Hey guys! I’m quite busy with Christmas coming up, but I still want to share some more 2012 lists. That’s why I’m posting this with my phone and the WordPress app. If the layout sucks – which will probably be the case – just concentrate on the content, please
Here are my ten favorite TV shows of 2012 (or the ones I watched in 2012).
1. The Walking Dead
2. Hell on Wheels
3. The Killing (US)
4. American Horror Story Asylum
6. Falling Skies
7. Once upon a time
9. Body of Proof
10. The Good Wife
Thanks for reading! Feel free to share your own lists in the comment section!
Edit: I just replaced Revenge with Grimm. Totally forgot that.
The Golden Globes 2012 nominations were announced this morning:
BEST ACTRESS, TV DRAMA
Claire Danes, Homeland
Mireille Enos, The Killing
Julianna Margulies, The Good Wife
Callie Thorne, Necessary Roughness
BEST ORIGINAL SONG
“Hello Hello,” Gnomeo and Juliet
“The Keeper,” Machine Gun Preacher
“Lay Your Head Down,” Albert Nobbs
“The Living Proof,” The Help
BEST ACTRESS, TV COMEDY
Laura Dern, Enlightened
Zooey Deschanel, New Girl
Tina Fey, 30 Rock
Laura Linney, The Big C
Amy Poehler, Parks and Recreation
Read the rest of this entry
Yesterday HBO launched their “Inside True Blood Blog”, a production blog, which will report on anything going on behind the scenes of the successful TV series “True Blood”. Check it our HERE!
Join the discussion about the Blog and other True Blood related websites HERE. You have to sign up, but it’s worth it and no ones will bite you!
By CHUCK KLOSTERMAN
December 3, 2010
ZOMBIES are a value stock. They are wordless and oozing and brain dead, but they’re an ever-expanding market with no glass ceiling. Zombies are a target-rich environment, literally and figuratively. The more you fill them with bullets, the more interesting they become. Roughly 5.3 million people watched the first episode of “The Walking Dead” on AMC, a stunning 83 percent more than the 2.9 million who watched the Season 4 premiere of “Mad Men.” This means there are at least 2.4 million cable-ready Americans who might prefer watching Christina Hendricks if she were an animated corpse.
Statistically and aesthetically that dissonance seems perverse. But it probably shouldn’t. Mainstream interest in zombies has steadily risen over the past 40 years. Zombies are a commodity that has advanced slowly and without major evolution, much like the staggering creatures George Romero popularized in the 1968 film “Night of the Living Dead.” What makes that measured amplification curious is the inherent limitations of the zombie itself: You can’t add much depth to a creature who can’t talk, doesn’t think and whose only motive is the consumption of flesh. You can’t humanize a zombie, unless you make it less zombie-esque. There are slow zombies, and there are fast zombies— that’s pretty much the spectrum of zombie diversity. It’s not that zombies are changing to fit the world’s condition; it’s that the condition of the world seems more like a zombie offensive. Something about zombies is becoming more intriguing to us. And I think I know what that something is.
Good news for undead zombies who consume the flesh of the living and the television viewers who love them: AMC said on Monday that it has officially ordered a second season of “The Walking Dead,” its original series adapted from the comic books written by Robert Kirkman about human survivors in a world overrun by the ambulatory deceased. (Catchy phrase, no?)
Sitting in his lively studio in western Seoul, veteran animator Nelson Shin is clearly proud of the fact that he’s helped animate The Simpsons since the show first aired in 1989. The iconic cartoon propelled his production company Akom into becoming an overseas contracting hub for a lineup of Saturday-morning classics, including X-Men, Tiny Toon Adventures and Animaniacs.
But when a California-based production studio asked Shin to animate a dark commentary about labor practices in Asia’s cartoon industry — the edgy title sequence for the The Simpsons’ episode “MoneyBART” — he and his staff raised a rare protest. The sequence, created by Banksy, the pseudonym for an unidentified British graffiti artist known for his anti-Establishment pranks, ran during the opening credits — a regular slot known to Simpsons fans as the “couch gag” because it’s a joke thrown in as the Simpsons family is seen gathering on the couch at the start of each episode. It depicted a dungeon-like complex where droning Asian animators worked in sweatshops, rats scurried around with human bones, kittens were spliced up into Bart Simpson dolls, and a gaunt unicorn punched holes into DVDs.
Are you team vampire or team zombie? It’s easy to see why vampires have a pop-culture edge. They clean up better for photo shoots. They embody sex — all that sharing of fluids — not decay. They are refined, orderly, even courtly. Zombies tend to be poor conversationalists.
But when it comes to bringing actual horror, it’s no contest. A vampire will nibble your neck, but zombies will take down your entire civilization. (Ever pragmatic, bloodsuckers prefer to keep their food supply sustainable.) The zombie apocalypse is the premise and setting of AMC’s new series The Walking Dead (Sundays, 10 p.m. E.T.; premieres Halloween night). And judging by the first two episodes of its six-episode debut season, the scariest part of the series is not what the animated corpses do but what the surviving humans are driven to do.