Channel surfing: “Scandal” gets all “ZDT” and “American Horror Story” flips the best bird
Pithy takeaways and observations from the best shows this week VIDEO
Topics: Video, TV, Television, Scandal, Cougar Town, the mindy project, New Girl, American Horror Story, Happy Endings, nashville, Entertainment News
My observations of the past week of TV that are too short to stand on their own and too long to keep to myself.
1. It’s often weird how all the shows that air on a specific night seem to be in conversation, as if the writers of every show that broadcasts on Thursday had a secret conversation about making “Treme” jokes all at once. This past Tuesday was identity politics nights over on “New Girl,” “The Mindy Project,” and “Happy Endings”: Schmidt tried to get Winston to share his “blackness” with his housemates, Mindy’s Indian little brother flirted with quitting Stanford to be a rapper, and on “Happy Endings” Max went on a quest to find his particular gay subculture. “New Girl” and “Happy Endings” did a nice — by which I mean funny — job with both of those stories. (Schmidt’s pronunciation of “crack kuh-caine” was wonderful; Winston as the straight-but-not-boring man, finally, really worked; and “Happy Endings’” creation of “optimistic red velvet walruses” was so sweet and funny, I will ignore the fact that Max is pretty much just a bear.) But I found the rapping on “The Mindy Project” to be so distracting I can barely tell if that story line worked. It wasn’t terrible, but it wasn’t good. Was it supposed to be good? If it wasn’t supposed to be good, why did we see so much of it? If it was bad, why didn’t the show say so? The rapping was kind of like the character of Mindy herself: The show doesn’t know yet whether it wants you to like her or dislike-her-while-thinking-she’s-funny and it keeps trying to have it both ways.
2. Just about every week I find myself having intense physical reactions to something I see on-screen: I don’t just cry, I whoop and cheer and smile or yell or hector someone about not to do that really dumb thing they’re about to do. (So, yes, basically, I talk to my television a lot.) My most felt moment of this week came courtesy of “American Horror Story,” as Sarah Paulson’s Lana Winters tried to walk out of the asylum, but had to make it past serial killer Dr. Threadson to do so, something I wanted to happen so badly I was gesturing wildly at the TV to make it so, urging Lana to go the distance like she was a potential home-run ball. The end of that sequence, with Lana in a taxicab, in safety, giving Threadson the finger, is, for me, the best flip-off in TV history.
Willa Paskin is Salon's staff TV writer. More Willa Paskin.





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