POSTED BY STUART LEVINE

Since the decade is about to end in a mere few days, I figured this was a good time to document my favorite shows of the 2000's.

As you can see, I skew more toward drama than comedy, but that doesn't mean I didn't have a good laugh in the 2000's. Shows that often had me on the floor include "Arrested Development," "30 Rock" and "Everybody Loves Raymond," just to name a few. With only 10 slots, however, they barely missed the cut.

Anyway, enjoy my list and let me know what you think. What did I miss? What do you agree wth? 

10. Mad Men
Matt Weiner’s sometimes slow but always engrossing take on the politically incorrect 1960s workplace also acts as a history lesson, but minus the chalkboard and musty textbooks. Has there ever been a character as tortured as Jon Hamm’s Don Draper, who hid his troubled past as long as he could until wife January Jones finally learned the truth. Kudos to all the cast, but especially Elisabeth Moss, a woman wanting to move up in the working world and not waiting for a man’s approval to do it.

9. Curb Your Enthusiasm
Only the mind of Larry David could concoct such zany episodes, with the disparate stories all somehow reconnecting 30 minutes later. This last season especially, where he gathered the "Seinfeld" team in a pseudo-reunion, makes one realize how fortunate viewers are to have Larry continually find something that aggravates him. His brilliance is in separating “real” Larry vs. "Curb" Larry,
and making audiences believe they‘re both the same person.

8. The Daily Show With Jon Stewart 
Ever since Jon Stewart took over Comedy Central’s nightly "news" show, there’s no way to watch the events of the day and not think about how Stewart and his remarkable team of writers and "reporters" will offer their unique spin. Sure, it leans to the political left — and you’ll enjoy it more if you do too — but that’s only because Stewart and his team find it nearly impossible to pass on such comic giants as George Bush and Sarah Palin.

7. Lost
The shipwrecked island thing has been done before, but nothing like this. Smoke monsters. Ben. The Others. Flash forwards. Hurley never losing weight. Exec producers Damon Lindelof and Carlton Cuse have created a pseudo-reality where nothing is ever as it seems and manipulations, treachery and backstabbing between friends is as common as a morning shower. And don’t dare miss an episode — what you missed in season 2 could have major implications in a plot development four years later. Can’t wait to see how it all wraps up in starting in February.

6. The Sopranos
For all the mafia rough-housing of the fellas on "The Sopranos," my favorite moments always involved Carmela — the show’s tour de force, Edie Falco. While some were afraid of Tony’s venom, and rightly so, it was Carmela who held the power in the Soprano family. One particular scene stays with me, where she and Tony have a balls-to-the-wall argument and she tells him their marriage is over. There were lots of great characters who hung out in front of Satriale’s pork store — particularly Christofuh, Paulie and Silvio — but it was the Carmela and Dr. Melfi who told the boys when to play nice, or not.

5. The West Wing
I’m still not sure Martin Sheen wasn’t actually the president. Aaron Sorkin’s presentation of the political process was done in such an entertaining style, that it almost made you made wish you had a career in Washington, D.C. Meticulously offering the inner workings of the White House and how those in the Administration sacrificed much of themselves for the benefit of the American people, “The West Wing” was all about public service, and how there are still some politicians who actually care.

4. The Shield
Whether Vic Mackey was a good cop or not all depends on your point of view. He did whatever it took to take criminals off the street, and if that meant killing one of his own or pocketing a few hundred grand along the way, so be it. The series that put FX on the map was superlative in its grittiness in depicting the mean streets of L.A. Michael Chiklis won an Emmy for his work on the first year of the show, and with the addition of such stellar work from little-known actors such as Jay Karnes and Walton Goggins, “The Shield” has set the bar for future cop shows awfully high.

3. Friday Night Lights
Sometimes television gems come along when you least expect them. NBC might have fumbled the marketing opportunities when “Friday Night Lights” first came on the air a few years bck, but the few fans who watched realized they were witnessing greatness. And they still are. Thanks to DirecTV and the fans at NBC who keep the show on the air , audiences have come to love everything about the citizens of Dillon, Texas — its students, coaches, administrators and, most of all, the families that make is home. How Kyle Chandler has not won an Emmy, much not even nominated, is a primetime disgrace.

2. Deadwood
The term genius shouldn’t be thrown around loosely, especially when it comes to television. Yet, David Milch’s vision of those ebullient gold rushers settling into camp in the Black Hills of South Dakota, circa 1890, was mesmerizing at every turn. While Milch’s dialogue was Shakespearean in its verse, the actors who delivered it captured the spirit of the words brilliantly. Kim Dickens, W. Earl Brown, Timothy Olyphant, Paula Malcomson and, especially, Ian McShane as Al Swearengen brought so much life to their characters, it was as if viewers were allowed to go back in time and see how this country was shaped … one whiskey shot at a time.

1. The Wire
Simply put, there has never been, nor will there ever be, a series as good as David Simon’s “The Wire.” The way Simon and his fellow creatives were able to capture the ills of a metropolitan city on the decline — Baltimore, in this case — through its drug pushers, police, mayoral office, school system and newspaper was to watch Picasso and Michelangelo paint. Impossible to pick a high point from five seasons, many will offer the tragic destiny of the corner boys in season four, yet how does not one single out Bunk, Avon, Prop Joe and, of course, Omar. When asking folks about “The Wire,” the response was often, “Yeah, I’ve never watched, but I hear it’s great. I need to get that on DVD.” Yes, you do. Now.

POSTED BY STUART LEVINE

David Chase answered one of life's most enduring questions Tuesday night. One that has baffled the greatest minds of the last decade.

No, not what came first, the chicken or the egg? Or if a tree falls in a forest and no one is there to hear it, does it make a sound? The real question everyone has been asking, of course, is the one that has eluded the most elite television scholars since May 6, 2001: What happened to the Russian in the woods?

Chase, the creator and voice of "The Sopranos," spoke to a crowd of a few hundred gathered at the Writers' Guild to discuss all things "Sopranos." The event was an homage to Chase, this year's recipient of the Paddy Chayefsky Laurel Award for Television.

Kudos to David Chase, who's getting the Paddy Chayefsky treatment from the Writers Guild of America West.

"The Sopranos" boss will be feted with the Chayefsky laurel for television, recognizing his contributions over a long career, at the WGA West's honors luncheon on April 23.

Chase's "Sopranos" achievement speaks for itself. But let's not forget his early years on the Universal lot. Far as I'm concerned, "The Rockford Files," on which Chase was a key contributor, is in the top 10 of all-time great TV shows (C'mon -- pound for pound, is there a cooler private eye on TV than Jim Rockford?).

"Kolchak: The Night Stalker" also ranks high on the TV fun-meter. It's too bad "Kolchak" star Darren McGavin was in poor health during the "Sopranos" years -- he undoubtedly would've made a great guest shot or two on the HBO drama.

Meanwhile, the Writers Guild Foundation is hosting an "Evening with" Q&A with Chase on April 22 at the Writers Guild Theater in BevHills. Foundation will host a Q&A with Budd "What Makes Sammy Run" Schulberg (pictured right) on April 24, also at the WGA Theater, that will include a screening of Schulberg's "On the Waterfront."

Congrats to "The Sopranos" and "The Office" for taking the SAG Awards for drama and comedy ensemble -- totally deserving. ("Sopranos" mob pictured at left; "Office" workers below)

"Sopranos" stars James Gandolfini and Edie Falco also got another final bow by prevailing in the individual drama categories. NBC's "30 Rock" was hot on the comedy side with wins for Alec Baldwin and Tina Fey.

Kevin Kline lived up to his rep as an actor's actor, taking the SAG-y for longform actor for HBO's "As You Like It." Queen Latifah won the distaff side for HBO's "Life Support." And the high-octane crew from "24" took the inaugural SAG Award for TV stunt ensemble.

Now this actually makes some sense to me.

"Made in America," the much talked-about series finale of HBO's "Sopranos," was in parts a commentary by creator/capo David Chase on the war in Iraq and the extreme denial (apathy?) that the vast majority of Americans seemingly have toward the carnage that's going on over there every day -- so he sez  in a first-person essay to be published in the December Men of the Year issue of GQ mag. (A GQ publicist was kind enough to send along a sneak peek.)

In Chase's view, it was "Made in America," as in, we've got it made in the shade here in the land of milk and honey, and we've got no clue and don't really care about how the rest of the world feels about us. In it Chase reveals the allegory behind those onion rings and what it would take to get a "Sopranos" movie on track. To wit:

The theme of that episode was “Made in America.” I used that title not only because Tony’s a made guy, and all these guys are made guys, but also because it was about the extreme amount of comfort Americans have, especially people with money. And specifically, it was about the war in Iraq—it was made in America, and as you saw in the show, Tony and Carmela just didn’t want their son to go, and they could afford to see that their son didn’t go. Like some of our leaders.

I felt, and I continue to feel, that our country is in a tremendous crisis right now, and people are focused on onion rings, and as it turns out, they’re focused on onion rings as they appear in the end of "The Sopranos." Not to get too didactic about it, but it was really sort of about how we are going about our amply fed, luxury-car life here, and the world is going to hell and we’re under tremendous threat. And people don’t want to see it.

Some Emmy tidbits I really should have written up Sunday night before going off to parties:

Consistency, thy name is David Chase. "It's open to interpretation," the "Sopranos" creator said backstage at the Emmys when asked, inevitably and more than once, about the series' famed blackout finale. In a convoluted way, after being pressed by multiple questioners, Chase seemed to say that he knew in his mind what happened to the family, but he had no intention of sharing it with the intimate room full 200 or so reporters. Chase did say that he'd had the notion to take the show out in the way that he did for a long time....

Earlier in the night Alan Taylor told us backstage scribblers that Chase was pleased by the fact that even members of "Sopranos'" production crew debated what the finale really meant. Chase wanted it to be something people would chew over and talk about, Taylor said...

And as for the Emmy snub of James Gandolfini after the tour de force he turned in? Paulie Walnuts had his back, backstage on Sunday. "I think it was a shame. He should've won tonight...but we won all around (for drama series)," Tony Sirico (pictured right) said. "We've been honored. I speak for Jimmy when I say he can handle it." .....

America Ferrera was such a doll in the backstage quip room. She displayed her usual humility and gratitude for the career-making break that "Ugly Betty" has been for her. And she's happy that her star turn has come on a show that is light and frothy on the outside but meaningful on the inside, where it counts, by challenging the conventional notions of beauty and body image for women.
"It's fun and it's funny and entertaining and I feel so incredibly blessed," Ferrera said. "To be acknowledged for it, to know peep are watching it and enjoying it -- it's just a dream for me. This is what I have wanted to do since I was 5 years old. It just reassures me in the power of dreaming. Now I can set my (career) heights even higher." And she was channeling the self-assured Betty Suarez when a questioner tried to pry into her love life. "I don't talk about my personal life. Thank you," she said in a Betty-esque polite-but-firm tone....

Don't ask Terry O'Quinn what's going on in "Lost" in its upcoming fourth season, because he doesn't know. Is John Locke really Jacob? Is he going to somehow kill Jack? Will he ever get near a shower again? I'm telling ya, don't ask because Quinn doesn't know. (And no, winning an Emmy doesn't entitle him to a few free plot points.) Backstage after his win for supporting drama actor, Locke showed off his hot pink shirt and black tie with glittery rhinestones. When asked, Quinn admitted that early on in the show's run he would go on the Internet to see what the fans were speculating about the Deeper Meaning of it all and where the castaways were headed. But not any more. "I'm sated," he said....

Sally Field was feeling strong, confident and not ready to suffer any cliches on Sunday. She made fast work of a question about actresses of a certain (out-of-the-demo) age enjoying a renaissance on cable ("The Closer," "Damages," "Saving Grace," etc.) and why aren't there better roles for women in features and blah blah blah...."I don't listen to any of that stuff. You guys are the ones who are listening to that," Field shot back.

Where fore art thou, Oscar? Jon Stewart had a cheeky response for the reporter who just had to know what it meant to him to be asked to host the Academy Awards a second time. "Whatever emotional hole I had in my soul vanished at that moment and I was complete," he deadpanned. "That's why I decided to do it."...

And thus brings to a close this inaugural edition of live blogging at the Emmys. I'd be remiss without giving a special thank you to the shooters of WireImage, who moved Emmy photos lickity-split last night and thus livened up this blog considerably. Honorable mentions go out to Steve Granitz, Jeffrey Mayer, John Shearer, Jeff Vespa and Todd Williamson.

HBO turned the Pacific Design Center into Thai Town on Sunday night.

Theme of this year's shindig was all about the far east isle of Siam, and the party space was dripping with purple and gold iconography and, of course delectable, and exotic eats. I particularly enjoyed an orange-chicken salad concoction with a light-sweet touch that hit the spot just right after getting parched in the packed-like-sardines press room for three-plus hours earlier in the night.

HBO's party space was packed with stars, execs of all stripes (not just Time Warner folks), and even the dance floor got busy at one point. The Journey power ballad "Don't Stop Believin'" that had such a powerful guest-star role in "The Sopranos" finale was playing (loudly) over the P.A. when I arrived at the party with Variety managing editor Kathy Lyford. Hearing that tune kinda put a slightly bittersweet vibe to the night for me, as if it was really HBO's final-final farewell to the show that put the network into overdrive, and of course it was made all the more poignant by "Sopranos" bagging the top Emmy prize one last time, plus prestige wins in the drama series writing (David Chase, for the finale) and directing (Alan Taylor) categories that it has long dominated.

The whole "Sopranos" gang seemed in great spirits, particularly Chase, who was remarkably open to a few thousand people sidling up to his table to gush about what the show meant to them (me included, and he even offered a smile when I mentioned how cool it is to see his name on "Rockford Files" segs.) Most important, Chase reiterated what he said backstage at the Shrine: Don't hold yer breath for a "Sopranos" movie. He won't say never-ever, but it'd have to be a fantastic idea that would make for a pic worthy of the series. I pressed him on what's next for him. He said nothing in particular, maybe a movie script down the road but nothing's on the front burner.

(Pictured above left: "Sopranos" kids Jamie-Lynn Sigler and Robert Iler; at right, Time Warner prexy Jeff Bewkes and "Sopranos'" Tony Sirico.)

Here it comes, the big night. By midday Sunday showbiz journos will converge in tents at the Shrine Auditorium for the 59th annual Primetime Emmy Awards.

Seems like there's been precious little pre-show buzz for the kudofest this year. Is it because it looks like a cakewalk to the top of Mount Emmy this year for the dearly departed "The Sopranos"? Is it because ratings for the show have ebbed precipitously in the past decade? Who knows. Really, the most pre-Emmy buzz I've heard this week is about the bash that NBC Entertainment co-chair Ben Silverman is throwing late tonight (Friday) with the help of L.A.'s premier nightclub dude Brent Bolthouse (who's also handling DirecTV's inaugural Emmy night party) at a rented mansion in the Hollywood Hills. The guest list and the security plans are said to be super-tight.

I've always had kind of a love-dread thing with the Emmys. Love because I do love the smallscreen and its players and it's fun to see your colleagues all dressed up in their finery. (As my old boss at UPI used to say: It's prom night for the media.) Dread because of course a big awards show means a looooong work night for showbiz reporters, especially those of us who file live on deadline and have to get everybody's name and award category right, etc., or there'll be snickers the next day.

For anyone who wants to test-drive the experience of being a television writer, Matt Selman has an easy solution.

Get a group of your most sarcastic friends together in a room, preferably windowless, and try to make each other laugh by outdoing one another with a steady stream of the most offensive, sophomoric and vulgar set of jokes and set-ups that you can possibly imagine -- things that could never air on TV, not even pay cable. Add in lots of takeout food and soft drinks and repeat for a few weeks on end. If your heart soars and body tingles every time you make the room snicker, you just might be cut out to be a television writer.

At least that's the quick-and-easy career counseling that Selman (pictured right), an Emmy-winning scribe for "The Simpsons" and co-writer of "The Simpsons Movie," offered Tuesday night during the "Sublime Primetime" dish sesh with a clutch of Emmy-nommed scribes, hosted by the WGA West and Variety at the Writers Guild Theater in BevHills.

"Don't wait for the industry to give you money," Selman instructed. "Take any opportunity to (try writing). The joy of writing is just as fun to do ... if you're on the worst show on television or the best show...Find a group of friends and make each other laugh. Riff off each other. Go on super-offensive runs about degrading subjects."

Watching the season finale of "Big Love" last night and seeing Bill Paxton making out with his wannabe girlfriend/fourth wife to be Branka Katic (Ana the waitress), I wondered why it's OK for him to be unfaithful in his marriage and not anyone else who tires for old and wants something new and fresh?

Being polygamists, the Henricksons don't have to abide by normal laws of matrimony: one wife at a time. But under the guidelines of his religion, Bill Henrickson can, without discussion, announce to his three wives — all wonderfully portrayed by Jeanne Tripplehorn, Chloe Sevigny and Ginnifer Goodwin — that he's received a calling for a fourth woman to share his bed.

Suddenly, when Bill locked lips with Katic, my first and only wife turned around to me and said, "He's just a cheater." Can't really argue with that.

The episode was a strong, if not stellar, conclusion to "Big Love," the series that HBO moved to Mondays in order to allow "John From Cincinnati" to gather post-"Sopranos" momentum. Yeah, how'd that work out for "John"? "Love" often feels like it's traveling under that radar at HBO, which sees much bigger buzz on "Entourage" and even the low-watched but geek-friendly "Flight of the Conchords."

Even at Emmy time, "Love" seems, well, unloved. Granted, it wasn't eligible this Emmy season but in its first campaign it didn't receive a series or any acting nominations. And Paxton and his three ladies — or at least one of them — are certainly worthy of awards attention. Even Sevigny, who's so good that she makes me hate her Nicolette Grant.

With "Sopranos" gone and HBO looking for a drama series that might be able to capture some of that watercooler talk that Tony and the gang seemed to create week after week, "Big Love" is as good a candidate as anything they've got.

Certainly, the upcoming "Tell Me You Love Me," about three couples who go to therapy and reveal intimate details about their love life, will get plenty of publicity for all the sex that takes place. And it would be a shame if this addictive series is dismissed as exploitive and not given credit for the terrific dialogue and intricate interplay between characters, as created by Cynthia Mort.

But "Big Love" is the better long-term candidate for keeping viewers subscribed to their HBO. Though the network will rightly say that it counts its audience on a cumulative scale — adding up the different broadcasts during the week, including video on demand, rather than just on the premiere night — moving it to Mondays didn't seem right.

It's earned a move back to Sunday for season three. Polygamists, whether you agree with their philosophy or not, seem a better fit than surfers, no matter who they're sleeping with.

— Stuart Levine

What Emmy didn't giveth on Thursday morning, the TCA Awards bestowed on Saturday night at the Beverly Hilton.

NBC's "Friday Night Lights," conspicuously snubbed by Emmy voters, got its due in nabbing best new program. Michael C. Hall of Showtime's "Dexter," another near no-show in the Emmy derby, was deemed best drama actor at the ceremony hosted by "Daily Show's" John Oliver.

Overall the Peacock swept the Television Critics Assn. kudofest with four trophies, including best comedy for "The Office," natch, and Alec Baldwin of "30 Rock" for top dog among comedy actors.TCA-ers didn't overlook NBC's other big frosh drama of last season, picking  "Heroes" the program of the year.

(Pictured: Connie Britton and Kyle Chandler of "Friday Night Lights")

The series writing and directing noms are always a good bellwether of what shows or individuals are deemed best of breed by industry standards. There's so much politicking and campaigning that goes into the race to grab top series and acting noms. Writing and directing noms are a little more above the fray, though it does seem that Emmy voters sometimes see them as consolation prizes for deserving shows that don't crack the top series categories. To wit, "Battlestar Galactica" (pictured left) was recognized for drama writing and directing, but the show's rabid fans will have to keep the faith until next year to see it break into the top echelon of nominees.

He grew up yearning to write for “Playhouse 90” and “The Twilight Zone.”

Unfortunately for Matthew Weiner, he was born about 35 years too late, and as it happened, his break as a TV writer came in sitcoms, not high-end dramas.But Weiner was nevertheless determined to pursue his vision for a series that would capture all of his fascination with American culture in the finger-snapping era of Camelot and the Cuban Missile Crisis, of skinny ties and steel-tipped bras, of the Rat Pack and Sputnik.

By day, Weiner was working on the CBS sitcom “Becker.” By night, with the added motivation of the approach of 35th birthday, he poured himself into penning the pilot of his period-dreams. That was seven years ago. On Thursday, after many a twist and turn his Weiner’s life and that of his pilot script, his baby is set to make a splashy entrance on the heels of effusive reviews and a big marketing push from AMC. The film-centric basic cabler picked Weiner’s “Mad Men,” from Lionsgate TV, last year as the show to lead  the channel into the scripted series realm.

“No network quite got this show until AMC,” Weiner says, and that’s in keeping with the spirit of the show. “This show is all about misconceptions, and our contemporary culture’s misunderstanding of this period in American history and how it influenced who we are today,” Weiner says.

CONTINUE READING TO WATCH A VIDEO CLIP OF "MAD MEN" CREATOR MATTHEW WEINER DISCUSSING THE PERIOD SETTING OF THE SHOW.

POSTED BY STEVEN ZEITCHIK

HBO's new programming topper Richard Plepler had a similar reaction to the end of "The Sopranos" as the rest of the country.

"I called ('Sopranos' exec producer) Ilene Landress and (HBO Entertainment chief) Carolyn Strauss thinking they had withheld the last fifteen seconds from me," he told reporters at TCA. Plepler quickly added that he thought many viewers "grew more comfortable with the ending as they sat with it" -- and that he was one of those viewers.

Plepler and HBO's west coast chief Michael Lombardo said they weren't involved in a rumored decision to cut the infamous black screen from thirty seconds to eight seconds. As for a potential movie -- rumors of which have taken the form of a prequel involving Tony Soprano's ancestors -- execs suggested the talk was as fictitious as, well, Christopher Moltisanti's "Cleaver."

"We haven't had that conversation with David (Chase)," Lombardo said. Plepler then piped in: "I don't think David has had that conversation with himself."

-- Steven Zeitchik