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"content": "\u003cp>It’s been a good year for cable television, says \u003cem>Fresh Air\u003c/em>‘s TV critic David Bianculli. In his annual roundup of the year’s best and worst TV shows, Bianculli applauds the cable networks for “trying a lot of things” in 2010.\u003c/p>\n\u003cp>Broadcast television, on the other hand, proved something of a disappointment.\u003c/p>\n\u003cp>“It was kind of timid this year,” he tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross. “Last year, we got \u003cem>Glee\u003c/em> and \u003cem>Modern Family\u003c/em>. This year, they tried a lot of things which didn’t actually work.”\u003c/p>\n\u003cp>That’s not to say the broadcast networks completely fell flat; Bianculli includes several of their shows on his top picks for 2010. But broadcast TV may be losing its edge.\u003c/p>\n\u003cp>Bianculli has been a TV critic since 1975 and a \u003cem>Fresh Air\u003c/em> contributor since the show’s inception. From 1993 to 2007, he was a staff critic for the \u003cem>New York Daily News. \u003c/em>An associate professor of TV and film at Rowan University in New Jersey, Bianculli is also the founder and editor of the online magazine \u003ca href=\"http://www.tvworthwatching.com/\">TVWorthWatching.com\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>David Bianculli’s Top \u003cdel>12\u003c/del>13 TV Shows of 2010 (In No Particular Order)\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/breakingbad.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Breaking Bad\u003c/em> \u003c/strong>(AMC) \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=124475421\">Vince Gilligan\u003c/a>‘s drama stars \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=18740159\">Bryan Cranston\u003c/a> as Walter White, a high school science teacher turned crystal-meth manufacturer — not a character with whom you’d normally empathize. But Cranston, as Bianculli said in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=124833953\">review\u003c/a> that aired originally on March 19, 2010, “commits so highly to [his] role that [he] not only wins our sympathy, but disappears within the part [he’s] playing.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/choir.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Choir\u003c/em> \u003c/strong>(BBC) Most people haven’t heard of \u003cem>The Choir,\u003c/em> which aired on BBC America. Bianculli says he “fell in love” with \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/07/07/128355930/-the-choir-a-joyful-documentary-series-for-your-inner-theater-geek\">the show\u003c/a>, which revolves around a young choirmaster in his 20s who worked to put together a giant ensemble made up of schoolchildren and regular folks in a blue-collar English community, eventually bringing them to sing at London’s Royal Albert Hall. “You get how these students and community members and parents were transformed by the simple power of music,” he says. “It was a reality show where no one was trying to hog time just to get on the air or become a star.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Daily Show with Jon Stewart\u003c/em>\u003c/strong> (Comedy Central) “I am fascinated by how valuable it is and how entertaining it is,” says Bianculli. “That I not only laugh at it, but I learn from it. When he does media criticism, he does it smarter than most people who are doing it out there — and even when he has guests on and does interviews, he does a good job with those too.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Dexter\u003c/em>\u003c/strong> (Showtime) \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=6166787\">Michael C. Hall\u003c/a>, who played the uptight gay undertaker on HBO’s \u003cem>Six Feet Under,\u003c/em> stars as Dexter Morgan, a forensics expert whose specialty is blood-spatter analysis. He helps solve murders as a member of the Miami Police Department. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130077370\">review\u003c/a> that originally aired on Sept. 24, 2010, Bianculli said the show is “one of the most inventive and exciting shows on TV,” one that explores “twists with breathtaking imagination.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fridaynightlights.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Friday Night Lights \u003c/em>\u003c/strong>(NBC) The TV series, based on Buzz Bissinger’s nonfiction book about a Texas high school team, came on the heels of a 2004 movie starring \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4111061\">Billy Bob Thornton\u003c/a> as the high school coach. It began on NBC and almost got canceled — that is, until DirecTV stepped in and offered to share production costs with the network. “It’s a wonderful show,” says Bianculli. “It’s not only one of the best family dramas on television now; it’s one of the best family dramas that’s ever \u003cem>been\u003c/em> on television.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Glee\u003c/em>\u003c/strong> (Fox) “It tried a few too many Very Special Episodes in its second year,” says Bianculli — “or just using the music of Very Special People. You had a Madonna episode; you had a Lady Gaga episode. You had all these sorts of things. But I still really like the show, and I love its uniqueness and I love what it says — it’s probably the best show television has ever presented in terms of gay characters. And I think that’s valuable.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Wife\u003c/em>\u003c/strong> (CBS) Bianculli says both the acting and writing really work on this CBS legal drama, which stars Julianna Margulies as a litigator attempting to rebuild her reputation after her husband lands in jail on corruption charges. “But why I really want to support it is because this is old-style network television,” says Bianculli. “One of the thoughts that’s out there is that one of the reasons [cable] networks are succeeding is that they can spend so much more money, and they have so much more freedom to say things and to show things, that there’s no way to do a compelling drama under the financial and editorial restrictions of broadcast network TV. But then you say ‘Well, look at \u003cem>The Good Wife\u003c/em>. It does it just fine.’ “\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mad Men\u003c/em>\u003c/strong> (AMC) \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=128770109\">Matthew Weiner\u003c/a>‘s show about the people of ’60s ad firm Sterling Cooper Draper Pryce doesn’t have the raw audience numbers of \u003cem>Walking Dead\u003c/em> or \u003cem>American Idol,\u003c/em> but it continues to work because it’s “in the conversation,” says Bianculli. “If you turn to the Internet and you’re reading Huffington Post, it’s on there. If you’re reading national magazines, it’s on there. If you’re on network television and the morning shows, it’s on there.” Why has it had such an effect on our cultural zeitgeist? Because when it premiered four seasons ago, it was like nothing else on television. “But for it to succeed and thrive, it has to say something. \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=128770109\">Mad Men\u003c/a> is saying something about that period, but it’s also saying something about us, in every episode.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Modern Family\u003c/em>\u003c/strong> (ABC) Every September, Bianculli says he’s asked what TV shows are must-sees. And for the past few years, his answer on Wednesday nights has been \u003cem>Modern Family\u003c/em>. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=129940023\">review\u003c/a> that originally aired on Sept. 20, 2010, Bianculli applauded a sense of “risky creativity” that ended up being rewarded — both with solid ratings and at the Emmys.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rescue Me\u003c/em>\u003c/strong> (FX) The \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary\u003c/a> drama about New York firefighters dealing with personal and professional issues in the aftermath of Sept. 11 is ending after this season, partially because it didn’t “get the attention it deserves,” says Bianculli. The show “has done some really strong stories” and featured some “spectacular acting” this year, including a great guest appearance by Michael J. Fox.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trueblood.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>True Blood\u003c/em>\u003c/strong> (HBO)\u003cem> True Blood,\u003c/em> the HBO vampire series created by \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103916780\">Alan Ball\u003c/a>, is a soap opera, pure and simple, said Bianculli in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127591908\">review\u003c/a> that aired originally on June 9, 2010. “Or more accurately it’s a soap opera, impure and complicated.” The show’s rococo plot twists — and the regular introduction of new characters — keep Bianculli hooked.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>30 Rock\u003c/em>\u003c/strong> (NBC) \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=96494481\">Tina Fey\u003c/a>‘s sitcom is still as funny and clever as ever, says Bianculli. “There’s so much to love about \u003cem>30 Rock\u003c/em> and I’ve gushed about this show from the very start, so I won’t repeat myself,” he says. “But the more you get to know this rich collection of characters, the more you’ll adore them all. And I also love the writing on this show, which very smartly surprises you just when you think you know where things are going.”\u003c/p>\n\u003cp>Having bent the rules by bringing 12 shows to talk with Terry Gross about — and riled the host by \u003cem>still\u003c/em> not listing \u003cem>The Colbert Report, \u003c/em>one of her favorites — Bianculli admits he’d slot it in at No. 13. Other honorable mentions include \u003cem>The Walking Dead\u003c/em> on AMC, Showtime’s \u003cem>Nurse Jackie\u003c/em> and \u003cem>United States of Tara,\u003c/em> and HBO’s \u003cem>Treme\u003c/em> and \u003cem>Boardwalk Empire.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Bonus Round: The 3 Biggest Messes On The Small Screen\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Jersey\u003c/em>\u003cem> Shore\u003c/em>\u003cem> \u003c/em>\u003c/strong>(MTV) The reality show is “by far the worst” show on television. “I just cannot tell you how despicable this show is,” says Bianculli. “It makes me want to shower.”\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Bleep My Dad Says \u003c/em>(CBS) Based on a Twitter feed that was called something ruder, the William Shatner sitcom is “horrendous” and “so unfunny.” Because it follows the successful CBS sitcom \u003cem>The Big Bang Theory,\u003c/em> \u003cem>Bleep\u003c/em> still has an audience — but “if taste had anything to do with it, it would be gone.”\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Outlaw\u003c/em>\u003c/strong> (NBC) Jimmy Smits played a Supreme Court justice who stepped down in order to achieve \u003cem>real \u003c/em>justice by taking on cases one at a time. “You’re on the Supreme Court and you’re going to step down so that you can make a difference? It was such a mind-numbingly bad idea that there was no getting past that.”\u003c/p>\n\n",
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But Cranston, as Bianculli said in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=124833953\">review\u003c/a> that aired originally on March 19, 2010, “commits so highly to [his] role that [he] not only wins our sympathy, but disappears within the part [he’s] playing.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/choir.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Choir\u003c/em> \u003c/strong>(BBC) Most people haven’t heard of \u003cem>The Choir,\u003c/em> which aired on BBC America. Bianculli says he “fell in love” with \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/07/07/128355930/-the-choir-a-joyful-documentary-series-for-your-inner-theater-geek\">the show\u003c/a>, which revolves around a young choirmaster in his 20s who worked to put together a giant ensemble made up of schoolchildren and regular folks in a blue-collar English community, eventually bringing them to sing at London’s Royal Albert Hall. “You get how these students and community members and parents were transformed by the simple power of music,” he says. “It was a reality show where no one was trying to hog time just to get on the air or become a star.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Daily Show with Jon Stewart\u003c/em>\u003c/strong> (Comedy Central) “I am fascinated by how valuable it is and how entertaining it is,” says Bianculli. “That I not only laugh at it, but I learn from it. When he does media criticism, he does it smarter than most people who are doing it out there — and even when he has guests on and does interviews, he does a good job with those too.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Dexter\u003c/em>\u003c/strong> (Showtime) \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=6166787\">Michael C. Hall\u003c/a>, who played the uptight gay undertaker on HBO’s \u003cem>Six Feet Under,\u003c/em> stars as Dexter Morgan, a forensics expert whose specialty is blood-spatter analysis. He helps solve murders as a member of the Miami Police Department. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130077370\">review\u003c/a> that originally aired on Sept. 24, 2010, Bianculli said the show is “one of the most inventive and exciting shows on TV,” one that explores “twists with breathtaking imagination.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fridaynightlights.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Friday Night Lights \u003c/em>\u003c/strong>(NBC) The TV series, based on Buzz Bissinger’s nonfiction book about a Texas high school team, came on the heels of a 2004 movie starring \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4111061\">Billy Bob Thornton\u003c/a> as the high school coach. It began on NBC and almost got canceled — that is, until DirecTV stepped in and offered to share production costs with the network. “It’s a wonderful show,” says Bianculli. “It’s not only one of the best family dramas on television now; it’s one of the best family dramas that’s ever \u003cem>been\u003c/em> on television.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Glee\u003c/em>\u003c/strong> (Fox) “It tried a few too many Very Special Episodes in its second year,” says Bianculli — “or just using the music of Very Special People. You had a Madonna episode; you had a Lady Gaga episode. You had all these sorts of things. But I still really like the show, and I love its uniqueness and I love what it says — it’s probably the best show television has ever presented in terms of gay characters. And I think that’s valuable.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Wife\u003c/em>\u003c/strong> (CBS) Bianculli says both the acting and writing really work on this CBS legal drama, which stars Julianna Margulies as a litigator attempting to rebuild her reputation after her husband lands in jail on corruption charges. “But why I really want to support it is because this is old-style network television,” says Bianculli. “One of the thoughts that’s out there is that one of the reasons [cable] networks are succeeding is that they can spend so much more money, and they have so much more freedom to say things and to show things, that there’s no way to do a compelling drama under the financial and editorial restrictions of broadcast network TV. But then you say ‘Well, look at \u003cem>The Good Wife\u003c/em>. It does it just fine.’ “\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mad Men\u003c/em>\u003c/strong> (AMC) \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=128770109\">Matthew Weiner\u003c/a>‘s show about the people of ’60s ad firm Sterling Cooper Draper Pryce doesn’t have the raw audience numbers of \u003cem>Walking Dead\u003c/em> or \u003cem>American Idol,\u003c/em> but it continues to work because it’s “in the conversation,” says Bianculli. “If you turn to the Internet and you’re reading Huffington Post, it’s on there. If you’re reading national magazines, it’s on there. If you’re on network television and the morning shows, it’s on there.” Why has it had such an effect on our cultural zeitgeist? Because when it premiered four seasons ago, it was like nothing else on television. “But for it to succeed and thrive, it has to say something. \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=128770109\">Mad Men\u003c/a> is saying something about that period, but it’s also saying something about us, in every episode.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Modern Family\u003c/em>\u003c/strong> (ABC) Every September, Bianculli says he’s asked what TV shows are must-sees. And for the past few years, his answer on Wednesday nights has been \u003cem>Modern Family\u003c/em>. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=129940023\">review\u003c/a> that originally aired on Sept. 20, 2010, Bianculli applauded a sense of “risky creativity” that ended up being rewarded — both with solid ratings and at the Emmys.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rescue Me\u003c/em>\u003c/strong> (FX) The \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary\u003c/a> drama about New York firefighters dealing with personal and professional issues in the aftermath of Sept. 11 is ending after this season, partially because it didn’t “get the attention it deserves,” says Bianculli. The show “has done some really strong stories” and featured some “spectacular acting” this year, including a great guest appearance by Michael J. Fox.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trueblood.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>True Blood\u003c/em>\u003c/strong> (HBO)\u003cem> True Blood,\u003c/em> the HBO vampire series created by \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103916780\">Alan Ball\u003c/a>, is a soap opera, pure and simple, said Bianculli in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127591908\">review\u003c/a> that aired originally on June 9, 2010. “Or more accurately it’s a soap opera, impure and complicated.” The show’s rococo plot twists — and the regular introduction of new characters — keep Bianculli hooked.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>30 Rock\u003c/em>\u003c/strong> (NBC) \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=96494481\">Tina Fey\u003c/a>‘s sitcom is still as funny and clever as ever, says Bianculli. “There’s so much to love about \u003cem>30 Rock\u003c/em> and I’ve gushed about this show from the very start, so I won’t repeat myself,” he says. “But the more you get to know this rich collection of characters, the more you’ll adore them all. And I also love the writing on this show, which very smartly surprises you just when you think you know where things are going.”\u003c/p>\n\u003cp>Having bent the rules by bringing 12 shows to talk with Terry Gross about — and riled the host by \u003cem>still\u003c/em> not listing \u003cem>The Colbert Report, \u003c/em>one of her favorites — Bianculli admits he’d slot it in at No. 13. Other honorable mentions include \u003cem>The Walking Dead\u003c/em> on AMC, Showtime’s \u003cem>Nurse Jackie\u003c/em> and \u003cem>United States of Tara,\u003c/em> and HBO’s \u003cem>Treme\u003c/em> and \u003cem>Boardwalk Empire.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Bonus Round: The 3 Biggest Messes On The Small Screen\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Jersey\u003c/em>\u003cem> Shore\u003c/em>\u003cem> \u003c/em>\u003c/strong>(MTV) The reality show is “by far the worst” show on television. “I just cannot tell you how despicable this show is,” says Bianculli. “It makes me want to shower.”\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Bleep My Dad Says \u003c/em>(CBS) Based on a Twitter feed that was called something ruder, the William Shatner sitcom is “horrendous” and “so unfunny.” Because it follows the successful CBS sitcom \u003cem>The Big Bang Theory,\u003c/em> \u003cem>Bleep\u003c/em> still has an audience — but “if taste had anything to do with it, it would be gone.”\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Outlaw\u003c/em>\u003c/strong> (NBC) Jimmy Smits played a Supreme Court justice who stepped down in order to achieve \u003cem>real \u003c/em>justice by taking on cases one at a time. “You’re on the Supreme Court and you’re going to step down so that you can make a difference? It was such a mind-numbingly bad idea that there was no getting past that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The thing that’s frustrating about this time of year is that it can wind up feeling like listmaking is all about eliminating things you would like to compliment. You’d like to compliment 13 TV shows, but you’re supposed to pick 10, and all you can feel is the three that were left out.\u003c/p>\n\u003cp>So I decided to eschew the whole thing. Honestly, the hands-down best part of this job is coming in every day and being repeatedly delighted, and if I ever get to the point where I’m not repeatedly and genuinely delighted, it will be time to quit. In absolutely no particular order, with no attempt at completeness, with no promise that I have located the \u003cem>most\u003c/em> anything of anything, here are 50 things I heartily, unironically, truly admired and enjoyed this year. This is a list I came up with without breaking a sweat, which is how you know that even though critics can be … well, critical, we spend a lot of our time being treated to other people’s good work.\u003c/p>\n\u003cp>Here are some treats I was particularly happy to encounter in the last 12 months. I thank everybody who made this stuff. It’s a pleasure to take it in.\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003cstrong>Justin Timberlake and Jimmy Fallon doing the History Of Rap. \u003c/strong>I’ve said it before, but I’ll say it one more time: Jimmy Fallon has found exactly the right job for himself and exactly the right show for him to do, and between \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/09/30/130237475/justin-timberlake-and-jimmy-fallon-are-having-more-fun-than-you-are\">this\u003c/a> and the great \u003ca href=\"http://www.youtube.com/watch?v=PjkDxlhleN8\">Emmy opening\u003c/a>, he’s had maybe the best pop-culture year of anyone. (This clip has been taken down, unfortunately.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>2. Ken Burns’ \u003cem>The Tenth Inning\u003c/em>\u003c/strong>. A love letter to a deeply flawed game, is what it really was.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>3. Tiny Desk Concerts. \u003c/strong>Just to name a few essentials: \u003ca href=\"http://www.npr.org/2010/12/15/131963244/the-heligoats-tiny-desk-concert\">The Heligoats\u003c/a>. \u003ca href=\"http://www.npr.org/2010/12/08/130870090/nick-lowe-tiny-desk-concert\">Nick Lowe\u003c/a>. \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=128383652\">Jimmy Cliff\u003c/a>. \u003ca href=\"http://www.npr.org/2010/05/21/127043684/bettye-lavette-tiny-desk-concert\">Bettye LaVette\u003c/a>. Watch more \u003ca href=\"http://www.npr.org/series/tiny-desk-concerts/\">here\u003c/a>. (Special mention: the Tinier Desk Concerts — in particular, \u003ca href=\"http://www.npr.org/internedition/fall10/?p=2395\">The Polka Dots\u003c/a>.) \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>4. Craig Ferguson’s robot, Geoff Peterson.\u003c/strong> Designed by \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/04/he_has_no_armaments_does_craig.html\" target=\"_blank\" rel=\"noopener\">Grant Imahara from \u003cem>Mythbusters\u003c/em>\u003c/a>. Ferguson continues to be wonderful at what he does, and this was a marvelous marriage of the sensibility of his show with the sensibility of\u003cem> Mythbusters\u003c/em> — which, while we’re at it, is also consistently a joy.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>5. The last 15 minutes of \u003cem>Lost\u003c/em>. \u003c/strong>Many hated it; I loved it. Immensely moving, incredibly satisfying, and fully earned. I still cry. Every time.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>6. Ron Swanson taking a header on the grass during the season finale of \u003cem>Parks and Recreation\u003c/em>\u003c/strong>. Great show, miraculous cast, and an unexpected moment of completely extraneous physical comedy.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>7. The descriptions of people in Jonathan Franzen’s \u003cem>Freedom\u003c/em>\u003c/strong>. I didn’t love everything about the book, but the ability to sum up human beings in bite-sized descriptions is the thing at which Franzen is a superhero. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>8. The expansive, imaginative \u003cem>Inception\u003c/em> cinematography. \u003c/strong>In some ways, it may have been too good for its own good, in that its slickness allowed it to be taken for granted.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>9. The Night Of 140 Tweets.\u003c/strong> A fundraiser for Haiti that brought prolific and funny tweeters together at the UCB theater in Los Angeles. (\u003ca href=\"http://www.amazon.com/gp/product/B003BNZILO/ref=pd_lpo_k2_dp_sr_1?pf_rd_p=486539851&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=B003BWV75G&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=1F8EJNKH58DHFP90NQ11\">Still available at Amazon\u003c/a>.) \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>10. Ben Folds on \u003cem>The Sing-Off\u003c/em>\u003c/strong>. Still great. Makes it seem like it’s possible to be a reality-show judge and come off well, which is quite an accomplishment.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>11. Helena Bonham Carter in the opening scenes of \u003cem>The King’s Speech. \u003c/em>\u003c/strong>Yes, Firth and Rush have fabulous chemistry that carries the movie, but the confident, wry way that Bonham Carter lifts the beginning of the film is very important and humanizes the king. She’s done a lot of fairly extreme acting (to put it mildly) in recent years; it was interesting to see her do everything small again, and learn that she’s still got that, too.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>12. The pop-culture ascendancy and triumph of \u003cem>The Hunger Games \u003c/em>series\u003c/strong>. Tied to the release of the third book, \u003cem>Mockingjay\u003c/em>, the passage of this series into legend was richly deserved.\u003cbr>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>13. James Wolk in \u003cem>Lone Star\u003c/em>\u003c/strong>. The show was flawed, yes. And doomed, perhaps. And it was two episodes and out, unfortunately. But the central performance from James Wolk was one of the best I’ve seen in a while, and deserved better.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>14. Glen Weldon’s piece on the graphic memoir \u003cem>Special Exits\u003c/em>. \u003c/strong>I’m not too shy to tell you that right here in this very blog, we had the privilege to run \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/11/30/131699453/going-gentle-into-that-good-night-goes-awry-the-graphic-memoir-special-exits\">one of my favorite pieces of writing\u003c/a> from this year: lovely and touching but not mawkish or sentimental, from a friend and colleague who helped light up my 2010 big-time.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>15. The voice acting in Disney’s \u003cem>Tangled\u003c/em>\u003c/strong>. Zachary Levi, Mandy Moore, Donna Murphy, Ron Perlman, M.C. Gainey, Paul F. Tompkins, and many more. It’s a special movie, very nicely executed, and the acting is part of the reason why.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>16. Will Leitch’s discussion of the Jim Joyce blown call\u003c/strong>. Top-notch \u003ca href=\"http://nymag.com/daily/sports/2010/06/how_a_botched_perfect_game_cal.html\">writing\u003c/a> that exemplifies how you do rapid response to a big controversy without acting like a jerk. That Leitch is often tagged with being the worst of the Internet just because of his association with Deadspin is, to say the least, ironic. (See also: \u003ca href=\"http://deadspin.com/5482198/my-roger-ebert-story\">Leitch’s devastatingly introspective Roger Ebert post\u003c/a>.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>17. The \u003cem>Mad Men \u003c/em>episode “The Suitcase.” \u003c/strong>And specifically the part where Don Draper (Jon Hamm) yells, “THAT’S WHAT THE MONEY IS FOR!” So very much genius in a single hour of television. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>18. The NPR rap. \u003c/strong>Spectacularly done and also \u003ca href=\"http://www.youtube.com/watch?v=vxRgNnue-zk\">weirdly moving\u003c/a>, from the standpoint of someone who works here.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>19. That moment in the \u003cem>Community\u003c/em> episode “Contemporary American Poultry” where they discuss the phrase “streets ahead.” \u003c/strong>Show creator Dan Harmon does sometimes let his temper get the better of him on Twitter, but \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/04/community_and_the_art_of_confi.html\">this\u003c/a> was a perfect example of needling detractors without overreacting. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>20. The part of \u003cem>Joan Rivers: A Piece Of Work\u003c/em> where she shows off her many, many drawers of jokes on index cards. \u003c/strong>Comedians work, just like everybody else. And they create a product, just like everybody else. I’ve never seen it illustrated better than in this moment in the very smart and admirably restrained documentary about Rivers that came out this year.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>21. Conan O’Brien’s speech about cynicism.\u003c/strong> “I hate cynicism — it’s my least favorite quality and it doesn’t lead anywhere. Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you’re kind, amazing things will happen. I’m telling you, amazing things will happen.” A great way to go out on his last \u003cem>Tonight Show\u003c/em>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>22. ESPN’s \u003cem>30 For 30 \u003c/em>documentary “Winning Time: Reggie Miller vs. The New York Knicks.” \u003c/strong>This has been a series with installments I loved and installments I didn’t, but “Winning Time” is pure, joyful, sports-loving brilliance, and the only thing I would have changed about it was that I wished it were longer.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>23. Jesse Eisenberg’s twitchy, unsettling performance in \u003cem>The Social Network\u003c/em>\u003c/strong>. Putting aside matters of veracity (as I think you have to), it was a tremendously specific interpretation of a young, intense entrepreneur. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>24. Edgar Wright’s dynamic direction of \u003cem>Scott Pilgrim Versus The World\u003c/em>\u003c/strong>. The film wasn’t commercially successful, but the highly stylized presentation was genuinely inventive and surprising, and the warmth of the story survived the gimmicks.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>25. The unsparing ending of \u003cem>Toy Story 3\u003c/em>\u003c/strong>. I won’t spoil it if you haven’t seen it, but there’s a lusciously unsparing brutality to the march of time, and the movie threaded the needle perfectly so that it neither denies that nor gives in to it in despair. It’s hard for sadness and happiness to be conveyed at the same time, I think, but they got it done.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>26. Baby Monkey (Going Backwards On A Pig)\u003c/strong>. \u003ca href=\"http://www.youtube.com/watch?v=5_sfnQDr1-o\">I am a cheap date\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>27. The moment on \u003cem>Modern Family\u003c/em> where Sofia Vergara says “Shia LaBeouf.” \u003c/strong>\u003ca href=\"http://nymag.com/daily/entertainment/2010/09/sofia_vergara_demonstrates_how.html\">Clip here.\u003c/a> I am not a crackpot. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>28. The Cee\u003c/strong>–\u003cstrong>Lo song. \u003c/strong>Yep, it has profanity. It’s also a great song. I listen to it regularly. No regrets.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>29. Damon Lindelof accepting his TCA Award. \u003c/strong>Upon being honored by the Television Critics Association this summer, the \u003cem>Lost\u003c/em> co-creator did a hilariously dark reading of some of the angry, profane tweets that followed the finale. It was pretty epic, I have to tell you. Hard to watch, as \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/08/24/129398373/-lost-loads-up-the-bonus-features-and-proves-it-didn-t-need-them\">I mentioned\u003c/a>, but something I actually look back on very fondly. (Special mention: Tom Hanks on the same night, cracking up the room with his opener about looking around the room and seeing Ryan Murphy and others dressed down: “This is the last [bleep]ing time I’m dressing up for you people.”)\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>30. The OK Go Rube Goldberg Machine video.\u003c/strong> Some things that go viral deserve to go viral. It’s colorful, meticulous and vital, in addition to just being a freakishly \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/03/things_that_are_great_day_cont.html\">impressive accomplishment\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>31. My Old Spice message. \u003c/strong>\u003ca href=\"http://www.youtube.com/watch?v=xi-abeYIgxU\">I am not made of stone\u003c/a> over here, people. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>32. Zach Gilford’s performance in the \u003cem>Friday Night Lights\u003c/em> episode “The Son.” \u003c/strong>Gilford and the creative team at \u003cem>FNL\u003c/em> have kept Matt Saracen awkward, uncomfortable, and only reluctantly heroic throughout the show’s run. This was a mesmerizing, heartbreaking payoff to years of character development, and a fine example of why this show is so, so very good. NBC’s deal with DirecTV kept the show on the air long enough for Kyle Chandler and Connie Britton to get their ridiculously overdue Emmy nominations, and fans will get a much more acceptable send-off than they easily could have had a couple of years ago.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>33. \u003c/strong>\u003cstrong>Bill Carter’s book, \u003cem>The War For Late Night\u003c/em>\u003c/strong>\u003cem>. \u003c/em>Even if you’re so very over the whole story of Conan and Jay, Carter (who wrote \u003cem>The Late Shift\u003c/em> about the original Leno-Letterman standoff) has written a very compelling story of human beings who all think they’re right and all wind up feeling wronged.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>34. “Mapping The Heavens” at UCB Theater in L.A. \u003c/strong>While in L.A. for press tour, I was lucky enough to be rescued by a pal with a car who nabbed available tickets from Twitter (no, really!) and taken to see live comedy from Dave Holmes and Rob Delaney, as well as Patton Oswalt and Chelsea Peretti. If you ever get the chance to see \u003cem>any \u003c/em>of these people live, please do it.\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>35.\u003c/em>\u003cem> The Choir\u003c/em>\u003c/strong>. There are not enough words to say how joyous this BBC show is, and while it doesn’t technically belong to 2010, that’s when it came to BBC America, and that’s when I saw it, and it made me happier than anything else all year long, musically speaking.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>36. Annette Bening in \u003cem>The Kids Are All Right\u003c/em>\u003c/strong>. I haven’t always been a fan of Bening, but this sometimes unappealing performance as a genuinely unpleasant person who was nonetheless very loving really turned me around on her.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>37. Judge Judy hearing a case involving stolen armor and members of the Society For Creative Anachronism. \u003c/strong>You’re just going to have to take my word for it.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>38. The “So You Wanna Be A Chef” chapter of Anthony Bourdain’s \u003cem>Medium Raw: A Bloody Valentine To The World Of Food And The People Who Cook. \u003c/em>\u003c/strong>There are people who find Bourdain too acidic to be enjoyable; I am not one of them. This is a fine and vibrant book, and in this chapter, he shoots straight about the many people who are not cut out for a chef’s life.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>39. Dan Fienberg’s Hitfix review of \u003cem>Grown Ups\u003c/em>\u003c/strong>. The fact that I’m not taking shots at anything here doesn’t mean that taking shots doesn’t have its time and place. In \u003ca href=\"http://www.hitfix.com/blogs/the-fien-print/posts/movie-review-grown-ups\">this review at Hitfix\u003c/a>, Dan does the difficult job of giving enough of a damn about the stupid movie \u003cem>Grown Ups\u003c/em> to explain what’s actually wrong with it, which is more trouble than many go to. One of my favorite takedowns of the year.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>40. \u003cem>Moby-Dick\u003c/em>. \u003c/strong>No, it’s not from 2010. But my reading of it was, and I’ll be a grape popsicle if I’m not going to cram it into every list I make for the rest of my life. But seriously — it feels like an accomplishment, and it has given me the opportunity to make jokes I otherwise could not have. (“Randy Jackson is now the Ishmael of \u003cem>American Idol\u003c/em>,” for instance.) Read the classics. They are handy.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>41. “Safety Dance” on \u003cem>Glee\u003c/em>. \u003c/strong>Kevin McHale, who normally uses a wheelchair to play Artie, got a shot at dancing in this joyful production number that was also one of the first to showcase the fantastic Heather Morris (Brittany), whose role has been expanding ever since. Part of the very good “Dream On” episode, directed by Joss Whedon and co-starring Neil Patrick Harris, it was one of the most organic-feeling dances the show has ever produced.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>42. Crystal Bowersox singing “People Get Ready” on \u003cem>American Idol\u003c/em>. \u003c/strong>This was a very, very underwhelming season of \u003cem>Idol\u003c/em>, but every now and then, something good happens in spite of everything else that’s happening, and Crystal’s \u003ca href=\"http://www.youtube.com/watch?v=Z-niRO5IpBA\">performance\u003c/a> was one of the many reasons that her not winning was so irksome.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>43. Jon Hamm’s hook hands on \u003cem>30 Rock\u003c/em>. \u003c/strong>It’s sick and it’s wrong, but it was \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/05/14/126826606/-30-rock-offers-another-dose-of-intermittent-reinforcement\">so funny\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>44. When Tim Gunn took on superhero costumes.\u003c/strong> Seriously, just could not have been more delightful, \u003ca href=\"http://www.geekosystem.com/tim-gunn-comic-book-video/\">this\u003c/a>. “From the deltoids up, I get it.” Oh, Tim Gunn.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>45. James Franco and Mila Kunis in \u003cem>Date Night. \u003c/em>\u003c/strong>\u003cem>Date Night\u003c/em> is a pretty cute comedy, and Tina Fey and Steve Carell are pretty good in it. But when James Franco and Mila Kunis show up, the movie briefly becomes — no fooling — brilliant. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>46. The stalk-eyed fly on Discovery’s \u003cem>Life\u003c/em>. \u003c/strong>‘Nuff said. \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/03/life_a_stunning_parade_of_funn.html\">Watch\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>47. The Betty White renaissance.\u003c/strong> It’s incredibly strange that we’re already at a point where people are like, “Okay, enough Betty White already.” For once, we have managed to appreciate and salute someone with a long history of being great for reasons other than death. That’s a good development, whether you entirely buy into the groundswell or not.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>48. Johnny Weir’s press conference. \u003c/strong>The Olympic skater found himself criticized by two skating commentators for being a bad example for male skaters and perhaps being in need of a gender test. While keeping an admirable grasp on his temper and his tone, Weir stood up for himself and, in turn, for everyone who identifies with him. It was a fine, fine \u003ca href=\"http://www.youtube.com/watch?v=a6-MAmhGKsU\">moment of grace\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>49. “Chuck Versus The Other Guy.” \u003c/strong>\u003cem>Chuck\u003c/em> is a show that has never quite been able to stay stable for a long period of time, but as facile as it seems to salute the “finally, the leads get together!” episode, it was great. It was touching and sweet and worth the wait. Payoff that fans really want is a very hard thing to do with any sort of integrity, but this was an example of doing it right.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>50. Claire Danes in \u003cem>Temple\u003c/em>\u003cem> Grandin\u003c/em>\u003c/strong>. It’s hard to play people whose affects are unusual, as the real Temple Grandin’s is. It’s hard to adequately convey that they are unusual without being a cartoon, but Danes was just wonderful in this HBO movie that told both Grandin’s personal story and a story about the evolution of livestock management. It could have been strange; it was lovely.\u003cbr>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So there they are: 50 things that brought me a lot of happiness in 2010, that I enjoyed unironically and unreservedly. Feel free to add your own, and let’s all look forward to an equally good 2011.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing that’s frustrating about this time of year is that it can wind up feeling like listmaking is all about eliminating things you would like to compliment. You’d like to compliment 13 TV shows, but you’re supposed to pick 10, and all you can feel is the three that were left out.\u003c/p>\n\u003cp>So I decided to eschew the whole thing. Honestly, the hands-down best part of this job is coming in every day and being repeatedly delighted, and if I ever get to the point where I’m not repeatedly and genuinely delighted, it will be time to quit. In absolutely no particular order, with no attempt at completeness, with no promise that I have located the \u003cem>most\u003c/em> anything of anything, here are 50 things I heartily, unironically, truly admired and enjoyed this year. This is a list I came up with without breaking a sweat, which is how you know that even though critics can be … well, critical, we spend a lot of our time being treated to other people’s good work.\u003c/p>\n\u003cp>Here are some treats I was particularly happy to encounter in the last 12 months. I thank everybody who made this stuff. It’s a pleasure to take it in.\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003cstrong>Justin Timberlake and Jimmy Fallon doing the History Of Rap. \u003c/strong>I’ve said it before, but I’ll say it one more time: Jimmy Fallon has found exactly the right job for himself and exactly the right show for him to do, and between \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/09/30/130237475/justin-timberlake-and-jimmy-fallon-are-having-more-fun-than-you-are\">this\u003c/a> and the great \u003ca href=\"http://www.youtube.com/watch?v=PjkDxlhleN8\">Emmy opening\u003c/a>, he’s had maybe the best pop-culture year of anyone. (This clip has been taken down, unfortunately.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>2. Ken Burns’ \u003cem>The Tenth Inning\u003c/em>\u003c/strong>. A love letter to a deeply flawed game, is what it really was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>3. Tiny Desk Concerts. \u003c/strong>Just to name a few essentials: \u003ca href=\"http://www.npr.org/2010/12/15/131963244/the-heligoats-tiny-desk-concert\">The Heligoats\u003c/a>. \u003ca href=\"http://www.npr.org/2010/12/08/130870090/nick-lowe-tiny-desk-concert\">Nick Lowe\u003c/a>. \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=128383652\">Jimmy Cliff\u003c/a>. \u003ca href=\"http://www.npr.org/2010/05/21/127043684/bettye-lavette-tiny-desk-concert\">Bettye LaVette\u003c/a>. Watch more \u003ca href=\"http://www.npr.org/series/tiny-desk-concerts/\">here\u003c/a>. (Special mention: the Tinier Desk Concerts — in particular, \u003ca href=\"http://www.npr.org/internedition/fall10/?p=2395\">The Polka Dots\u003c/a>.) \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>4. Craig Ferguson’s robot, Geoff Peterson.\u003c/strong> Designed by \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/04/he_has_no_armaments_does_craig.html\" target=\"_blank\" rel=\"noopener\">Grant Imahara from \u003cem>Mythbusters\u003c/em>\u003c/a>. Ferguson continues to be wonderful at what he does, and this was a marvelous marriage of the sensibility of his show with the sensibility of\u003cem> Mythbusters\u003c/em> — which, while we’re at it, is also consistently a joy.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>5. The last 15 minutes of \u003cem>Lost\u003c/em>. \u003c/strong>Many hated it; I loved it. Immensely moving, incredibly satisfying, and fully earned. I still cry. Every time.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>6. Ron Swanson taking a header on the grass during the season finale of \u003cem>Parks and Recreation\u003c/em>\u003c/strong>. Great show, miraculous cast, and an unexpected moment of completely extraneous physical comedy.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>7. The descriptions of people in Jonathan Franzen’s \u003cem>Freedom\u003c/em>\u003c/strong>. I didn’t love everything about the book, but the ability to sum up human beings in bite-sized descriptions is the thing at which Franzen is a superhero. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>8. The expansive, imaginative \u003cem>Inception\u003c/em> cinematography. \u003c/strong>In some ways, it may have been too good for its own good, in that its slickness allowed it to be taken for granted.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>9. The Night Of 140 Tweets.\u003c/strong> A fundraiser for Haiti that brought prolific and funny tweeters together at the UCB theater in Los Angeles. (\u003ca href=\"http://www.amazon.com/gp/product/B003BNZILO/ref=pd_lpo_k2_dp_sr_1?pf_rd_p=486539851&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=B003BWV75G&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=1F8EJNKH58DHFP90NQ11\">Still available at Amazon\u003c/a>.) \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>10. Ben Folds on \u003cem>The Sing-Off\u003c/em>\u003c/strong>. Still great. Makes it seem like it’s possible to be a reality-show judge and come off well, which is quite an accomplishment.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>11. Helena Bonham Carter in the opening scenes of \u003cem>The King’s Speech. \u003c/em>\u003c/strong>Yes, Firth and Rush have fabulous chemistry that carries the movie, but the confident, wry way that Bonham Carter lifts the beginning of the film is very important and humanizes the king. She’s done a lot of fairly extreme acting (to put it mildly) in recent years; it was interesting to see her do everything small again, and learn that she’s still got that, too.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>12. The pop-culture ascendancy and triumph of \u003cem>The Hunger Games \u003c/em>series\u003c/strong>. Tied to the release of the third book, \u003cem>Mockingjay\u003c/em>, the passage of this series into legend was richly deserved.\u003cbr>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>13. James Wolk in \u003cem>Lone Star\u003c/em>\u003c/strong>. The show was flawed, yes. And doomed, perhaps. And it was two episodes and out, unfortunately. But the central performance from James Wolk was one of the best I’ve seen in a while, and deserved better.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>14. Glen Weldon’s piece on the graphic memoir \u003cem>Special Exits\u003c/em>. \u003c/strong>I’m not too shy to tell you that right here in this very blog, we had the privilege to run \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/11/30/131699453/going-gentle-into-that-good-night-goes-awry-the-graphic-memoir-special-exits\">one of my favorite pieces of writing\u003c/a> from this year: lovely and touching but not mawkish or sentimental, from a friend and colleague who helped light up my 2010 big-time.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>15. The voice acting in Disney’s \u003cem>Tangled\u003c/em>\u003c/strong>. Zachary Levi, Mandy Moore, Donna Murphy, Ron Perlman, M.C. Gainey, Paul F. Tompkins, and many more. It’s a special movie, very nicely executed, and the acting is part of the reason why.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>16. Will Leitch’s discussion of the Jim Joyce blown call\u003c/strong>. Top-notch \u003ca href=\"http://nymag.com/daily/sports/2010/06/how_a_botched_perfect_game_cal.html\">writing\u003c/a> that exemplifies how you do rapid response to a big controversy without acting like a jerk. That Leitch is often tagged with being the worst of the Internet just because of his association with Deadspin is, to say the least, ironic. (See also: \u003ca href=\"http://deadspin.com/5482198/my-roger-ebert-story\">Leitch’s devastatingly introspective Roger Ebert post\u003c/a>.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>17. The \u003cem>Mad Men \u003c/em>episode “The Suitcase.” \u003c/strong>And specifically the part where Don Draper (Jon Hamm) yells, “THAT’S WHAT THE MONEY IS FOR!” So very much genius in a single hour of television. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>18. The NPR rap. \u003c/strong>Spectacularly done and also \u003ca href=\"http://www.youtube.com/watch?v=vxRgNnue-zk\">weirdly moving\u003c/a>, from the standpoint of someone who works here.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>19. That moment in the \u003cem>Community\u003c/em> episode “Contemporary American Poultry” where they discuss the phrase “streets ahead.” \u003c/strong>Show creator Dan Harmon does sometimes let his temper get the better of him on Twitter, but \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/04/community_and_the_art_of_confi.html\">this\u003c/a> was a perfect example of needling detractors without overreacting. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>20. The part of \u003cem>Joan Rivers: A Piece Of Work\u003c/em> where she shows off her many, many drawers of jokes on index cards. \u003c/strong>Comedians work, just like everybody else. And they create a product, just like everybody else. I’ve never seen it illustrated better than in this moment in the very smart and admirably restrained documentary about Rivers that came out this year.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>21. Conan O’Brien’s speech about cynicism.\u003c/strong> “I hate cynicism — it’s my least favorite quality and it doesn’t lead anywhere. Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you’re kind, amazing things will happen. I’m telling you, amazing things will happen.” A great way to go out on his last \u003cem>Tonight Show\u003c/em>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>22. ESPN’s \u003cem>30 For 30 \u003c/em>documentary “Winning Time: Reggie Miller vs. The New York Knicks.” \u003c/strong>This has been a series with installments I loved and installments I didn’t, but “Winning Time” is pure, joyful, sports-loving brilliance, and the only thing I would have changed about it was that I wished it were longer.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>23. Jesse Eisenberg’s twitchy, unsettling performance in \u003cem>The Social Network\u003c/em>\u003c/strong>. Putting aside matters of veracity (as I think you have to), it was a tremendously specific interpretation of a young, intense entrepreneur. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>24. Edgar Wright’s dynamic direction of \u003cem>Scott Pilgrim Versus The World\u003c/em>\u003c/strong>. The film wasn’t commercially successful, but the highly stylized presentation was genuinely inventive and surprising, and the warmth of the story survived the gimmicks.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>25. The unsparing ending of \u003cem>Toy Story 3\u003c/em>\u003c/strong>. I won’t spoil it if you haven’t seen it, but there’s a lusciously unsparing brutality to the march of time, and the movie threaded the needle perfectly so that it neither denies that nor gives in to it in despair. It’s hard for sadness and happiness to be conveyed at the same time, I think, but they got it done.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>26. Baby Monkey (Going Backwards On A Pig)\u003c/strong>. \u003ca href=\"http://www.youtube.com/watch?v=5_sfnQDr1-o\">I am a cheap date\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>27. The moment on \u003cem>Modern Family\u003c/em> where Sofia Vergara says “Shia LaBeouf.” \u003c/strong>\u003ca href=\"http://nymag.com/daily/entertainment/2010/09/sofia_vergara_demonstrates_how.html\">Clip here.\u003c/a> I am not a crackpot. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>28. The Cee\u003c/strong>–\u003cstrong>Lo song. \u003c/strong>Yep, it has profanity. It’s also a great song. I listen to it regularly. No regrets.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>29. Damon Lindelof accepting his TCA Award. \u003c/strong>Upon being honored by the Television Critics Association this summer, the \u003cem>Lost\u003c/em> co-creator did a hilariously dark reading of some of the angry, profane tweets that followed the finale. It was pretty epic, I have to tell you. Hard to watch, as \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/08/24/129398373/-lost-loads-up-the-bonus-features-and-proves-it-didn-t-need-them\">I mentioned\u003c/a>, but something I actually look back on very fondly. (Special mention: Tom Hanks on the same night, cracking up the room with his opener about looking around the room and seeing Ryan Murphy and others dressed down: “This is the last [bleep]ing time I’m dressing up for you people.”)\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>30. The OK Go Rube Goldberg Machine video.\u003c/strong> Some things that go viral deserve to go viral. It’s colorful, meticulous and vital, in addition to just being a freakishly \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/03/things_that_are_great_day_cont.html\">impressive accomplishment\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>31. My Old Spice message. \u003c/strong>\u003ca href=\"http://www.youtube.com/watch?v=xi-abeYIgxU\">I am not made of stone\u003c/a> over here, people. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>32. Zach Gilford’s performance in the \u003cem>Friday Night Lights\u003c/em> episode “The Son.” \u003c/strong>Gilford and the creative team at \u003cem>FNL\u003c/em> have kept Matt Saracen awkward, uncomfortable, and only reluctantly heroic throughout the show’s run. This was a mesmerizing, heartbreaking payoff to years of character development, and a fine example of why this show is so, so very good. NBC’s deal with DirecTV kept the show on the air long enough for Kyle Chandler and Connie Britton to get their ridiculously overdue Emmy nominations, and fans will get a much more acceptable send-off than they easily could have had a couple of years ago.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>33. \u003c/strong>\u003cstrong>Bill Carter’s book, \u003cem>The War For Late Night\u003c/em>\u003c/strong>\u003cem>. \u003c/em>Even if you’re so very over the whole story of Conan and Jay, Carter (who wrote \u003cem>The Late Shift\u003c/em> about the original Leno-Letterman standoff) has written a very compelling story of human beings who all think they’re right and all wind up feeling wronged.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>34. “Mapping The Heavens” at UCB Theater in L.A. \u003c/strong>While in L.A. for press tour, I was lucky enough to be rescued by a pal with a car who nabbed available tickets from Twitter (no, really!) and taken to see live comedy from Dave Holmes and Rob Delaney, as well as Patton Oswalt and Chelsea Peretti. If you ever get the chance to see \u003cem>any \u003c/em>of these people live, please do it.\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>35.\u003c/em>\u003cem> The Choir\u003c/em>\u003c/strong>. There are not enough words to say how joyous this BBC show is, and while it doesn’t technically belong to 2010, that’s when it came to BBC America, and that’s when I saw it, and it made me happier than anything else all year long, musically speaking.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>36. Annette Bening in \u003cem>The Kids Are All Right\u003c/em>\u003c/strong>. I haven’t always been a fan of Bening, but this sometimes unappealing performance as a genuinely unpleasant person who was nonetheless very loving really turned me around on her.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>37. Judge Judy hearing a case involving stolen armor and members of the Society For Creative Anachronism. \u003c/strong>You’re just going to have to take my word for it.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>38. The “So You Wanna Be A Chef” chapter of Anthony Bourdain’s \u003cem>Medium Raw: A Bloody Valentine To The World Of Food And The People Who Cook. \u003c/em>\u003c/strong>There are people who find Bourdain too acidic to be enjoyable; I am not one of them. This is a fine and vibrant book, and in this chapter, he shoots straight about the many people who are not cut out for a chef’s life.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>39. Dan Fienberg’s Hitfix review of \u003cem>Grown Ups\u003c/em>\u003c/strong>. The fact that I’m not taking shots at anything here doesn’t mean that taking shots doesn’t have its time and place. In \u003ca href=\"http://www.hitfix.com/blogs/the-fien-print/posts/movie-review-grown-ups\">this review at Hitfix\u003c/a>, Dan does the difficult job of giving enough of a damn about the stupid movie \u003cem>Grown Ups\u003c/em> to explain what’s actually wrong with it, which is more trouble than many go to. One of my favorite takedowns of the year.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>40. \u003cem>Moby-Dick\u003c/em>. \u003c/strong>No, it’s not from 2010. But my reading of it was, and I’ll be a grape popsicle if I’m not going to cram it into every list I make for the rest of my life. But seriously — it feels like an accomplishment, and it has given me the opportunity to make jokes I otherwise could not have. (“Randy Jackson is now the Ishmael of \u003cem>American Idol\u003c/em>,” for instance.) Read the classics. They are handy.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>41. “Safety Dance” on \u003cem>Glee\u003c/em>. \u003c/strong>Kevin McHale, who normally uses a wheelchair to play Artie, got a shot at dancing in this joyful production number that was also one of the first to showcase the fantastic Heather Morris (Brittany), whose role has been expanding ever since. Part of the very good “Dream On” episode, directed by Joss Whedon and co-starring Neil Patrick Harris, it was one of the most organic-feeling dances the show has ever produced.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>42. Crystal Bowersox singing “People Get Ready” on \u003cem>American Idol\u003c/em>. \u003c/strong>This was a very, very underwhelming season of \u003cem>Idol\u003c/em>, but every now and then, something good happens in spite of everything else that’s happening, and Crystal’s \u003ca href=\"http://www.youtube.com/watch?v=Z-niRO5IpBA\">performance\u003c/a> was one of the many reasons that her not winning was so irksome.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>43. Jon Hamm’s hook hands on \u003cem>30 Rock\u003c/em>. \u003c/strong>It’s sick and it’s wrong, but it was \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/05/14/126826606/-30-rock-offers-another-dose-of-intermittent-reinforcement\">so funny\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>44. When Tim Gunn took on superhero costumes.\u003c/strong> Seriously, just could not have been more delightful, \u003ca href=\"http://www.geekosystem.com/tim-gunn-comic-book-video/\">this\u003c/a>. “From the deltoids up, I get it.” Oh, Tim Gunn.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>45. James Franco and Mila Kunis in \u003cem>Date Night. \u003c/em>\u003c/strong>\u003cem>Date Night\u003c/em> is a pretty cute comedy, and Tina Fey and Steve Carell are pretty good in it. But when James Franco and Mila Kunis show up, the movie briefly becomes — no fooling — brilliant. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>46. The stalk-eyed fly on Discovery’s \u003cem>Life\u003c/em>. \u003c/strong>‘Nuff said. \u003ca href=\"http://www.npr.org/blogs/monkeysee/2010/03/life_a_stunning_parade_of_funn.html\">Watch\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>47. The Betty White renaissance.\u003c/strong> It’s incredibly strange that we’re already at a point where people are like, “Okay, enough Betty White already.” For once, we have managed to appreciate and salute someone with a long history of being great for reasons other than death. That’s a good development, whether you entirely buy into the groundswell or not.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>48. Johnny Weir’s press conference. \u003c/strong>The Olympic skater found himself criticized by two skating commentators for being a bad example for male skaters and perhaps being in need of a gender test. While keeping an admirable grasp on his temper and his tone, Weir stood up for himself and, in turn, for everyone who identifies with him. It was a fine, fine \u003ca href=\"http://www.youtube.com/watch?v=a6-MAmhGKsU\">moment of grace\u003c/a>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>49. “Chuck Versus The Other Guy.” \u003c/strong>\u003cem>Chuck\u003c/em> is a show that has never quite been able to stay stable for a long period of time, but as facile as it seems to salute the “finally, the leads get together!” episode, it was great. It was touching and sweet and worth the wait. Payoff that fans really want is a very hard thing to do with any sort of integrity, but this was an example of doing it right.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>50. Claire Danes in \u003cem>Temple\u003c/em>\u003cem> Grandin\u003c/em>\u003c/strong>. It’s hard to play people whose affects are unusual, as the real Temple Grandin’s is. It’s hard to adequately convey that they are unusual without being a cartoon, but Danes was just wonderful in this HBO movie that told both Grandin’s personal story and a story about the evolution of livestock management. It could have been strange; it was lovely.\u003cbr>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So there they are: 50 things that brought me a lot of happiness in 2010, that I enjoyed unironically and unreservedly. Feel free to add your own, and let’s all look forward to an equally good 2011.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thanks to a combination of good casting, good luck, and the fact that \u003cem>Top Chef \u003c/em> casts fairly interesting people to begin with, the first two episodes of the show’s current All-Star season have been exceptionally enjoyable and interesting. And last night, two stories cast light on one of the most intriguing questions that a show like this can raise: What does a person who’s seen herself on television do differently the second time around?\u003c/p>\n\u003cp>(A discussion of last night’s episode follows, so beware.)\u003c/p>\n\u003cp>In \u003cem>Top Chef\u003c/em>‘s first season, Tiffani Faison finished second, after spending the season as an obviously skilled but often controversial contestant. She had trouble getting along with people, she expressed little patience with anyone who had problems with her, and in the third episode, she expressed contempt for the challenge of cooking for a group of kids, brushing off her failure to please them by declaring that they had unsophisticated palates and she wasn’t going to pander to them.\u003c/p>\n\u003cp>In the show’s sixth season, Jen Carroll — who came in with the impressive pedigree of working at one of Eric Ripert’s restaurants — finished fourth. Another strong chef who could come off as perhaps a little brusque, she was obviously talented, but lost out in a final four round that included three other people who were also obviously talented.\u003c/p>\n\u003cp>So they’d both been great, and they’d both not won, and neither one of them was universally adored for having a winning personality (though Jen’s personality was, it appeared, significantly less problematic than Tiffani’s).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, they’re both on the All-Star season.\u003c/p>\n\u003cp>From the get-go this round, Tiffani has been infinitely more pleasant, laid-back, and self-deprecating than she ever was when she was on TV in 2006. Her sour defensiveness seems to have evaporated and been replaced by a welcome sense of humor. She found herself again confronted in last night’s episode by a bunch of kids — and this time, not only did she acknowledge that her job was to find something she could make that they’d like, but she further declared that in her first season, in the food-for-kids challenge, she was “a complete a–h—.” (Her word, not mine.)\u003c/p>\n\u003cp>Obviously, it’s guesswork to attribute a changed attitude to seeing yourself on television and wanting to come off differently, but Tiffani’s ability to openly regret her own earlier behavior certainly seems like a good model for contestants who do return: she admits her weaknesses, she smiles more, and — perhaps most importantly — she seems to have put the entire thing in perspective. That’s why it’s okay to cater to kids when you’re literally catering to kids: if you lose \u003cem>Top Chef\u003c/em> or if people decide you’re not serious because you make a sugary concoction as a midnight snack, it really doesn’t matter. You can go right back to doing what you do.\u003c/p>\n\u003cp>Jen, on the other hand, has been snippy and unpleasant on her second try, and last night, she went out on just about as unfortunate of a note as one can. On a team preparing breakfast foods using only meat and other animal products (dairy and eggs, basically), she made what she called a version of eggs and bacon that used porkbelly. Fellow contestant Casey declared in an interview that she’d tasted the porkbelly herself and found it to taste like “wet bacon.” Not a compliment.\u003c/p>\n\u003cp>The judges didn’t like it, either. Across the board, they found it bland and unappealing. But Jen was absolutely unbending, insisting that her dish was perfectly fine, and that the entire panel of judges was flatly wrong to say the eggs were underseasoned. While everyone admires a chef who doesn’t cave in as soon as anyone criticizes what she does, Jen was positively twitching with anger the entire time, angry from the get-go that her team lost the challenge. When judge Tom Colicchio asked why the team chose to put everything on one plate instead of plating dishes separately, Jen snapped, “You guys are smart enough, you’re the judges; why didn’t you say, ‘Hey, can I get a different plate for this?'”\u003c/p>\n\u003cp>And it was Tiffani who responded to this — at least according to the way the show was edited — with a simple muttered “Oh, wow.”\u003c/p>\n\u003cp>Jen was eliminated for her lousy dish, but on her way out, she took the all-too-common reality-show route of insisting she was booted for being too “strong” — meaning that she was too outspoken in defense of her dish, and that’s the reason they got rid of her. She is not the first person to want to believe she was eliminated for excess awesomeness, but it’s never a very flattering thing to do.\u003c/p>\n\u003cp>What Tiffani did right this time around — mostly worry about the competition less — seems to have gone just as wrong for Jen. As her exit interview shows, she became genuinely infuriated (there’s a lot of bleeped swearing here, be aware), insisting that there was absolutely no way she should have been anywhere close to being sent home, and hinting that there are other forces at play other than the quality of the food.\u003c/p>\n\u003cp>No less a straight shooter than Anthony Bourdain, by the way, has insisted (in, among other places, his book \u003cem>Medium Raw\u003c/em>) that in his considerable experience on the show, the \u003cem>Top Chef\u003c/em> judging is completely based on the quality of the food, and not on producer interference or personality. But Jen insists it has something to do with behavior, not performance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As entertaining and oddball of a meltdown as this was, it’s kind of sad when someone who came off relatively well — if possessed of a strong personality — on a previous appearance hurts herself on a second. The lesson may be that if you’re going to return for a second go-round with something like this, make sure you become less tense about it, not more tense. Because if you can’t, it might be better to just let sleeping reputations lie. Copyright 2010 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://metrics.npr.org/b/ss/nprapidev/5/1291941491?&gn=%27Top+Chef%27%3A+Tiffani+And+Jen+Show+How+And+How+Not+To+Do+All-Star+Seasons&ev=event2&ch=93568166&h1=Television,Monkey+See,Pop+Culture,Arts+%26+Life&c3=D%3Dgn&v3=D%3Dgn&c4=131930151&c7=1048&v7=D%3Dc7&c18=1048&v18=D%3Dc18&c19=20101209&v19=D%3Dc19&c20=1&v20=D%3Dc20&c31=126677694,93568166,126679326,126677694,93568166,124532348,5163715,126678353,126677694,93568166,93568166,126677694,93568166,126677694,93568166,126677694,93568166,126678130,126677716,126677694,93568166,131441422,131564484,131564479,127602855,127602802,127602596,126934821,103943429,131546131,131546128,131546121,127605092,127602802,127602405,103943429,93568166,126679326,126677694,93568166,126689748,126677694,93568166,126679368,126677694,93568166,129472378,126677937,126677694,93568166,126677694,93568166,126677731,126677694,93568166,126677694,93568166,5163715&v31=D%3Dc31&c45=MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanks to a combination of good casting, good luck, and the fact that \u003cem>Top Chef \u003c/em> casts fairly interesting people to begin with, the first two episodes of the show’s current All-Star season have been exceptionally enjoyable and interesting. And last night, two stories cast light on one of the most intriguing questions that a show like this can raise: What does a person who’s seen herself on television do differently the second time around?\u003c/p>\n\u003cp>(A discussion of last night’s episode follows, so beware.)\u003c/p>\n\u003cp>In \u003cem>Top Chef\u003c/em>‘s first season, Tiffani Faison finished second, after spending the season as an obviously skilled but often controversial contestant. She had trouble getting along with people, she expressed little patience with anyone who had problems with her, and in the third episode, she expressed contempt for the challenge of cooking for a group of kids, brushing off her failure to please them by declaring that they had unsophisticated palates and she wasn’t going to pander to them.\u003c/p>\n\u003cp>In the show’s sixth season, Jen Carroll — who came in with the impressive pedigree of working at one of Eric Ripert’s restaurants — finished fourth. Another strong chef who could come off as perhaps a little brusque, she was obviously talented, but lost out in a final four round that included three other people who were also obviously talented.\u003c/p>\n\u003cp>So they’d both been great, and they’d both not won, and neither one of them was universally adored for having a winning personality (though Jen’s personality was, it appeared, significantly less problematic than Tiffani’s).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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