bridget Carpenter and directed by Michael Waxman, which began to move the pieces in place for the series' ending in a few weeks. At times lyrical, at times somber, the sensational "Don't Go" had me wiping away tears freely throughout the episode as the concept of home was revisited several times throughout. Just what is home? Is it the place where we hang our hat? Is it the place where we're surrounded by our loved ones? Or is it the place where we choose to be, in spite of the opportunities elsewhere? This week, Coach Taylor considered a fantastic position in Florida, one that would give him free reign to recruit and a massive budget. After struggling to make ends meet with the Lions, it seemed like the answers to his prayers, an

Last season, NBC's Parks and Recreation exploded into a bona fide comedy hit, a critical darling that had transformed itself from being in the shadow of The Office to outperforming it in terms of heart, humor, and brains on a weekly basis. It took the series, created by Greg Daniels and Mike Schur, a few episodes in the first season to find its footing but it came right out of the gate at the beginning of its sophomore season, with its tone, sense of humor, and characters just right. Over the course of the twenty-odd installments of Season Two, Parks and Recreation quickly established itself as the go-to workplace comedy, the sort of mockumentary show that had expanded upon its initial premise to become a series that combined the awkwardness of romantic life in Pawnee with the eccentricities of the Parks Department workers and the cockeyed optimism of Leslie Knope (Amy Poehler), whose can-do spirit were often at odds with, well, reality. Despite the critical success of the serie

Attention: Parks and Recreation fans! Over at The Daily Beast, Amy Poehler picks her 11 favorite sad film scenes in a hysterical piece written by Amy, entitled "Amy Poehler Picks Her Favorite Sad Films" (the latest in our Curator series), that I wrangled into existence. Among the offerings: 11 of Poehler's favorite sad movie scenes, from You Can Count on Me and Pretty in Pink to--wait for it-- Dumb and Dumber . (Yes, you read that correctly.) In true Amy Poehler fashion, our latest curator discusses her topic of choice with flair, wit, and, above all else, humor. So grab a tissue and prepare to laugh until you cry. Season Three of Parks and Recreation launches Thursday evening at 9:30 pm ET/PT on NBC.

Proposals are funny things. Pull off an entirely romantic marriage offer and you have a story that you'll be telling your grandchildren in years to come. Fail and it could be, for Sarah's parents, emblematic of everything that went wrong with their relationship. But whether it's an Italian restaurant, or the balcony of a posh French chateau, what really matters is the moment itself, something that Chuck finally grasps at the end of this week's sweet and funny episode ("Chuck Versus the Balcony"), written by Max Denby and directed by Jay Chandrasekhar. It's more about seizing the moment with the one you love than it is about balloons, string quartets, or carriages. Unfortunately, Chuck realizes this lesson too late. In true Chuck fashion, the course of true love never did run smooth and Chuck and his lady love, Sarah Walker, find themselves on opposite trajectories. As Chuck prepares to spend his life with Sarah, she's engaged on a dangerous mission, p

It's human nature to lose your way and even the most steadfast among us can sometimes become rudderless. On this week's superb episode of Friday Night Lights ("Gut Check"), we saw three characters become directionless for a number of reasons. Creating three largely parallel stories, the writers offered up varying portraits of just why we come undone, whether in the face of adversity, due to bad advice, or simply because we're running from something that we can't--or won't--deal with head on. For Julie, Vince, and Epyck, their struggles took them to some different places within the context of this week's installment, each straining to find their path in life while others attempted to coax them towards their full potential... or whispered some half-truths in their ears. Of the three, it seems it might be Vince who truly realizes just how far off the path he's wandered. Listening to the advice of his father Ornette, Vince has been transformed from a

Things fall apart. That would seem to be the message of this week's powerfully moving episode of Friday Night Lights ("Fracture"), written by Bridget Carpenter and directed by Allison Liddi, but that's not really what's at play here. A beautifully nuanced episode about fracturing relationships and imploding teams, it was also a portrait of the way in which connections can occur and fractured relationships can knit themselves back together. Just as the Dillon Lions seem to be at their lowest point, things get even worse for them. A fight breaks out between Vince and Luke as they prepare to take the stage at a pep rally. Coach Taylor is forced to utter a lie about victory even as he sees his team struggling to be a unified front. Julie turns her car around once more. But it's the little moments that offer some hope: the way that Becky leaves the note for Luke on his windshield, the blossoming of the bond between Tami and Epyck, that final knock at the door. Thi

It's that time of year when we bid farewell to the last twelve months and start looking toward the future, but it's also a chance to reflect, to catalogue, and to reminisce as well. My selections for the Ten Best (and, cough, five worst) TV shows of 2010 have now gone live over at The Daily Beast . The series selected represent the very best that television had to offer the past twelve months and include such shows as Mad Men, Community, Terriers, Parks and Recreation, The Good Wife, Fringe, Justified, Boardwalk Empire, Friday Night Lights , and Modern Family. It wasn't easy to whittle down the competition to just ten shows as, despite the overall drain in creativity this calendar year, there were quite a lot of fantastic series. (In fact, one of the very best of the year didn't even air on American television at all: Season Three of BBC One's Ashes to Ashes --including its breathtaking and gut-wrenching series finale --would have made this list if it had been open

What defines a man and a player? Is it grace in victory as well as defeat? That's always been the view of Eric Taylor, a coach whose love of the game has often meant that he has allowed his team's opponents the ability to score a few points so they don't walk off the field at zero. Or who tells his team, after a particularly brutal victory, to "take a knee" rather than unnecessarily run them into the ground. There's no gain to be had from kicking a man when he's down. Unfortunately, the Lions--or at the very least, Vince, under the guidance of his crafty father Ornette--doesn't see things quite that way. His decision to make a 65-yard throw and win the team another touchdown, acting against the instructions of Coach Taylor, was an opportunity to not score another goal or even conquer the Panthers, but rather to put the spotlight squarely on himself. While there might not be an "i" in team, Vince is trying his hardest these days to squeeze one