Starting a season of Orange is the New Black a week after it drops on Netflix is like traveling back in time to an indeterminate date in March 1912 and boarding the Titanic. You know bad things are going to happen — it’s just a matter of where and when.
I haven’t been spoiled on any major developments yet, but I’ve seen enough references to plot developments and general story directions to have a clue about a few very unfortunate events to come. I also know which characters will play a prominent or notable role in the season, at least to the degree that they’re worth tweeting about.
A little bit of foresight helps with an episode like “Work That Body for Me,” which bounces in manic fashion around the Litchfield women’s prison, in an effort to pick up as many of last season’s dangling plot threads as possible. For the first time in the show’s history, the new season picks up in media res, immediately after the events of last season’s closing scene, in which most of the prisoners escape through a hole in the fence and revel in a nearby lake. They didn’t say it, for fear of spoiling the moment, but even the prisoners knew the ecstasy of their brief escape couldn’t last long.
Here’s the latest installment of my new tradition: hastily assembled predictions for the winners of tonight’s Screen Actors Guild Awards, broadcast at 8pm on TNT and TBS, and streaming here. (These predictions don’t reflect my preferences, except when they do.)
In an era of Peak TV, for which we need a new and less overused buzzword, a Top 10 list for the year’s best television simply isn’t enough. What follows is a collection of good-to-great shows that, for a variety of reasons, just missed my marquee year-end list. I’ve organized this two-part guide to TV’s wide range of greatness in 2015 through the lens of one key episode per show. Some of these episodes are the best of their respective seasons. Others are the most emblematic of their respective series’ strengths. All of them are worth watching, if you’re so inclined.
(Note: I didn’t include episodes of shows that appeared in my top 10. But if I had, I’d have included the Edward Snowden interview on Last Week Tonight, the Broad City finale “St. Marks” and the Mad Men stunner “Time & Life.”)
This post took ten minutes to write. I went down this list of Emmy nominations, thought for a moment and then picked the nominee I could most easily imagine winning the award on tonight’s Andy Samberg-hosted telecast, which airs at 8pm on Fox. I didn’t double back and reconsider my choices, and I don’t apologize for any outlandish or unlikely picks. If I had to do it all over again, I might make different predictions. But I don’t, so I won’t.
See you back here tomorrow when we find out how well I did.
Here’s an admittedly incomplete, scattered list of shows and performances I’d love to hear on Emmy nomination morning, tomorrow at 11:30am Eastern. If it’s not on here, I either haven’t seen it, don’t like it, or like it but think it’s so likely to get a nomination that writing about it now is just superfluous.
The third season of Orange is the New Black (which arrived three hours early on Netflix tonight) opens on a sex joke – nay, several jokes about bad sex jokes. Thus begins one of the most loosely plotted episodes in the show’s history.
That’s a smart move on the part of Netflix and showrunner Jenji Kohan. The structure of a television season that unfolds weekly need not apply to a television season that’s intended for speed-consumption (I’ve been trying to purge “binge-watching” from my vocabulary, with mixed success). As soon as the first episode is finished, you can cue the second one without even lifting a finger.
It’s smart, then, for OITNB to return on an episode that immerses viewers in its richly detailed world without submerging it in a sea of intertwined plotlines just yet. And Orange, more than most shows, sustains such an approach. Seeing all of the Litchfield inmates again is like being reminded of a group of old friends you haven’t thought about in a while. For a few minutes, all you can do is think about the good times and the great one-liners. Then reality sets in, and you remember that sometimes you had issues with those friends. Or rather, that they had issues of their own.