Dallas Voice (Dallas, Tex.), Vol. 28, No. 33, Ed. 1 Friday, December 30, 2011 Page: 25 of 44
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year in review
ARNOLD WAYNE JONES i Life+Style Editor
In a year when most people began to
feel broadcast and cable television had become all but irrelevant in
the era of streaming, the most proletarian of American entertain-
ment still managed some remarkable work — both from returning
series and new entries (marked with a •).
10. American Horror Story (FX) • You have to begin watching
this series — as you do Ryan Murphy's other current show, Glee —
understanding that it's a fantasy that does not, and is not intended
to, make a lick of seftse. Why doesn't the family in the cursed LA.
"murder house" move out? Why do they constantly lie ... and get
caught? How can so much drama happen to just a few people?
You're asking for trouble if you think — you're meant to just go
along for this ride, a grotesque riff on Gothic horror movie cliches
with a spicy bit of kink added. Jessica Lange as a creepy neighbor
rockets into a stratosphere of kook that's unmissably delicious,
9. Glee (Fox) Murphy's other series is already showing its age
after only after its third season, but whoever expected it would be
anything other than what it is, a flash of gay brilliance that
couldn't last longer than a high school career anyway? It remains
in the top 10, especially for gay audiences, largely because of the
end of last season, which featured touching work by Chris Colfer
and Jane Lynch.
8. The Killing (AMC)* A moody mix of Turn Peaks and 24 with
a Scandinavian bleakness* this investigation into the death of a girl
in Seattle, laden with dread and impenetrable characters who
often do the wrong thing, was an addictive mystery. The season fi-
nale didn't quite work, but that only makes me look forward to
7. Happy Endings (ABC) •
6. Modern Family (ABC) This one-two punch of queer^friendly
sitcoms — as perfect a pairing of half-hours since
Happy Days and Laverne & Shirley — show the gay ex-
perience from the perspective of boring suburbia and
slacker 20-something with wit and true character de-
velopment between ModFam's couple Cam and
Mitchell and Happy Endings' gay Oscar Madison,
5. Raising Hope (Fox). The sleeper sitcom hit of
last year continues to delight audiences who can de-
tect the sophistication lurking in creator Greg Garcia's
comedy about lower-class denizens. (He did it before
with My Name Is Earl.) The clever gay-friendly mes-
sage is conveyed ironically, but for a story about
child-rearing, it's as raucous as a sitcom can be.
4. RuPaul's Drag Race (Logo). The third season of
Drag Race'Was just as good as the second (the first
was really a training ground for the style). Campy but
also incredibly sincere, it's one of the funniest reality
shows ever on TV and one where most of the contest-
ants actually seem to have skills. When Season 4
starts next month, we'll be glued.
3. Allen Gregory (Fox) • Jonah Hill had, for me,
fallen into the Seth Rogen category of ovefstayed-his-welcome
with a repetition comic persona in his largely crass movie roles,
but Alien Gregory changed all that for me. A smart, stylish ani-
mated sitcom about a pretentious kindergartenerand his two-dad
family (including a hunky former straight man and an adopted
Asian sister) has some of the best jokes: about gay characters on
any show. Ever.
2. The Walking Dead (AMC) • There is virtually no gay content
in this zombie series, just some of the most chilling action fp
quences ever on TV (and the hottest guy on TV in the totally
ripped Jon Bernthal). It's really the sound editing that gets to you
GAY FAMILY TIES | The two-dad household on 'Allen Gregory' takes a big turn
from the suburban kookiness of 'Modern Family.'
in this drama about the end of world at the hands of ravaging
flesh eaters. Who knows where it will go? But you sure wanna
1. The Daily Show with Jon Stewart and The Colbert Report
(Comedy Central). The 12 months leading up to presidential pri-
mary season would simply not have been the same without the
genius commentary (with Stewart, confrontational; with Colbert,
ironic) about the crazed political atmosphere we have found our-
selves in. Colbert's establishing of a SuperPAC, which he actually
uses to point out the insanity of our laws, was as mind-blowing as
comedy has ever gotten. ■
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Nash, Tammye. Dallas Voice (Dallas, Tex.), Vol. 28, No. 33, Ed. 1 Friday, December 30, 2011, newspaper, December 30, 2011; Dallas, Texas. (digital.library.unt.edu/ark:/67531/metapth239200/m1/25/: accessed September 25, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; crediting UNT Libraries Special Collections.