PALEYFEST: Five Reasons you should be watching Jane the Virgin

In honor of  the final day of PaleyFest or as I like to call it TV Nerd Comic Con, I thought I would revisit what is easily my favorite new TV show to arrive this season. I wrote about Jane the Virgin after it's third episode, because that is all it took to realize what Jennie Snyder Urman and her team were creating was something special. Jane the Virgin is a show that manages to entertain first and endear its audience. It honors the cultural nuances and realities of the Latino community that are so often exploited, exaggerated and misrepresented in service of a joke or to lean into stereotypes. It is clear from the first episode that the writers and actors here have taken the time to understand that stereotypes exist for a reason and go about dismantling them with humor and poignancy.

There are many reasons to watch Jane the Virgin, but here are five I think are most salient and the reason to make this show Monday appointment television.

5. Latin Lover Narration - Like many shows before it (Ally McBeal and Eli Stone immediately come to mind) Jane the Virgin breaks fourth wall reality to remind us that in the very serious emotions we navigate as people, there needs to be a break for humor and the ability to see the absurdity of a given situation. Jane the Virgin is particularly deft at this styling and when they chose to use it. The show fundamentally understands how important it is to not take itself too seriously. The plot is fantastical and absurd, that is a fact. It is drawn from the great traditions of telenovelas and is unapologetic about those roots. I believe what makes Jane the Virgin successful is how they choose to let the audience in on the irreverence. They smartly created a modern day Greek chorus via a stereotypical Latin lover narrator (voiced to perfection by Anthony Mendez) who embodies the flare of the heighten realities of a soap opera with grounding logic in his observations to guide the stories the show is telling. The narrator serves as the voice in the audience's head. He is the mirror that calls out the obvious or blatant mishaps that occur. It provides a vehicle for the audience to abandon the fantastical pieces of the plot and fully invest in the characters and underlying stories of lived experiences that exist for families and in particular, Latino families.

4. The Writing - The team putting together these episodes has really tapped into something wonderful. They have found a voice that rings true to a broad audience but happens to be told through the eyes of a multi-generational Latina family. In my group of TV watcher friends who adore the show, we have found the common links of larger families and the influences they can play. The traditions vs. the stereotypes exist in all cultures. What continues to impress me 15 episodes later is the sheer bravery of the writers. Whether it is discussing the real ramifications of immigration on a family or the ridiculousness of a melodramatic father you've never known this group provides dialogue that I can easily imagine taking place in my own living room. The ability to bridge pop culture references with cultural touchstones is used with razor like precision. They also use every facility at their disposal to tell this story. The episodes are chapters, Jane is an aspiring writer, and embedded within the narration are often typed clues and commentary across the screen as though the story is being written as we go along. That combination offers huge laughs, open questions and certainly whenever any of the women wind up on the porch swing a piece of wisdom and familial love that touches into the very real vulnerabilities we all navigate with the people we trust most in the world.

3. Affairs of the Heart - There is a core love triangle embedded into Jane the Virgin and it is a testament to the show that two-thirds of the way into the season I still haven't picked a side. The combined talent of the actors who bring us Rafael, Jane and Michael with the fact that the show smartly made none of these characters innocent or pure creates a wonderful dynamic that leaves viewers conflicted about who to root for at any given moment. They use a common trope of third parties seeing something and misinterpreting what transpires to actually open up real questions about the characters feelings rather than merely create drama. That ability to layer a moment of doubt with an ounce of truth works wonderfully because there truly are no villains in this trio so there isn't a clear end game for these characters and that is what makes it feel honest as well as keeps it interesting.

2. Authenticity - No where else on TV will you find a show that is more accurately portraying Latinas on screen. Period. Jane the Virgin is not only calling out Latino stereotypes, they are dismantling them with humor and poignancy that honors our culture and speaks to the competency of everyone involved in the show. Jane the Virgin does something I've rarely seen for Latinos or women on television. It has established characters who bring their whole identities into the storytelling and does so in a surprising and genuine way. The show not only provides a character's point of view, but the experiences that inform it. I so deeply appreciate that Jane the Virgin takes the time for the audience to understand that perception is so rarely reality. It embraces the idea that our values are formed by a lived understanding of what it takes to navigate the world and protect that which is most important, those we love. Jane the Virgin also gets the little things right. The most prominent example being that Alba only speaks Spanish while both Jane and Xiomara respond in English. It would be easier for the show to merely have Alba speak in a heavy accent, choosing to have her speak Spanish honors who we are as a community. It reflects the world I personally grew up in and doubles down on what Gina Rodriguez so rightly declared in her Golden Globe acceptance speech, "This award is so much more than myself, it represents a culture that wants to see themselves as heroes." Every episode of this show has provided dignity to a community that hasn't often been displayed on television as much more than gang members and maids. It is what quintessentially makes this show special.

1. The Villanueva Women - At the end of the day the real love story of Jane the Virgin is that of the three women who make up the Villanueva family. It's a story of life told by mothers and daughters and the very real conflicts that come from navigating the duality of being a parent and child simultaneously. Gina Rodriguez, Andrea Navedo and Ivonne Coll have tapped into something truly special. They have created complex, flawed, vulnerable women whose love for one another is the lifeblood of their personal strength and conviction for how they navigate their lives. They are the honest mirrors and confidants that keep the unrealistically structured Jane, the flamboyant dreamer Xiomara and the traditional Alba grounded and ultimately hopeful. The center of their relationship is often on display in the scenes that take place on the porch swing. Here we are given the wisdom and unconditional love that is indicative of mothers and daughters. I was struck early on in the series when Xiomara's character gives advice to Jane to be selfish about what she needs. It speaks to the bravery of the writing and willingness the show has to allow their characters to display introspection on regrets and understanding that choices and decisions, regardless of being the right ones have moving consequences with lasting impact and influence. I had the great privilege to visit the set of Jane the Virgin on a day when they were shooting a porch scene. Watching these three women work and evolve a scene over a series of takes only cemented my thinking that the soul of this show is grounded in these three women and the great care and respect they bring to these characters. Each implicitly understands they represent much more than a positive take on Latinas in television. They represent a different way of looking at women inherently. They embody the truth that women are not monoliths - Latina, immigrant, single parent, mother or daughter. We are all of those things at all times. It is a beautiful depth of emotions and experience that has powerful resonance beyond plot and dialogue.

In a TV age where the anti-hero is revered and cynicism holds center court for many TV show plots, Jane the Virgin is a cool Miami breeze with the cadence of a great salsa band. It is loud, jubilant and honest. Jane the Virgin is quietly changing the game with its boisterous irreverent joy. Tonight the cast and creators take the stage at PaleyFest. Do yourself a favor and join them and then tune in Monday, you won't be disappointed.

How Castle delivered on the promise of Moonlighting

At it's prime, Moonlighting was arguably one of the best shows on television. Over the course of the first three seasons it was smart, funny and possessed two leads with chemistry and charisma that made it appointment television long before streaming, DVRs and internet commentary were available. It was a show that possessed a mixture of drama, comedy, and romance, and was one of the first successful and influential examples of an hour long "dramedy" emerging as a distinct television genre. That is why, when Castle came on the scene 20 years later the comparisons were rampant, and to a degree true. 

Castle, a mid-season replacement in 2009 had all the trappings of Moonlighting, two charismatic leads with terrific chemistry and timing, witty banter and a crime solving format to frame the core relationship around. In both Rick Castle and David Addison we were given a man-child, larger than life, fast talking, constantly theorizing thorn in the straight-woman's side. Kate Beckett and Maddie Hayes were very different women. Both really speaking to the societal differences economically and socially of their time. Maddie, a former wealthy model left to carve out a life post bankruptcy as opposed to Kate's darker, serious police detective driven by her past. Both women brought a sense of grounding to the playground attitudes of their male counterparts in dramatically different ways.

Premise wasn't the only similarities these shows shared. Sure Beckett and Castle have their 'walk and talks' while Maddie and David had their office back and forths at the Blue Moon Detective Agency. However, in a revisit to Moonlighting, I discovered many similar, if not shared moments that these two shows possessed. In some moments it's simply uncanny. Here mark three of my favorites. 

Film Noir: Moonlighting was particularly good at using alternate realities to tell stories. Their rehash of Taming of the Shrew immediately comes to mind as does my all time favorite dream sequence featuring Billy Joel's "Big Man on Mulberry Street". However, one of the best episodes of Moonlighting was the creation of a film noir he said, she said between the main characters in "The Dream Sequence Always Rings Twice". Moonlighting went so far as to shoot nearly the entire episode in black and white. Late in season 4, Castle offered up its own twist on the genre with "The Blue Butterfly". Moonlighting delivers the better episode in my opinion but what was clear for both is the dynamics of the characters lent themselves to this type of storytelling that both successfully executed.

Always pop a button and shake your hair out before heading into a bar: This is by far my favorite find of comparison. In "The Last Call" we are given a wonderful scene in front of an old Castle watering hole, The Old Haunt. Beckett's actions captivate Castle as they prepare to go into the bar. Imagine my glee when in the second episode of Moonlighting we discover David and Maddie behind a bar preparing to go under cover and having the same prep ensue. The difference of the two scenes speaks volumes to the difference between these two shows. Most strikingly the level playing field Castle and Beckett's partnership is on in comparison to the odd couple that David and Maddie are.

Singing at the office: This is probably one of Moonlighting's most famous scenes and really defined the character of David Addison in "My Fair David". It was an episode that showed how deeply different he and Maddie were. It is also an episode that makes Maddie the butt of the joke. In contrast  Castle uses this fantastic sing song of Billy Joel's "Piano Man" as a moment to bring Beckett in and in truth make the supporting cast a family, reinforcing them as a vital part of what makes Castle work as a show.

"THE" Moment: When couples come together after much 'will they or won't they' in a TV show it is often huge. Both shows share that in common. What struck me in this revisit is just how different these moments are. Maddie and David speak to the banter and passion of their contentious relationship. It is all fire, anger and passion. Beckett and Castle are different. Sure, by the time we got to the end of Always, Castle was angry. And we see it when he opens the door. However, what Castle gave us that Moonlighting missed is sincerity. When you watch the scene from "Always", it is the beginning of something, not the culmination of something. And that is where I believe the difference lies for Castle succeeding where Moonlighting failed.

Ultimately, what differentiates these two shows is tone. Castle has always possessed a playful and projected fun of a 'boy pulling on a girl's pigtails'. From the outset Moonlighting created a cutting tone in the dialogue that was very much in keeping with the acerbic sarcasm prevalent in the 1980s. Moonlighting had a lightening pace and never quite slowed down enough to catch its own breath and fully allow the audience to invest in these fictional characters. That gap was partially due to the frequent breaking of the fourth wall of storytelling written into the show. In season 2 the show would often create a meta tone by having David and/or Maddie directly address the audience or the gossip surrounding the show itself. At one point taking it so far, they had then well known gossip columnist Rona Barrett interview Maddie and David about the rumor mill surrounding the show. This blurred line that in smaller doses was charming began to chip away at the investment we as viewers could make in the world these characters inhabited. Castle has always possessed a 'wink and nod' self-awareness, but it has done so inventively without breaking that fourth wall, most clearly displayed by the many Firefly references made in the dialogue.

Much has been written about the demise of Moonlighting, the infamous Moonlighting Curse and Castle's avoidance of it. When I revisited the early seasons of Moonlighting it's clear where the similarities to Castle are. The opposites attract motif isn't new, not in comedy and certainly not in television programming. The difference between Castle and Moonlighting is the former built a relationship between Kate and Rick that allowed the viewer to believe they were better people with the other one in their lives. Last week's wedding episode of Castle, aptly explored an alternate universe of what would have happened had Rick and Kate never met. It served as a great reminder to the viewers (and the characters) that together they have become their best selves. Moonlighting never convinced of that fact. In a pivotal scene when David explains himself to Maddie's father, David talks about how much he loves her, but that he's had to jump through hoops and change full parts of his character in the hopes of being good enough for her. It's a speech of desperation. It speaks to the desperation of the show at that point in the series and that they had already lost their audience. What Castle did was evolve their characters, not have them fully change for the other. So, when Rick talks to Kate at the swings about having to scratch and crawl to gain her trust we don't believe it is because she's tested him, but because she was afraid to be vulnerable and he was willing to see and accept it. This aspect of character development is where Moonlighting never fully succeeded. Viewers were never given a balanced understanding of these two characters vulnerabilities and ability to trust one another. We saw glimpses of it with episodes focused on David's father and past love (coincidentally played by Dana Delany), but we never really saw it from Maddie. So instead of a couple finding the common ground for a relationship through their partnership, we watched David attempt to become worthy of Maddie. As a result when Maddie and David consummated their relationship we weren't convinced it was the beginning of something new. It was just to the peak of what we had been anticipating. 

Castle smartly and early on didn't bank the show's success on bringing this couple together. While it was clear these two were 'destined' the show found ways to bring emotional weight to the characters beyond their growing relationship. For Castle, we were given the touchstone of his mother and daughter. For Beckett we had the mythology of the murder of Joanna Beckett. Moonlighting had no such thread to anchor it. All we had was the relationship building between the leads. It created a monolithic burden on the show to deliver on the promise of the 'will they or won't they' between leads. 

As wildly popular as the momentum was around that episode, Moonlighting never recovered from the moment. As viewers we didn't care about what was next for David and Maddie. And this is what distinguished Castle from the supposed 'curse'. Moonlighting backtracked from the relationship post sex, Castle went all in. In the opening five minute sequence of "After the Storm" the creators solidified that what happened wasn't a fluke, both characters were fully committed to building a relationship and that there was no intention of losing the comedy and banter that had made the viewers attach to them in the first place. Last week's wedding felt like a reinforcement of that promise. That new storytelling is in front of us, the essence of the wit, banter and differences we loved from season one won't be sacrificed in the process. Castle successfully navigated making Rick and Kate a couple in a way Moonlighting never could. Rather than a convoluted plot that was accelerated by on screen pregnancy (to mitigate an off screen one) Castle gave us the navigation of two people learning what it means to be partners in all aspects of life. 

Moonlighting is often written about for its collapse in the latter two seasons which is a shame. It was groundbreaking, genre busting and paved the way for many aspects of storytelling we see throughout modern television and especially on Castle. The success of Castle not only delivering on the leads as a couple, but taking the audience successfully through a courtship to marriage has to do with one fundamental choice. Marlowe and his team were always looking forward. Castle and Beckett becoming a couple was the beginning, not the end of the story. And as we heard in their vows last week, particularly when Rick says, "And the mystery of you is the one I want to spend the rest of my life exploring" their marriage is a milestone. A pivot into what is next for this couple in this television universe. 

As viewers, we aren't invested in the wedding, we are invested in the journey. That was the piece that Moonlighting never fully realized. It is also why in my eyes, Castle didn't break the Moonlighting curse, it simply delivered on Moonlighting's promise.

TV REPORT CARD: 1st quarter grades in TV land.

TV junkies and casual viewers we are six weeks into the television season and the results are mixed. First cancelled casualties are in and many new shows are floundering or treading water. However, if I were to pick a theme for the season thus far it would be "all that's old is new again" because the strongest episodic television we are seeing comes from shows that have been on the air for more than two years. Let's get to grading:

HEAD OF THE CLASS 
The Good Wife: Grade A+
No show started or came back stronger. Season 5 opened with a framework to set the show on a path that was completely fresh and new. The first five episodes created a slow build placing all the primary characters into position for last Sunday's game changing episode. The Good Wife's greatest strengths have always been casting and dialogue. Last week put both on display in what can only be characterized as a master of class of television. It was 42 minutes of relentless, at times hilarious pacing that shifted every character we've come to know into a new position creating alliances of convenience, blurred lines of loyalty climaxing in a final scene that pits two characters on opposing sides in a way no one who watched season 1 would have ever imagined. All told, five seasons in The Good Wife is primed to be better than ever and earns it my top grade for the young season.

Castle: Grade A
What Castle has managed to do in its opening six episodes is seamlessly transition our lead couple from the pivotal acceptance of a marriage proposal to a confidant, stable relationship that is woven into the story without dominating it. In doing so Andrew Marlowe has managed to move the show into a new storytelling space while retaining all the aspects of the show that made us fall in love with it in the first place. Interesting murder cases juxtaposed with the unforeseen challenges resulting from the engagement. The dialogue has been both intimate and charming between our leads while the supporting cast has been pivoted into new realities which are unfolding for better or for worse. It is clear that this season is going to bring us a shift in our protagonist that we've only seen glimpses of until now. The shallow Rick Castle of the series pilot has evolved in many ways, but the conflict set up between he and Alexis has opened up an entire avenue of emotional storytelling I don't think any of the viewers saw coming. Yes Pi is problematic, but he's written to be that way. At a time when the stories and characters could sit back and rely on the chemistry of the leads Castle continues to evolve and find interesting ways to make us care. This quiet moment that closed episode 5 shows just how much.

Blacklist: Grade A-
The only freshman show to make this category, The Blacklist came out strong with James Spader blending clever and convincing acting into an intriguing hour of television. But as strong as Spader is Megan Boone's performance as Liz falls flat or overwrought depending on what she's doing. That imbalance between the leads has been distracting, but not enough to derail the show. Here's why. The overarching subplots are extremely interesting, in particular the mystery surrounding Liz's husband. While extremely entertaining, my chief concern remains. Spader's Red can't win every time and more importantly the 'good guys' need to win of their own volition otherwise they merely become puppets in the lead character's game. It was the failure of The Following last season and I hope Blacklist avoids the trap.

Once Upon a Time: Grade B+
All hail the decision to take the characters who are at the heart of the show and set them on a course for Neverland. It was perhaps the savviest decision I've seen a show make, although not entirely surprising given the fact that these are the creators of LOST. As a result season 3 has offered stories within a story in the quest to save Henry from a re-imagined sinister and deftly cast Peter Pan. Our more cynical characters have returned to form and depth has been given to Hook and Charming making both so much more interesting to watch. The show has always required a deep suspension of disbelief and the jury is out as to what will come of the storytelling when they eventually leave Neverland, especially given that as a viewer I haven't given Storybrooke a second thought this season and the weakest aspect of the show was getting Neal out of Fairyland. Even with that looming doubt there is no denying the show has shredded itself of what didn't work last year and has replaced it with strong potential around what comes next, making it the most improved show from season end to season start in 2013. This exchange between Peter Pan and Hook emphasizes all that is going well with this rejuvenated show.

SOLID START
Brooklyn Nine Nine: Grade B
This is the biggest and most pleasant surprise of the season. A rarity, Brooklyn Nine Nine has actually gotten stronger with each episode. Sandberg comes across as charming and self-effacing in his delivery and the push-pull between him and Andre Braugher is simply fun. The real gem of the show has been its ensemble which is developing into a supporting cast that could potentially rival that of classic shows like Fraiser. The show is very reminiscent of Night Court which makes it this year's most accessible comedy. 

The Millers: Grade B- 

I had extremely low expectations for this show which has served it well. It isn't great by any stretch of the imagination, but Margo Martindale is and the supporting cast is solid. Will The choice to make Will Arnett the straight man works in the shows favor. Still the writing is inconsistent and not particularly clever but all the elements are there and I am hopeful it will find its way into being a solid watch.

ON PROBATION

Sleepy Hollow: Grade C  The actors, in particular the two leads give me hope that all is not lost. However, the convoluted nature week to week of the story has this one sitting on my DVR longer than a new show should sit. I tape on Mondays and I often don't watch until Fridays, not a good sign for being a lasting presence on the DVR. 

Grey’s Anatomy: Grade C- After a very protracted and unnecessary two hour season opener this series is truly showing its age. Everything about this season feels stale. The conflict between Meredith and Christina feels forced because it is shoehorned between other plots that don't matter. Including all of the younger interns, Alex's daddy issues, the never ending anger/angst of Callie and Arizona and the continued destruction of Bailey's once great character. Shondra Rhimes is obviously being pulled to Scandal and Grey's has suffered the consequences. 

FAILING MARKS

Mom: Grade D+ 
I adore Allison Janney, I like Anna Faris and I wanted to love this show but I just don't. And that is because the shows underpinnings are simply sad. Two recovering addicts and a teen pregnancy isn't funny. The show shows moments of funny but so far it has been so erratic in tone I don't know that they can recover. It's a shame, because if there were more moments like this, the show would be terrific. 

Homeland: Grade D 
The bait and switch twist with Carrie notwithstanding, this season of Homeland has been painstakingly slow and the focus on Brody's daughter has been cringe worthy. It's obvious that the makers of Homeland learned none of the lessons of 24 and what not to do with teenaged daughters. I am all for methodical storytelling. But the show has become mired in the aftermath of Brody being exposed as a terrorist. Had they done a better job of establishing our concern and investment in Brody's family perhaps it would work as a plot line. But they didn't so it doesn't and as a result I am done for now. 

Scandal: Grade D-
I repeat, damn you Lisa Kudrow and your dramatic multiple episode arch! I remain in the minority when it comes to this show and will take it one step further in stating that I don't understand the fascination with Kerry Washington. Save for Kudrow's storyline which has piqued my interest everything I found frustrating about this show remains for season 3.

DIDN'T MAKE THE GRADE 
Agents of S.H.E.I.L.D Until and unless they make some drastic changes I am sadly gone. I recommend reading Screen Rant's piece here. They succinctly illustrate everything I believe to be true about this show and what needs to happen. If 2 of 4 occur I will tune back in.  

GLEE I returned for the tribute which was handled well given all that it needed to do. It offered one of the singular most heart wrenching scenes exquisitely played by the actors playing Kurt, Burt and Carol. But it is evident this is a show whose storytelling is past its prime.

Hostages Tony Collette and Dylan McDermott couldn't make this work and that was evident 25 minutes into the pilot. Worse than the Following, this show was both implausible and unlikable but its worst offense, it lacked suspense. 

Once Upon a Time in Wonderland When I was predicting the fall season I wrote "If I had a most likely to drop off my DVR first, this would be it." And I was correct, I watched half of the first episode and bailed. It did little in that time to make me believe it was anything more than a poor retread of the series it is born from.

Trophy Wife It is almost criminal to waste Bradley Whitford in a comedy. It is even worse to do it as a cheap, uninspired knock off of Modern Family. I wanted to like it, but it is just not possible.

Revenge This show fell off a cliff last year and with a packed Sunday of television, I saw no reason to return.

FALL TV Part 2: Where we left off and who I left off

Returning shows are always my most anticipated TV moments in the 3^rd week of September. Perhaps it is because these are the shows I invested in but more often than not they’ve left me with a pretty great cliffhanger from May. However, mainstays on my DVR have to earn their spot back just as much as a new show. They are particularly prone to the Rule #3. If a show piles up after the premiere it is to fall of the DVR priority before Halloween. Such was the fate of several sophomore shows last year. Here are the staples in my TV diet and I believe it covers some of the best TV has to offer.

The Good Wife (CBS Sundays 9PM) Despite an ill-conceived plot point around Kalinda last season The Good Wife continues to be one of the best shows on broadcast television. Their use of guest stars is unmatched and the regular cast have really leaned into the shades of grey around their characters adding fun nuance week over week. The decision to form a new practice with Alicia and Cary at the helm opens up an entirely new set of avenues for storytelling that I am eager to see this season. 

Once Upon a Time (ABC Sundays 8PM) This fantasy series lost its way with a very uneven and oft boring sophomore effort. Unlike some of its TV peers OUAT creators smartly used the final two episodes to set a course for a very intriguing third season. Taking past nemesis characters and sending them off to Neverland united with a singular purpose - to save Henry was a great reboot for the show. It wisely connects back to the core cast and like the Good Wife pivots viewers into a new arena of storytelling. For that move alone Once Upon a Time went from a fence show to earning back a slot on my DVR. 

Castle (ABC Mondays 10PM) This is my little show that could. A show I love for many reasons (as noted here) and one that navigated the Moonlighting curse with a deft hand. After five seasons Andrew Marlowe has never lost sight of the fact that the show is at its strongest when it puts its full ensemble to work. Expanding that group with guest arcs with Linda Edelstein leading the pack. It offers Nathan Fillion new foils to play off of leaves me hopeful for a fresh take on characters I adore. Yes the cliffhanger offered two pivotal plot points, but it’s a testament to the show is that I don't particularly care about what Beckett's answers are because I think the show is strong enough to navigate any decisions the writers have made. 

Grey’s Anatomy (ABC Thursdays 9PM) As we enter this series 10^th season it is clear I am in until the finish with Shondra Rhimes’ pioneer series. This show had a great resurgence two years ago by smartly maturing their core characters and layering in the expanded cast in an equally balanced way. It's not the show it was in season 2 but more importantly it isn't the show it was in season 4. Shondra Rhimes dedication to this cast is evident and I am most curious to see how they navigate Sandra Oh’s departure.

Homeland (SHO Sundays 9PM) Just because it's on cable doesn't mean it is immune to the sophomore slump. In my opinion Homeland suffered similar growing pains that include circular storytelling, misguided pacing and b plots that added little to what made Homeland riveting in season 1. Still the trinity of Mandy Patinkin, Claire Danes and Damian Lewis continued to deliver stellar work. In spite of the plot gaps the show offered moments that give me hope for a strong 3rd season including a finale that left Saul in charge of the CIA, Nicholas Brody in the wind, Carrie Mathison reeling and the viewer with absolutely no indication of where this series is headed. 

ON THE FENCE

These shows encompass series I am either mildly curious about, but that I don’t think will necessarily find an audience or are the shows I have watched in the past but fell so far into disarray that I lack confidence in their ability to rebound.

Revenge (ABC Sundays 9PM) Revenge fell off a cliff last year. It became unwatchable and all but obliterated the plot lines and relationships we most cared about as viewers. There is a new showrunner in place and promises of a return to what made the show fun to watch in the first place. I remain unconvinced that Revenge can dig itself out of the hole. More importantly my original concern with this show, that the premise is vulnerable to becoming redundant in it's need to entertain over a 22 episode season, quickly came to fruition last year. It will likely get a 3 episode look but I remain skeptical.

Hostages (CBS Mondays 10PM) Tony Collette and Dylan McDermott could make a great pairing on screen. My chief concern about this series is that it falls in the trap of so many before it and premise that has nowhere to go once it’s resolved. Like the Following last year, I just don’t know how you maintain suspense over 15 episodes without it becoming boring or pandering because of the need to fill for time. It only has a 15 episode slate scheduled, so it could sidestep that concern.

The Blacklist (NBC Mondays 10PM) I am not a fan of post Pretty in Pink James Spader, but this series has some of the best buzz going into the Fall. I am going to see if it takes and may still pick it up if it gains momentum. It falls on a packed TV night so something else would have to fall away for me to add it to my rotation.

GLEE (FOX Wednesdays, 9PM) It’s been two years since I watched Glee with any kind of regularity. But like many I loved the show when it first hit and Corey Monteith was a big part of that love. So with a heavy heart I will return to Glee for the tribute. I just am highly unlikely to remain after it.

Scandal (ABC Thursdays, 9PM) Damn you Lisa Kudrow and your dramatic multiple episode arch! I am in the absolute minority when it comes to this show. I think it is absurd and pious while taking itself WAY too seriously given its plot lines. However, I adore Kudrow and relish the idea of seeing her do something dramatic. So I am back for the moment, but not in DVR committed way.

FALL TV SEASON has arrived aka Christmas morning for TV Junkies

It's Fall and for a TV junkie like me it's the most wonderful time of year. When a slate of new programming hits the airwaves and I once again hold out hope that I will find a new sitcom to make me laugh the way Frasier does 20 years after it premiered and a new drama that instantly makes me invest in its characters and mystery like Orphan Black did earlier this Spring. 

That’s right it is time to clear out the DVRs, set up the recording schedule and manage our various queues on Netflix, Amazon and Hulu Plus. Unlike critics I am not privy to advance screenings but based on my holy three - previews, plots and performers I come up with a rotation of shows I hope will entertain me well into the spring. If you are looking for insight to the best of what's new in TV, I would recommend taking a gander at Robert Bianco's picks for Fall over on USA Today. If you are looking for a comprehensive guide to what's available for the 2013 Fall season, I offer you TVaholic's ultimate guide. If it's not there, it doesn't exist.

With the expanding options on cable and streaming it is impossible to watch everything that is of interest. Even with all the technology at my disposal I still only have but so many hours in my day to dedicate to television. This is why I have a strategic approach to my TV watching. It’s ritualistic if not scientific.

My 3 Rules to Fall TV viewing 

1) Prioritize: There are three categories for TV show; returning, new and on the fence. This represents my order of preference; some would place new shows above returning favorites. For me shows that have entertained me in the past and left me waiting on their May cliffhangers (ahem, Castle) get my priority attention and usually are watched the night they air. All new shows receive DVR preference and the shows that I am mildly curious about get taped if they aren’t in direct competition with something else. On the fence is often benched to ON Demand or streaming.

2) 3 Episode Rule: All new shows get a minimum of three episodes to prove their worth. If they fail to interest me at that point I abandon them and move on. It’s hard core, but trust me it’s necessary. Otherwise you can spend a season waiting for a show to improve simply because you like the actors. (Private Practice, I am looking at you!) Fact is, there are so many shows and so little time. If for some reason a show starts slow but picks up momentum after you abandon it, you can always revisit it over the winter break 90% of broadcast shows take thanks to On Demand and streaming.

3) Moving Box Mentality: I like to apply a great moving theory to my DVR. When you move if 6 months later you come across a box you never unpacked and you don’t know what’s in it, throw it away unopened. Therefore if more than three episodes of a given show pile up on my DVR without an attempt to watch (assuming no extenuating circumstances) I delete the show and scheduled recording without viewing it. Brutal yes, but generally speaking it tells me that the idea of the show isn’t compelling enough for me to make time to watch it so I pass and move on. 

Armed with my methodology I am able to enjoy all that the new season has to offer and still get to sleep at a decent hour. With the large numbers of new shows my secret hope is to find a sitcom I can really enjoy rather than merely occasionally laugh at each week. Here are my priority picks for what’s new in the TV landscape.

MONDAYS

Almost Human (FOX 8PM –premieres 11/4) $6million dollar man meets I Robot seems like a very likely absurd premise but all JJ Abrams shows get an automatic 3 episode viewing from me. I don’t think it’s going to be the next LOST but I am guardedly optimistic it won’t be the next Revolution either. 

Sleepy Hollow (FOX 9PM –premiered 9/16) Offers a Sci-fi/Fantasy series where Ichabod Crane rises from the dead into modern day upstate New York. It is a premise that could get old very quickly, especially given some of the wildly silly moments in the pilot. Case in point, the headless horseman had a terminator-like action sequence involving machine guns that was absurd. It did however establish an interesting mythology based in the Book of Revelations and the two leads shared a solid chemistry. My hope is it will settle into story that leaves it closer to Charmed and Buffy when it is all said and done. 

Mom (CBS 9:30PM –premieres 9/23) Allison Janney can get me to watch anything she’s in because she makes everything she is in better. Combine that with Anna Faris as her daughter and I am more than intrigued. Given Chuck Lorre’s track record it’s a safe bet that this one will last. But as much as I loved Cybil I have no love loss for Two and a Half Men or Mike and Molly. I am hopeful that there is finally going to be a sitcom that makes my DVR cut for weekly recording but fear 22 minutes of crass bathroom humor may be on the horizon. 

TUESDAY

Agents of S.H.E.I.L.D (ABC 8PM –premieres 9/24) – Joss Whedon, Avengers and the resurrection of Agent Coulson. That’s really all I require and because it’s a Whedon show, it will get six episodes before I make a DVR determination.

Brooklyn Nine Nine (FOX 8:30PM –premiered 9/17) I abandoned Saturday Night Live 15 years ago, so Andy Sandberg isn’t the draw for me. That distinction belongs to Andre Braugher. As with Last Resort in 2012, I am in for this show on the strength of my enjoyment of his acting. Based on Tuesday’s first outing I am going to need a lot more laughs to remain. It was uneven and did little to establish anything but its lead. Two and counting.

Trophy Wife (ABC 9:30PM –premieres 9/24) I adore Bradley Whitfield and miss seeing him on TV so I am want this one to take hold. The trailers for this show leave me worried that I am going to get Modern Family framework through the prism of ex-wives instead of extended family. I hope I am wrong.

THURSDAY

Once Upon a Time in Wonderland (ABC 8PM –premieres 9/26) If I had a most likely to drop off my DVR first, this would be it. But it looks visually spectacular and the producers are promising more contained storytelling rather than the large overarching plots/mysteries its older sibling Once Upon a Time has. If that holds true, then this one may stick.

The Millers (CBS 9PM –premieres 9/26) I am not going to lie; Margo Martindale is the only reason this show is getting a look. I am not a fan of Will Arnett and while I don’t think he’s the reason Up All Night failed, he certainly was a big part of the problem. That said a family comedy with Martindale as matriarch would make my weekly TV viewing complete. So if there is a show I am rooting for to love, this would be it.

Why I am most excited about returning shows and what's on the fence in my TV Queue will be up next. In the meantime, what's new for your 2013 Fall TV watching? Here's a TV grid to make planning your Fall viewing easier.