[Televisionary]

HBO’s fabulous new political comedy Veep , starring Julia Louis-Dreyfus, premieres Sunday. At The Daily Beast, you can read my latest feature, "HBO's Superb New Veep ," in which I speak to creator Armando Iannucci about the vice presidency’s comic potential, U.S.-U.K. relations, why he didn't enter the civil service, and how Veep compares to The West Wing . With HBO’s acerbic and dazzling political comedy Veep —which depicts a power-hungry if buffoonish female U.S. vice president and her staffers—Scottish-born creator Armando Iannucci turns his attention to American politics, bringing his deadpan wit, rapid-fire dialogue, and comedy of the uncomfortable to the corridors of power in Washington. Veep , which premieres Sunday evening, stars Julia Louis-Dreyfus ( Seinfeld ) as Vice President Selina Meyer, a politician who, although a heartbeat away from becoming the POTUS, spends her days scheming about biodegradable utensils, filibuster reform, and getting the na

"What do I do here?" Throughout the series thus far, Mad Men 's Pete Campbell (Vincent Kartheiser) has been presented as many things: a slimy weasel, an ambitious businessman, an amateur rapist. But this week's episode ("Signal 30"), written by Frank Pierson and Matthew Weiner and directed by John Slattery, focused on the character flaws of Pete Campbell (referred to as a "grimy pimp" here) to the point that the episode really ought to have been entitled "The Emasculation of Pete Campbell," for the number of male-driven crucibles it put the seemingly smug married executive through over the course of an hour. (Some, such as James Poniewozik and Myles McNutt have argued that this season of Mad Men has replaced subtext with overt symbolism, but while I agree with that assessment, it hasn't diminished my love for the show or my regard for this particular well-crafted installment.) It's been no secret that Pete is desperate for th

71-year-old Mary Beth Peil is stealing scenes for her work on CBS’ The Good Wife . Over at The Daily Beast, you can read my latest feature, " The Good Wife 's Bad Mother," in which I talk to the former opera singer and Dawson’s Creek star about playing Jackie Florrick. While The Good Wife’s title refers, rather cheekily, to Julianna Margulies’ Alicia Florrick—who found herself embroiled in a political and sexual scandal at the start of the series’ run—the show explores both individuals’ and society’s definitions and expectations of wives, mothers, and career women. Margulies’ Alicia juggles work, children, and romance, often without much regard for her own well being, perhaps outside of a solitary glass of red wine at the end of a day in court. Yet Alicia’s outlook, behavior, and mores are constantly commented on or outwardly attacked by her mother-in-law Jackie Florrick, played by 71-year-old Mary Beth Peil, who began the series as a babysitter for Alicia’s teena

"Power resides where men believe it resides. It's a trick, a shadow on the wall, and a very small man can cast a very large shadow. What is weakness in the end? The inability to let things go, the desires that make us who we are, the sense of sentiment and of familial bond? Should we all strive to be as unyielding as stone and sea? Or is that weakness is inherently part and parcel of who we are as human beings, defined as much by those frailties as we are by our innate strengths? In the end, can we help ourselves from giving into our true natures? On this week's episode of Game of Thrones ("What Is Dead May Never Die"), written by Bryan Cogman and directed by Alik Sakharov, the concept of weakness, both political and psychological, weighed heavily on the action, as Tyrion (Peter Dinklage) sought out ways of securing his hold on the small council, while unaware of his own potential soft spot, one that could easily be exploited by those looking to do him harm.

HBO’s Girls , which launches Sunday, is provocative, original, and addictive. Over at The Daily Beast, you can read my latest feature, "HBO's Girls is the Best New Show of 2012," in which I (not surprisingly, given the headline), review HBO's Girls , from creator/writer/director/star/executive producer Lena Dunham ( Tiny Furniture ). With her 2010 Sundance-darling film Tiny Furniture, Lena Dunham captured the malaise and uncertainty of a generation of postcollege 20-somethings with grit, humor, and painful realism, transforming Manhattan into a depressing playground for overeducated, underqualified youths in an economy that had seemingly forgotten about their existence. Many of the same themes—and several of the same actors—are transported from Dunham’s accomplished indie film to HBO’s infectious and addictive Girls, the winking black comedy which begins Sunday evening, and which counts Dunham as creator, writer, director, and star (and one of the executive pr

With Showtime’s recent dramas Homeland and Shameless , characters with bipolar disorder on television are no longer on the fringes. Over at The Daily Beast, you can read my latest feature, "TV Tackles Bipolar Disorder," in which I explore the portrayals of Carrie Mathison and Monica Gallagher, played by Claire Danes and Chloe Webb, as individuals with bipolar disorder and how those realistic and nuanced portrayals both shape their respective series but also help to remove the stigma associated with mental illness. I talk to Homeland co-creator Alex Gansa about Carrie's illness and how her decision to turn to ECT will affect Season Two (beginning in September) and with Shameless writer/producer Etan Frankel about the handling of Monica and how her condition has molded the Gallagher family. On Homeland, Claire Danes’ Carrie Mathison is a brilliant and ambitious CIA analyst, gifted with a beautiful mind that sees connections and hidden patterns that others around her

In Season Two of the HBO smash drama Game of Thrones , Jon Snow becomes a true warrior. Over at The Daily Beast, you can read my latest feature, entitled " Game of Thrones ' Emo Hero," in which I sit down with Kit Harington and talk about playing Jon Snow, fame, what’s to come in Season Two, Ygritte, Samwell, and why he refuses to wear a wig. Within the harsh world of HBO’s fantasy series Game of Thrones, based on George R.R. Martin’s A Song of Ice and Fire novels, you either live by the sword or you die by it. In the Seven Kingdoms of Westeros, court is a deadly pit of vipers, with each of the titular game’s players scheming and manipulating their way to higher realms of power and influence. Not everyone is engaged in these sordid power plays. Bastard-born Jon Snow is a child of the North, raised in the ice and cold of Winterfell before being packed off to the Night’s Watch, a brotherhood of men sworn to protect the 700-foot ancient Wall and the realm from the thr