Sometimes a single hour of a television series can be enough to convince you to keep watching it, or to use that time instead for something actually productive. Sometimes one episode stands out in quality above the rest (whether it is writing, acting, entertainment, or overall significance for the show), and sometimes, a single scene sticks in your mind as strongly as your ass to the couch while you were watching it.
In any case, while series are composed of a group of episodes meant to be taken in conjunction, it is inevitable that some of them will work better than others. There has been so...much...television this year (so granted, there's no way I could have watched it all). It's been quite a task to choose the best ten for me. But here they are. Enjoy. Or not. You are entitled to your opinions. Whatever.
Some disclaimers about the choices:
- Some things I took into consideration while making this list are writing, performances, how the particular episode impacted the season as a whole, if there were any major revelations, twists or characters deepened, and (probably most importantly) how entertaining it was.
- The episode has to have aired between January 1 and December 31st of 2014. This means some shows only had half-of a season on air, others two halves of two different seasons, while a few the whole slate. Eh, what can you do?
- There's two reasons why some obvious choices might be missing: a) The show was too strong as a whole to choose one particular episode, or b) I didn't like what you did. Get over it.
- And, yes, THERE ARE A LOT OF SPOILERS AHEAD! You have been warned.
10. TIE
Orange is the New Black - Season 2, Episode 4
Don't lie. You watched all of the new Orange is the New Black before its premiere weekend ended. Maybe even in a single sitting. And precisely because of this binge-watching nature, it might be easier to judge (and even recall) the second season of the female prison dramedy for overall storylines and character arcs, and not individual episodes. You probably know what happened, just not at what exact point. But, after all was watched and done, one particular episode stuck in my mind above the rest because it delivered one of the most unexpected twists of the year. In "A Whole Other Hole", we finally got to see the backstory of Lorna Morello (Yael Stone), one of the most endearing characters of the show. As we see her escape from her hospital rounds to visit the house of her "fiancée", the forever-referenced but never until-now seen Christopher, Morello goes from hopeless romantic yearning for release to borderline psychotic stalker. That's right, folks: Morello is actually batshit crazy. Like restriction-order crazy. She and Christopher were never in love. She was... obsessed with him (*dramatic music*). The way the show reversed our perception of the character was unforeseen, and heartbreaking, and brilliant; and it's amazing how it made her even more loveable. In addition, the subplot of the women not knowing their own anatomy and Sophia (Laverne Cox) being the one that has to illuminate them about their, ehem... holes, was also superb. An excellent episode in a season that knew too well how to exploit the strengths of the supporting cast.
"Kiss Kiss Bang Bang"
Scandal - Season 3, Episode 14
It's strange to think this episode aired in 2014; so much has happened in the show since then, for better or for worse. "Kiss Kiss Bang Bang" was one of the first mid-season episodes in Scandal's third year, when the show still hadn't turned into the muddling mess of love triangles and family backstabbings that the new season has been (Okay, you wanted to "stand in the sun" but now everything is different, we get it. Can we move on?) The episode dealt with the aftermath of James' (Dan Bucatinsky) murder and, in a beautiful and heartbreaking juxtaposition, showed in flashbacks how he and Cyrus (Jeff Perry) first met and fell in love. For a show that deals a bit too often with death and acts without consequences, it was a worthy analysis of grief (Cyrus breaking down in the press conference after days of numbness is so powerful) and a beautiful homage to a lesser but beloved character. The flashbacks, in particular, deepened Cyrus' character considerably, showing him still inside the closet and struggling with falling in love with the right person for the first time. It was also the climax of an important arc for Cyrus: James' death weighed on him heavily for the rest of the season. Too bad the show has decided to shy away from these sort of episodes and insists on pushing the "Olvia vs. every man in her life" angle. Oh, well. We'll always have the White House Ball.
9. "Chapter One"
The Affair - Season 1, Episode 1
The Affair tackles probably one of the oldest and more overused stories not only on television, but on every single form of narrative medium: a man and a woman having, as the title suggests, an affair. Because of the borderline cliché premise, it seemed challenging (if not impossible) that a storyline that is usually reserved for the soapier subplots would be able to sustain the entire arc of a series. But it was not the story that The Affair told, but the way it told it that was, in a way, groundbreaking for television. Splitting the hour-long duration of an episode in half, the show takes a "he said/she said" approach by recounting the events of the affair between married novel writer Noah Solloway (Dominic West) and waitress Alison Lockhart (Ruth Wilson) from both of their perspectives. Each remembers the same events in completely different ways down to the very detail: who talked first and what words were uttered, who came on to who, the type of hairdo she was wearing that day. Bolstered by powerful and nuánced performances, the show is a deep examination of the reliance of memory and subjectivity. And all of these elements are encapsulated perfectly in the pilot of the show, which recalls Noah and Alison's first encounter(s) and establishes both as esentially two different people: who they are seen as by the other and who they "really" are. In addition, to notice these disparities and their signifance became a fun game of "Spot the Difference." Unfortunately, a show founded on a gimmick wasn't bound to have its effect last long. After some episodes, the wonderous and fresh novelty wore down, and the narrative felt dragging. At least the pilot was truly outstanding.
8. "Edward Mordrake, Part 2"
American Horror Story: Freak Show - Season 4, Episode 4
Granted. This season of American Horror Story hasn't delivered quite as it should have. On its fourth installment, it feels as if it has started to repeat itself, something ironic for a show that was so groundbreaking when it first premiered. But there are still some rays of truly messed-up brilliance among all of its gratuitous gore, over-the-top campiness, and shameless celebration of outcasts. Freak Show's fourth episode is the second part of the Halloween special, in which the spirit of Edward Mordrake (Wes Bentley) is accidentally summoned into the carnival to claim the soul of a performer. An excuse to explore the backstory of some characters, we learn why Elsa's (Jessica Lange) legs were amputated in an arsty but (let's be honest) gruesome sequence about German snuff films, but the episode is best remembered for giving a soul to the nightmare-inducing character that was Twisty the Clown (John Carroll Lynch). In his early appearances, I couldn't ran fast enough away from him (I had actual nightmares about him). But on "Edward Mordrake, Part 2", we see that deep down he is a heartbroken, wounded man that just wants to entertain children. Sure, his sanity is long gone, his smiling face is completely mutilated, and his methods are less than legal, but compelling reasoning was given to his actions. Also notable is the "passing of the torch" nature of the episode: as Mordrake takes Twisty's soul away, Dandy Mott (Finn Wittrock, bless his soul and his often-naked body), the spoiled and psychotic aristocrat who has become the most fascinating character of the season, as well as the most horrifying villain in all of AHS history, officially becomes the new "Big Bad" of the show. That last scene, when Dandy kills his maid Dora (Patti LaBelle, the only character who would take no bullshit from him) and giggles at the easiness and amusement of it, still gives me chills. This episode is the best example that American Horror Story works best when it balances heart and straight fucked-up derangement.
7. "Beach House"
Girls - Season 3, Episode 7
Girls might be one of the most polarizing television shows currently on air. But whether you identify or are repulsed by Lena Dunham's take on the twenty-something experience, the candidness of the show's writing is something to, if not agree with, at least respect. Yes, most of the times it feels more like The Hannah Horvath Show than the raw ensemble piece it claims to be. But then episodes like "Beach House" appear to remind us why we love to hate these characters. Sometimes it's easy to forget among all the entitlement and faux existentialism that the chemistry, awkwardness and genuine interactions between the girls are what makes this show so compelling, and "Beach House" is the best testament of this. In a smart move, the episode removes the four protagonists from their everyday lives for a weekend stay in the beach house of the title, which allows them to interact with one another in a larger way than we're usually accustomed to. But chaos, resentment and drunken confessions soon arise. Because of course they do. Whether it's Marnie (Alison Williams) resenting Hannah (Lena Dunham) for ruining her carefully planned dinner by inviting Elijah (Andrew Rannells) and his oh-so-gay friends over, Shoshanna (Zosia Mamet) drunkenly lashing out and saying what we've all been thinking for three seasons, or that delightful dance sequence, "Beach House" was a hilarious, honest, and immensely enjoyable reminder of a) why you should always double-think before travelling with friends, and b) why the show is actually called Girls and not Hannah; something that the writers should still keep in mind most of the time.
6. "Crate"
Veep - Season 3, Episode 9
The comedy of Veep works in so many different levels. The brilliant writing. The outstanding performances. The ridiculousness of the situations it portrays. And no episode exemplifies this magical mix more perfectly than "Crate". In the penultimate episode of its best season so far (the first half of the hour-long finale), Selina Meyer (Julia Louis-Dreyfus, proving once again she is the Meryl Streep of television and can do no wrong) finds out that the President of the United States has resigned and she will now take his place. Her lifelong dream has been accomplished, literally against all odds. The episode is the culmination of an impeccable third season, in which the comedic tension and outrageousness escalates with every scene, and the performances of not only Louis-Dreyfus, but the entire cast are spot-on. This may be Selina's show, but she would be nowhere without the incompetence of the staff around her. And that's what makes the show shine. Not only the hilarity, but the painful tragedy that it's all more true than we'd care to admit. "Crate" also has the honor of giving us the best comedic scene of all 2014, and maybe of several years before then, as she delivers the good news to his loyal bagman Gary (Tony Hale) in a public bathroom, with simply priceless results. With all of its bloody noses, a box too heavy to carry, and the brilliance of "Victory Permafucked", the episode will live on as one of the funniest in recent television.
Homeland - Season 4, Episode 7
What a way to bring a show back to life. After an utterly dissapointing third season (please, Dana Brody, just shut up) that culminated with the assassination of one of the protagonists, I had my reservations about where the story would head. And, wow, was I surprised. A roller-coaster of emotions and plot-twists, I dare to say Homeland is back to season-1 shape. And no episode had more ups-and-downs and a perfect blend of personal drama and political intrigue (which the show often struggles to balance) than "Redux." Saul (Mandy Patinkin) has been abducted by terrorists, Carrie (Claire Danes, never better) is sleeping with a young boy to gain intel, and the amassador's husband is messing with her meds. The episode advances the intricate and nail-biting season plot and always kept me on edge, culminating in one of the most brilliant sequences in television this year. There are few things I enjoy more than Carrie having a full-on mental breakdown. And this has been the biggest one yet. After having her pills switched, she wanders into the streets of Islamabad becoming increasingly paranoid and hallucinating. She sees Quinn (Rupert Friend) when he's not there, and shoots at officers with an invisible gun. She's finally apprehended and taken to a house, where, in an unexpected and wonderful suprise cameo, Brody (Damian Lewis) welcomes her. Sure, it's all in her mind, but the way Carrie holds on to him, afraid and vulnerable, was heartbreaking. If Brody was bound to come back in any way, this was it. The best episode in a season that gave a lot to choose from. Welcome back, Homeland. You were missed.
How to Get Away With Murder - Season 1, Episode 9
How to Get Away with Murder was a lot of things. It was a law procedural where each week Annalise Keating (Queen Viola Davis the First) would do anything to win her case, whether it was right or not. It was a double murder mystery in which, in two different timelines, the death of a sorority girl was investigated, as well as the events that led to the killing of Annalise's husband, Sam (Tom Verica) by her law students. It was a soapy, sexy, and addicting ensemble piece filled with twists and one-liners. And in the mid-season finale "Kill Me, Kill Me, Kill Me", all of these elements came together for an intense, non-stop rollercoaster of an hour. Our two fractured timelines finally came together as the whole episode is devoted to the night Sam was murdered. We've spent the entirety of the season seeing fragments of the evening, and to see how it all actually developed was well worth the waiting. And in what ways! He fell off the stairs! Puppy-eyed Dean Thomas did it! She knew all along! The episode delivered an hour of twist after twist in which all that was set in the previous seven weeks was paid off in unexpected yet believable ways. For a show with so many complicated layers, this culmination was impressively manufactured. It also sets very intersting stakes for the second-half of the season, which will have the characters dealing with the consequences of that night. How far will Annalise and Wes (Alfred Enoch) go in their scheme? How long will it take Michaela (Aja Naomi King) to break down? Can Connor (Jack Falahee) be perpetually naked? I need to know how they got away with it.3. "How Your Mother Met Me"
How I Met Your Mother - Season 9, Episode 16
I am still not emotionally ready to talk about the HIMYM series finale. I thought it was a cheap cop out that betrayed everything the show was the last nine years. But I'm not here to discuss that disappointment. I'm here to talk about what might be the strongest episode of the show since its peak around season six. Making the final season of the show take place entirely during a single weekend was an enormous creative risk (and one that paid off sometimes, and bombed others), but for the 200th episode of the show, the creators decided to take one step further and make it all about the Mother of the title. In "How Your Mother Met Me", we get a recap from The Mother's persepctive (an endearing and sickenly charming Cristin Milioti, perfectly cast) of the last eight years. We got to see how she lived the fateful near-encounters with Ted (Josh Radnor); the wrong class in college, the glimpse of the ankle, the booking of the wedding band. We got to hear her backstory, how she found true love and tragically lost it (as Ted would controversially do later), how everything came together for her to meet with Ted in the Farhampton station with that yellow umbrella. We got to hear the best rendition of "La Vie en Rose" ever on television. We fell in love with The Mother, and understood why Ted did too. What happened after...well, it's still a sensible topic. But I wouldn't mind watching the entire series again from her perspective. #CristinMiliotiForever
2. "Fight"
Masters of Sex - Season 2, Episode 3
Two people. One hotel room. The perfect bottle episode. The second season of Masters of Sex excelled in so many levels that it was hard to single out just one hour above the rest. But this episode is by far the most memorable. It takes place almost entirely in a single night, in a single space: one night in the years-long affair of Masters and Johnson (Michael Sheen and Lizzy Caplan, in the roles of their lives; a quiet and restrained power struggle). As the two of them delve into seemingly shallow conversations about their relationship and the status of things to come, Virginia discovers Bill's troubled childhood and his relationship with his dad. It's filled with subtle moments of mutual understanding and compassion. The two of them go through every possible emotion in the span of a few hours, which talks highly of the people portraying them. The episode is a profound analysis of human connection, masculinity, emotional openness and (as the show itself) gender roles. It gets a little too Mad Men-ish at points with the visual metaphors (especially the fact that it all revolves around a televisex box match). But hey, it serves the purpose. "Fight" is a master class (Ha-ha, get it?) in writing (especially subtext), acting, and audience engagement. And even though it was only episode three, the season just kept getting better.
1. "The Crocodile's Dilemma"
Fargo - Season 1, Episode 1
Aw, jeez. Fargo was probably the biggest surprise of the year. Not everyone was sold on the idea of re-imagining the classic Coen brother's film, but (if you take film snobbery apart. Come on. Do it), it had everything to succeed. A fascinating story and group of characters. Sharp writing that was evocative of the source material and yet wildly original. A talented cast. And the best pilot episode I've seen in a long, long time. With "The Crocodile's Dilemma", I was sold instantly on the show (if you must know the precise moment, it was Martin Freeman's hammer swing at his wife's head). It is grim, dark and gory. It is emotionally thrilling and thought-provoking. It is laugh-out-loud funny. All in once, often at the same time. The cast shines with honors, especially the trio at the center of the story: Billy Bob Thorton as Lorne Malvo, the hitman with no moral compass; Martin Freeman as Lester Nygard, the good-boy turned wife-murdered, and Alison Tolman as Molly Solverson, the good-spirited cop determined to solve the case. Simply said, the episode did everything a perfect pilot ought to do: introduced us to the characters, the world, and the conflict of the show, and put into motion the chain of events that will propel the whole season. And, boy, did we get plenty of that. Oh, you betcha we did.
ALMOST MADE IT, Or Give It Up for Them:
- "Chapter 24" of House of Cards, because, you know, that final scene where everything changed and no one was safe from Frank Underwood's (Kevin Spacey) implacable quest for power.
- "App Development and Condiments" from Community's standout fifth season, because what other show would turn an app into an apocalyptic social hierarchy?
- "Ann & Chris" from Parks and Recreation, because we'll always miss that beautiful sunflower.
- "The Wedding" from Modern Family because a gay couple got married in primetime network TV.
- "The Sign of Three" from Sherlock, because that wedding episode was a writing, performance, and entertainment knockout.
EXTRAS, Or I Still Need To Rant a Little More About These:
- I honor New Girl for naming one of its episodes after a song by Mexican group Maná. And not only that, "Clavados en un Bar" was a great flashback episode. Bravo.
- Revenge has lost its way recently. No longer a guilty pleasure, sometimes I just feel guilty watching it. But when an episode is titled "Hatred", you know the shade between Emily and Victoria will not disappoint. And oh, how delicious it was.
- Let's not get into the mess that Glee has become. For me, the series ended with the wonderfully nostalgic one hundredth episode "100/ New New Directions". Watch it and tell me that's not a series finale.
- No one watched The Spoils of Babylon. But if you're going to, do it just for the "Kristen Wiig vs. mannequin fiancée" throwdown in "The War Within".
- I gotta admit that no show ever made me feel the way both the pilots of True Detective and The Leftovers made me feel. But, looking back, I don't know if I want to feel that way again.
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