Month: January 2016

2015 TV Rankings – 1 to 10

/ Mayhew Seavey III / 1 Comment
So here we are. The final 10. These were my favorite shows.
In a lot of ways, this is a very personal list. One of the major criteria for my rankings is, did it make me feel something? Each of these top 10 either made me cry (well, tear up, men don’t cry… well, except for Justin Theroux, but he can get away with it), or made me spit out my Cool Ranch Dorito laughing so hard at least once, or made me go “OH SHIT NO YOU DIDN’T” and throw my remote at the face of Timothy Olyphant, ruggedly and handsomely framed on my 50″ Panasonic plasma. By definition these reactions are going to be subjective, and many of these shows might not make you feel anything at all. My hope is that many of these moments touch on common human experiences that might move other people as well, but who knows.
But as an amateur (very) critic, I am also looking for something that contributes something new to the cultural landscape. As someone who (as clearly evidenced) has watched an astronomical amount of TV, and also watched a few movies and read a few books, this is not only important for my nigh-professional blogger-self, and for culture as a whole, but also just because I get bored really easily. If I’ve seen this plot device on 10 other shows before, I’m out. So even the more detached, critical part is slightly intertwined with the emotional aspect, and therefore should be taken with the same grain of salt. What if you’ve never seen the movie they ripped off in that scene?
And my final criteria: HAIR! If I have to watch a character on the screen for 60 whole minutes, they better not be sporting a Rachel bob from the nineties. (Okay, not really, though I do notice some good hair, a la Boyd Crowder.)
All this is just to say, I hope people take what they want from my list. While I sometimes use some dismissive language with regards to the somewhat more “mainstream” shows, I don’t judge viewers of them. And while these 10 shows are the ones that moved me the most this year, they won’t be everyone’s cup of tea, and in fact, my own regard toward them may fluctuate from week to week. But for this particular week, they are the most exciting viewing memories I have from the past year. If they prompt you to try one show and enjoy it, I’ll be happy.
So without further ado, here are the 10 objectively best television programs of 2015:
(If you missed it, here is the previous installment.)

 

This show certainly came out of nowhere, but did not go unnoticed in its premiere season on USA. One of the most critically acclaimed shows of the year, Mr. Robot is understated, atmospheric, and places an emphasis on a realistic portrayal of hacker culture. It’s also one of a number of shows that delves in a sympathetic and unique way into the realm of mental illness, as our main character deals with anxiety, a drug problem, and other psychological symptoms. Their wink-to-the-camera “homage” of another work (that I leave intentionally vague to avoid spoilers) I didn’t fully buy into, partly because I didn’t like that other work, and partly because I didn’t feel like it served the story all that much. But a superbly crafted series with great direction and a compelling story.

Like Inside Amy Schumer, I also binged both seasons early this year, and felt that Season 2 carried on the momentum it had gained at the end of the first with a distinctive voice and great comic timing. The central relationship between Ilana and Abbi is funny, touching, and at times confusing (in a good way.) Hannibal Buress makes me crack up every time. The “pegging” episode was one of the most perfectly-crafted half-hours of comedy in recent memory.

 

My biggest gripe with Season 1 was that it didn’t stray far enough from the original source material and build its own identity. Season 2, which takes place 30 years earlier, manages to keep the same quirky/dark feel without relying on the same archetypes and story beats. In fact, it would’ve been difficult to make a show more distinctive and unique than Fargo Season 2. It took a number of established tropes of the original film and first season and even the genre as a whole, and twists them in all sorts of new and unusual ways. The bizarre but amazing deus ex machina toward the end of the season was completely out of left field and somehow completely appropriate. The finale was both touching and unexpected yet expected. Patrick Wilson made a fantastic young Keith Carradine. The cast was all pretty fantastic, but the highlight was a slightly delusional housewife searching for meaning, played by a wonderful Kirsten Dunst. I was turned off a bit by the mob war stuff, which did serve more as a backdrop putting things into motion for the more interesting characters, but still went on a bit too long for my taste.

 

While still nearly as funny as the first season, You’re the Worst pushed new storytelling ground and took some real risks this season, that really gave it more weight. I really don’t want to say too much more about it at risk of revealing too much. But we got to dig deeper into all of the characters and their particular brand of problems. It was good seeing Edgar break off and find something for himself, because he is the least worst of them all. Aya Cash was fantastic in a turn for Gretchen. Lindsay is the worst and the best. The most bold and daring comedy this year.

 

 

Not sure what profound things I can say about this season. All the strengths of Season 1 were taken to a new level in Season 2. Highly imaginative concepts, a pointed effort to avoid expected formula and shatter expectations. But in typical Harmon fashion, Rick and Morty never (well, hardly ever) does insane for insane’s sake. It’s always to serve the characters. The addition of big sister Summer (Spencer Grammer) to the majority of the galaxy-faring adventures was a welcome one, not only for a better gender balance, but also for adding a fun new perspective and story possibilities. But mostly, Season 2 was just freaking hilarious.

 

 

Hey, another show I didn’t watch in 2014, but made it onto the 2015 list! Season 1 floundered quite a bit figuring out what direction it wanted to go in, but the last three episodes of that season were quite good, making me optimistic for a strong season 2. It was even better that I could have… optimisted? Season 2 flipped the script, and made it about the women. The nerd boy fantasy girl and the nagging housewife from Season 1 were now running the show, and we follow them running a startup tech company. Kerri Bishé, who I don’t think was even in the opening credits for Season 1, was now arguably the main character, and crushed it (to borrow a term I kinda loathe). The two male “entrepreneurs” from Season 1 went on a journey to discover their place in a world that turns out, didn’t really need them. I’m oversimplifying a tad; they still had plenty of screen time, but the challenges that the characters faced this season were substantially more compelling, and had me totally bought in all season long. Best feminist computer series in recent memory.

Well, in what turned out to be the final season, Defiance went out on an exceptionally strong note. The ramifications of the end of Season 2 were largely emotional ones, that added great new and interesting conflict between Nolan and Irisa. In addition, we’re given the best villain on the series to date, who raises the stakes by offing some people I’d been hoping would get offed for a while. His arrival also sets into motion some fantastic morally questionable choices by everyone’s favorite morally questionable Tarr family, and ultimately one of the best-constructed hours of TV. Basically, this season, the chaff was cut, and the strongest characters and actors were given great conflicts to deal with, resulting in some really really good scenes and moments and episodes. And while I would’ve liked to see what was next, it ended in a way that was pretty satisfying.

Speaking of feminist shows in nerd genres… Jessica Jones is the cursing, drinking, screwing P.I. that would make Jack Nicholson in Chinatown envious. I really really don’t want to say too much here, because part of the joy for me of the series was knowing next to nothing about the characters going in. The first episode feels like a straight detective show with a few odd things going on, and you try to put together the clues as it slow burns over the first 6 or 7 episodes before you understand the full history of it all. So, I’ll just say, trust me, this is not the Marvel superhero show you’re used to. And David Tennant is in it. And he’s great. And forget about the B– in Apt 23. Though James Van Der Beek plays himself in this as well. (Not really.)

 

It’s a pretty rare thing these days for a show to go out on its own terms; it’s even rarer for such a show to go out at its creative peak. Justified is that pink unicorn, ending its strong 6-season run with arguably its best season yet. It turns out Justified was like the original Star Trek movies with its even-number pattern, so it was a smart move to produce an even number of seasons. While the weaker third and fifth seasons began to choke on their intricate web of characters, feuds, and extended history, the final season wisely kept a tighter focus on the central characters, only adding more into the mix if it was going to serve that story, and not bog it down. What resulted was a finely crafted arc that acknowledged the long history of the characters without relying on that history to populate an infinite number of betrayals and loyalties. Which isn’t to say that betrayal and loyalty were not strong themes this season. But each such decision came with weight and clear reasons, and ultimately felt earned. In fact, my favorite choice they made this season was a pivotal twist that was both completely unexpected yet perfect for that character. (And by twist, I don’t mean the cheap Shymalan or Fight Club variety, but the kind that pulls the plot forward in a completely unexpected direction.) Top it off with a finale just about as perfectly appropriate for that show as any I’ve seen, and you’ve got one of the finest final seasons (or any other seasons) of all time.

As I finish gushing about the near-perfect final season of Justified, it is of some note that it had been my aim for about eleven months to crown it as my #1 of the year. It was awesome to see it go out on such a high note, and I was thrilled and excited to be able to give a proper send-off to some of my all-time favorite characters with a well-deserved top spot in 2015.

Even after I finished watching The Leftovers in November, I felt good about sliding it right into that #2 spot, thinking, “man, that was something else,” but never even for a moment considering bumping my guy. That was locked in there, no question.

It wasn’t until I re-watched The Leftovers with my family over the break that it kinda dawned on me what a special, unusual, and meaningful season of TV that was. It was a meaty beast that begged for making connections, and unpacking meaning from its dense imagery for days and weeks after.

Season 1 was an uneven exploration of people looking for meaning after an unexplainable tragedy affects everyone at once. There was a lot of focus on a particular group of nihilists whose only aim was to make everyone else as sad as they were. The end of the season gathered a forward momentum, brought some positive character growth, and even a bit of hope, as it ended pretty strongly.
This is also where the book the show was based on ended, and so Season 2 begins unshackled from the somewhat gloomy original source material. This is immediately evident in the first 2 minutes, as we are thrown back millennia to witness a cavewoman giving birth, as a thematic introduction to many of the ideas touched upon this season. Sure enough, the season departed (pun intended) in story structure, the characters we were following, and even the much peppier, tongue-in-cheek opening title sequence. “Let the mystery be,” the song insisted at the clear behest of Lost showrunner and noted pariah Damon Lindelof.
Lindelof has publicly stated that the central mystery, that is the premise of the book and the show, of where 2% of the world’s population disappeared to and why, will never be definitively answered. He is clearly trying to preempt any Lost-like outrage from the audience that they were somehow “cheated” of resolution to a story they invested time into. I mean, it’s sad this is necessary, but I get it.
But it is almost immediately clear that this isn’t a show about solving the mystery, it’s about how the people left behind deal with the fact that it happened. And nowhere were these reactions more complex or varied than in season 2. We are introduced to a new place that is supposedly “special” in a number of ways. It could be an “axis mundi.” And people go there to find hope. Is it special? How do the people who live there feel about it?
Obviously, I can’t say too much, especially because even talking too much about the setup could spoil Season 1. But Season 2 touched more deeply on spirituality in its many flavors. When is it important to have faith? How can faith be a dangerous thing? What happens to that faith when it is challenged? What kinds of reasons do we attribute to things that we can’t explain rationally?
While Justified was fantastic, and was doing all the things it has been strong at doing over the years in top form, The Leftovers was just pushing the medium in new ways, and was a more significant achievement in the art form. The ambition of “International Assassin,” or the extremely powerful finale, were reminiscent of certain moments in Lost, but much more finely honed and expertly crafted.
There is still mystery around whether a third season will be in the cards. If it doesn’t happen, there should be some satisfaction for Damon in a finale which, in a couple of surface-level ways, resembled the somewhat silly final episode of Lost, but which actually worked and served the themes and characters beautifully this time.

Apology section

These shows were on my list, probably would have been good, but didn’t get prioritized for viewing (to completion) this year. In italics are the shows that were on last year’s Top 20.

Narcos, The Man in the High Castle, Banshee, Comedy Bang Bang, Nurse Jackie, Outlander, Orange is the New Black, The Blacklist, Orphan Black, Broadchurch, W/ Bob & David

That’s it for this year. Hope you found my flawed analyses interesting. Feel free to comment with your own contrary opinions or additional insights. I like hearing what other people got out of TV this year, which will surely be different than my own experiences. What shows added appreciably to your 2015?

Happy New TV Year!

2015 TV Rankings – 11 to 20

/ Mayhew Seavey III / Leave a comment
Alright, here we are. The classic Top 20. Best of the best, top of the heap, Kylo of the Rens.
(If you missed it, see the previous installment.)



After a three-year absence, Britain’s despicable odd couple returns for their final season, and they went out on a high note. The schemes were even more ridiculous and awful, and the narcissism and self-deception is way up there. The last episode managed to feel like there was a bit of closure without it going out of its way to feel like a “finale.” I am definitely going to miss Mark and Jeremy and their brand of absurd voice-overs.

The second season shook up the formula in more ways than one. Most obviously, where in season 1, each episode was split into the perspectives of Noah and Alison (both of the Affair-ers), season 2 threw the former spouses into the mix, and alternated them in every other episode. This expanded the previously narrow scope of the narrative, and gave us a bunch of really interesting peripheral stories for these characters who were less entwined in our main characters lives now. Beyond that, we got to see a lot of transformational moments in all four of our characters, partially assisted by frequent time jumps, eventually bringing all the disparate threads together for a quite satisfying finale. Though the high point for me was the episode featuring Cynthia Nixon as Noah’s therapist. It should come as no surprise this would land in the wheelhouse of Sarah Treem and Hagai Levy, creators of the HBO show In Treatment. The back-and-forth and masterfully crafted insight into Noah’s (often less than sympathetic) character was a really great change of pace in an at times more plot-focused season.

Unfortunately, Season 1 of Manhattan was one of the excellent shows that slipped the deadline for me last year, or it would have been a prime Top 20 candidate. While Season 2 continued strong, a couple things kept it from being as strong as last year. First, while one of last season’s strengths were the moral grays of the characters involved in building a weapon of mass destruction, there were a few moments this season that felt like they were trying to make it easier on the audience by giving the characters more black and whites. This wasn’t always the case, and the unnamed spy was a good example of the former. Second, while parts of the finale worked for me, there was just a bit too much convenient plot contrivance which made me feel like I was watching a different show. Like “this is a finale, and ALL the things need to come to a head!” Still, these are minor nitpicks on a compelling, thoughtful thriller of a season.

Oh shit, you’re fuming, I can tell! “You cheated!” you’re thinking out loud, “That’s a video game, not a TV show!” Yeah, I’m ready for the riots and protesters outside my door. It is true, this episodic adventure didn’t air on network TV, or basic cable. It wasn’t available on HBO Now or Netflix. In fact, it wasn’t even a Yahoo! Screen exclusive. This series was distributed under the guise of a video game. Telltale Games has consistently been producing TV-quality interactive storytelling for the last 5 years, but Tales From the Borderlands was the first time it really felt like it was pushing the boundary between the media in a new and compelling way. The voice acting, writing, direction, and soundtrack all worked in tandem to create a truly transporting experience, where you could play a (granted, minor) part in crafting some really quite excellent storytelling. I’m going to call out the soundtracks one more time, as each episode began with some of the tightest, dramatic, entertaining, hilarious opening title sequences of any TV show, much less video game, each with its own distinctive feel. They weren’t interactive, but set the scene and pulled you into the action that was to come. After the bleak and heavy The Walking Dead, The Wolf Among Us, and Game of Thrones, Tales From the Borderlands was a refreshing jolt of fun and adventure injected into the Telltale formula. Instead of the setpieces being “mash a button to hack off my own leg before the zombies eat me,” it was “jump out of the way of a speeding RV, grab a chain, swing onto another truck, kick the driver out of the door, and grab the wheel, while bullets whiz past”. These sequences weren’t as awe-inspiring as, say, an Uncharted action scene, but when thrown into them in the middle of a dialogue where you get to guide the narrative or try to keep some difficult secondary characters from turning on one another, it gives you just enough agency to feel like you’re a part of the story. I was genuinely sad to be saying good-bye to these people when Episode 5’s credits rolled. If you have a computer, or game console, or tablet, or phone, you should check it out.

While perhaps not as tightly crafted as the masterful Season 2, the final season of Hannibal still had just enough macabre delights and cinematographic wonders to be one of the most enjoyable shows this year. While the first half of the season felt at times a bit aimless, it also had a great amount of Gillian Anderson, in a much expanded role. And the conclusion of the first arc was both chilling and satisfying. The Red Dragon arc that took up the second half was a lot tighter, and ended with one of the most riveting and beautiful scenes I’d seen this year. It’s a shame that no one was watching this gem of a show.

Well, having not been compelled to continue with Season 1 last year, I was drawn by the critical buzz around Season 2, and so gave it another chance. And was I glad I did. While there was a lot that was funny here, it was the well-drawn (pun intended) characters that really stood out toward the end of the first and through the second season. Bojack is a tragic character, searching for purpose and happiness years after his popularity from his hit sitcom has faded. We bounce back and forth between empathy and exasperation as he tries to fix his life and himself, and makes mistakes along the way. Will Arnett makes this half-horse feel very human in many ways.

Season 3 felt more personal and relateable than the previous seasons, and pulled me in a lot more. Some of the challenges of balancing family with ideology came to a head this season in ways that were merely touched on in Season 1. The acting was again top notch, and the direction for some of the biggest scenes this season was powerful in part because of how minimally directed they were.

This season finally put some more focus into the more plot-heavy whodunnit elements of the show, which have never been the most captivating. That being said, the direction the story moved was still fairly satisfying, and the character work was still very strong. In fact, they pulled off the monumental task of making Teddy Jr, previously one of the most repellent and characters on TV, somewhat sympathetic.

While not bad, this past year was certainly the weakest stretch for my favorite (and only*) zombie show. Even disregarding the truly botched plot twist (thanks, Talking Dead), there was too much focus on the weakest supporting characters this year, and sitting with their over-the-top brooding. That’s not character arc, that’s a pity party. The show had previously been pretty good at recognizing when an actor and character are really working well, and spending time there, but made some missteps this year. Despite that, this season had some very strong moments, highlighted by a very ballsy 90-minute flashback episode that stepped away from the action that everyone clearly wanted resolved immediately. While much of the internet reaction was outrage at such an out of place hippy-dippy episode, I thought it was the perfect time for it, and that it worked really well. Alexandria lives on.

* (not really only, but only that uses zombies as a horror/gross-out device)

 

Finally caught up earlier this year on the comedy that no one told me I should have been watching. In addition to just plain hilarious sketch comedy, Amy is a loud and unapologetic female voice who jabs at injustice and hypocrisy in our society. Her obvious highlight this season was ’12 Angry Men Inside Amy Schumer’, the full-episode commentary on how women are treated in Hollywood. As someone who often makes the mistake of reading internet comments, it was shocking how many of the ridiculous things the rather cartoonish men say rang too real: “Her ass makes me furious!” (I will not be able to see Paul Giamatti again without hearing that.)

 






Alright, just one more! Stick around for the final 10, coming out tomorrow!




2015 TV Rankings – 21 to 40

/ Mayhew Seavey III / Leave a comment

Alright, seriously, from here on out, these are some really good shows. The drop-off in quality between 20 and 40 is pretty minimal, which is why I had such a hard time ranking this year. These probably would’ve all been as good as the Top 20 like 4 years ago. But I made some tough calls, and these are the middle of the best.

(If you missed it, see the previous installment.)

40  Marvel’s Agent Carter

While occasionally heavy-handed on the gender thing, there was a genuine pleasure in watching a 40’s dame do the action hero thing better than her male counterparts and irritate them. Also fun was the rapport with nervous “butler” Jarvis, and the period clothes and advanced gadgets.

 

39  Brooklyn Nine-Nine 2/3

38  Master of None

This spot on the list is one of the bigger places I diverge from the critical consensus. I definitely recognize the significance of the series, and a lot of the things it has to say from the perspective of a 2nd-generation Indian immigrant. My biggest issue was that it felt like it borrowed a lot of its structure and devices from Louie, and did a much poorer job of delivering those messages subtly and naturally. Louie played with structure and format in a way that felt like we were getting random glimpses into his life, that sometimes were just whimsical, and sometimes were significant and meaningful. With Aziz, it felt more like “this is the gender episode,” “this is the racism episode.” Yes, they were often surprising and clever circumstances that as a white man I don’t often consider, and I appreciated that. But as a writer, it felt like he was pushing too much, and felt like a young man’s attempt at imitation of a much older writer’s style. Assuming he still has more to say, I would expect Season 3 to be amazing, as he really nails down his own voice.

 

37  Man Seeking Woman

Maybe the most daring and unique new series of 2015, Man Seeking Woman struck a really nice balance of the genuine and surreal. The fact that all the characters treat all of the crazy fantasy, scifi, or twilight-zone tropes as serious and normal really sells this show. Even when the metaphors are a bit on-the-nose, they’re always pretty fun, and somehow usually relatable. I also loved that they flipped it for one episode and explored the sister’s misadventures using the same device. The sad-sack nerdy guy dating woes are a bit played, so seeing the show from her perspective was both a great change of pace and surprisingly touching.

 

36  Mad Men 7

The finale was quite good.

35  The Last Man on Earth 1/2

Maybe the second most daring an unique new series of 2015, The Last Man on Earth was the master of re-invention. In fact, it nearly transformed what kind of show it was from episode to episode. Will Forte’s character is infuriating a lot of the time, and deliberately so, but somehow also you still need to see what happens next. The show transitions effortlessly between dark and goofball, so much so that you really aren’t sure what turn they might take next. I’d definitely say I appreciate the show more than I actively take joy from it, but it is often painfully funny as well.

 

34  Veep 4

Hugh Laurie was fantastic.

33  The Unbreakable Kimmy Schmidt

30 Rock is back!! Well, kinda. It’s as funny as 30 Rock, and I was surprised how funny Ellie Kemper is as the central character. She’s got great timing, and Titus Burgess is fantastic as well. As was the hilarious actor who cameo’d as Richard Wayne Gary Wayne, but I won’t spoil who that was.

 

32  Louie 5

Season was a step up from last year, but the finale really bugged me. Setting up his character as a close-minded asshole that he’s never been before just so he could grow at the end of the episode felt contrived.

 

31  The Returned 2

For someone who barely remembered everything that happened in the first season (2 years ago), throwing in a whole bunch of new characters and expanding the scope left me pretty lost for the first few episodes. But it settled into a really touching and satisfying end to a quite good spiritual French zombie show.

30  Better Call Saul

A solid follow-up to Breaking Bad that showed us a lot of unexpected depth in the previously one-note Saul Goodman. Bob Odenkirk does an admirable job in bringing the man to life and allowing us to empathize with Jimmy, as he is known before a yet unseen transformation to our “criminal lawyer.” While there are great character moments, and using Jonathan Banks was an essential ingredient, the stakes aren’t as high, and the show lacks a bit in direction. There are some good stories, and the dedicated Mike episode was the best among them, but I am not compelled to come back week-after-week like I was with Breaking Bad, and for better or worse, that is always going to be the comparison.

 

29  The Grinder

This show looked stupid. I read some strong reviews, and watched. Turns out, they were right, and it’s very funny. Rob Lowe brings some elements of his Parks & Rec character and is over-the-top ridiculous and funny. But the more understated winner is Fred Savage, who does the best straight man since Jason Bateman, and has a delightful rapport with both Lowe and his on-screen wife, played by Mary Elizabeth Ellis (It’s Always Sunny in Philadelphia). The rest of the supporting cast also delivers the laughs, especially the father of Lowe and Savage, played by William DeVane (24). Grinder rests.

 

28  Marvel’s Daredevil

Certainly taking cues from the Nolan era Batman movies, Netflix’s Daredevil series is dark, gritty, and atmospheric. It gives us a slow-burn rise of a superhero who stumbles, gets hurt, and doesn’t have a real costume until Episode 13. Vincent D’Onofrio’s Kingpin is a fascinating, fleshed out character who you occasionally empathize with. If they had really stuck the landing, I would have ranked it higher, but while the first 12 episodes felt grounded and human, the finale felt like a comic book. Ugh, that costume. Hoping Season 2 pulls back a bit to the stuff that made it interesting in the beginning.

 

27  iZombie 1/2

Zombie Veronica Mars. Need I say more? Yes. The procedural elements take up more time than I’d like, but the writing is often clever, Ravi is great, the device where Liv inherits a different personality each episode is often fun (sometimes not), and the S1 finale was balls to the wall great. S2 started a bit slow, and I’m not sure if they can sustain this premise forever, but all in all it was a good viewing experience, and quenched a bit of that Veronica Mars gap in my life.

 

26  Show Me a Hero

Another really interesting examination of race relations from The Wire creator David Simon. Took a little while to get going, but Oscar Isaac delivers a great performance in a compelling and powerful look at the effort to establish public housing in Yonkers.

 

25  Game of Thrones 5

This season lacked a bit in the powerful, jaw-dropping moments, but characters got shuffled around making some awesome meetings possible, we got a massive zombie battle, and a child was burnt alive. So all in all, still pretty cool. Shame! Shame!

 

24  Homeland 5

Another very strong season of Homeland. In fact, despite the lower ranking, I’d say it was an even stronger season than last year. (The competition is a lot stiffer this year.) I might even say as a whole, it worked better than Season 1. Solid character drama, an excellent bad guy, some heart-wrenching moments, and episodes of thrilling action. This year it in some ways didn’t sit in any one genre for too long, which helped sustain it through the 12 episodes.

 

23  Crazy Ex-Girlfriend

Guys, the title is tongue-in-cheek. If you’re not already watching, you should be. It’s dark, bubbly, ironic, sad, and full of freaking amazingly funny songs. A fresh take on self-delusion and psychological issues lightly dressed as a romantic comedy. Don’t expect a happy ending though; creator and star Rachel Bloom is too cynical for that.

 

22  Catastrophe

This fresh, honest, and hilarious romantic comedy from across the pond debuted on Amazon almost a year after airing in England. But it’s well worth the wait. So much happens in the first episode, it’s almost disorienting. As the predicament just descends and descends, somehow the series stays cute and upbeat and you just need to see more.

 

21  Last Week with John Oliver 2

Oliver continues to nail it with his in-depth analysis of issues we don’t think about too much. The topics this year didn’t all feel quite at the same level of urgency or importance, but I am continually impressed by the research and details uncovered on things going on both in the US and around the world. And yes, he also manages to make these horrible things funny somehow.

Tomorrow I’m gonna hit ya with 11-20! And pictures!

 

2015 TV Rankings – 41 to 63

/ Mayhew Seavey III / Leave a comment

Yeah, that’s right. 20 was no longer cutting it. I’m doing them all now. Why? Well, the main reason was that it felt like there were far more than 20 shows I wanted to rave about this year. Trying to cut them out of the top 20 was becoming a painful venture. But on top of that, there were also things I had to say about shows further down the list that my previous format wasn’t allowing me. So this year, I am ranking ALL shows that I watch ALL episodes of this year, and optionally giving some reasons why.

Note that even shows toward the bottom (well, top if you’re looking at the page) were shows I considered to be pretty good. I did a good job this year and stopping shows I was not enjoying much, so even these 63 are for the most part the cream of the crop.

63  Childhood’s End

Not really the cream of the crop. It was kind of interesting, but probably the only show on the list that I wouldn’t say was worth the time put in.

 

62  Girls 4

61  Episodes 4

60  Another Period

A very funny, if at times tonally inconsistent show. Christina Hendricks was probably the most delightful surprise with her scheming comic turn here.

 

59  True Detective 2

I worry how much the sheer disappointment from a dramatically superior season 1 is influencing my ranking here, given that the second half was somewhat enjoyable. But the grueling mess that got us there, and some painful performances/characters really didn’t do the sophomore season any favors.

58  Big Bang Theory 9

One of the great points of confusion in my life over the last couple of years is why I continue to cause myself pain by watching the inane misadventures of 4 stereotypical nerds who don’t actually seem to like each other at all. And yet, while this whole addiction process began with a few sick days and fevered desperation to have something mindless to occupy my optic face holes, that rationale fell short in the months ahead. Was it some sort of variation on Stockholm Syndrome, where I just couldn’t quit my cartoonish, offensive, and racist captors? Was it that I was hanging on to this glimmer of hope, because time after time these people had come really close to seeming like actual relatable human beings, and it seemed improbable they wouldn’t find some way to push past that barrier after hundreds of painful half-hours? Was I suffering under the illusion that the approximately 2% laugh/joke rate they were sustaining was actually increasing very slightly over time, and that at some point it would hit some exponential growth curve despite no corroborating evidence to expect that to be the case? To this date, I am not entirely sure, but for whatever reason, I continued to plug along, with a strangely excited curiosity when a new episode would pop up, and then a considerable amount of disappointment, both at the show, and really at myself, once those end credits cut short any possible catharsis or satisfying character growth that I was positive would happen to resolve another painfully cliché storyline. And then 2015 happened, and against all odds, this bumbling oaf of a show, maybe through monkey-at-a-keyboard-itis, started clicking in a way it never had before. There were maybe 6 or 7 genuinely moving character moments that didn’t rely on cheap tricks or canned audience reactions. While the joke success rate probably didn’t move the needle hugely, the effectiveness of those that landed was occasionally very high, largely due to the expanded roles and comedic chops of Melissa Rauch and Mayim Bialik. Even Jim Parsons, who had very much dipped into one-note territory very early on in this series, got to see his character soften a bit this season, which in my mind only made the contrast with his cluelessly rude self even better. I don’t care enough to figure out which, but there were one or two episodes this season I felt were masterfully constructed, and made me wonder if they’d hired new writers, until the following week was the same old childish dreck. So, to be clear, this is all to explain why for the first time since I started watching this “nerd comedy”, I didn’t feel it was the worst choice I had made that year. It is not a good show. For the most part, it is not innovative or clever or funny. The writing is lazy and hacky. Simon Helberg is a terrible actor, and his character is almost as bad. The central romance, which occasionally suckered me into caring about, is at its worst points offensive, and at its high points lacking in any kind of chemistry or believability. But this year, the program showed a glimmer of actual life, of characters having some self-awareness and growth. If you’re not watching it, don’t start.

57  Childens’ Hospital 6

56  Sense8

This is a show that was excellent at parts, but really thought it was excellent overall. While I appreciate the ambition, I wonder if being reined in by an executive would have actually helped this show find a consistent voice. There were some really compelling storylines, and some that just completely fell flat. In addition, it felt like it was trying to make some sort of commentary, but where it stood was really never clear. Violence was mocked and admonished, while then seemingly glorified in gross gratuity in the next scene. But perhaps most peculiar was why in a show created by a transgender woman the gender roles were troublingly archaic. The female characters were victims, and the male characters were heroes responsible for their rescue. There was a transgender female character, but she spends the first half of the series captured or running, and has to be rescued by the muscular dude cop. You could argue that the Sun, the Korean woman, has martial arts skills and does help bail out some male characters, but her storyline never progresses from being trapped. She has no agency over her own circumstances, and gets no hero story arc like literally every male character does. Male character encounters obstacle, gets temporarily knocked back, then overcomes it, usually with quite intense violence. That these gender lines were so stark seemed very out of place for an otherwise really modern and boundary-pushing series. There were things I liked about it. The idea of these very different people from different cultures all coming together and learning from one another was compelling and strong. There were a number of very moving scenes between these characters. The locations were gorgeous, and the cinematography involved in filming the same scene in two places at once must have been herculean. I’d certainly say on the whole I enjoyed myself while watching it, and that it only breaks down if you think about it too much.

55  The Mindy Project 3/4

A solid end of third season, a laborious (no pun intended) 4th season on Hulu. Rehashing of old storylines, endless dragging on of this one storyline involving balancing career and motherhood, and what I can only assume was a lack of money leading to Chris Messina’s prolonged disappearance. But I can still count on Ike Barinholtz and Beverly for consistent laughs, and the addition of Garret Dillahunt (Deadwood, Sarah Connor Chronicles, Raising Hope, Justified) was a solid move.

54  Parks and Recreation 7

I was initially skeptical about the 2 year jump, but the last season was actually quite good, and the finale made me– well, not cry, but whatever Ron Swanson does when his face scrunches up. Ah right, eat steak.

53  The Late Show with Stephen Colbert

Well, I technically may have missed an episode or two, but I saw most of them, and guess what, he’s still funny without the conservative windbag persona. In fact, it was fascinating, especially at the start, to see his interviewing style, which is so genuine and thoughtful, which was clearly throwing people off at the beginning. Expecting to be on the defensive the whole time because “Stephen Colbert” would trounce on weakness, there was noticeable hesitation and confusion on the part of many of his first guests. But Stephen not only throws that style out the window, but kind of subverts the fluff-piece style of late night interviews altogether, digging for the real human moments, like in his amazing Joe Biden interview. He is also a bit more political than his counterparts, as you might guess. But I think was struck me most was the absolute joy he exudes every night up there, casting off the jaded irony of his previous persona, and embracing a lighter, more sincere and optimistic brand of comedy. I dig it.

52  Agents of SHIELD 2/3

While certainly not without its stumbling points, Agents of SHIELD is certainly finding a bit more of a solid rhythm in the past year. While Season 1 felt small and claustrophobic, especially with its limited cast, the show is perhaps overcompensating, with a sprawling universe and a cast that is now too big. I’m uncertain why they haven’t been using the less successful characters to die off and raise the stakes, but now would be a good time for that. But aside from them, some of the better characters are feeling more fleshed out and compelling. And one of the best hours on TV this year was a tightly scoped episode that just focused on Simmons’ space adventures, and Elizabeth Henstridge really ran with the opportunity and did a fantastic job. Plus, Coulson becoming a kick-ass action star, the still surprisingly watchable Ward, and Fitz as Indiana Jones, all highlights. Oh sorry, almost forgot Kyle MacLachlan’s awesome work. Hope he comes back.

51  Portlandia 4

50  Helix 2

Some really weird shit. Some of it worked.

49  Doctor Who 9

Well, this season was a far cry from the stink-fest that was Season 8. It had a number of solid episodes and legitimately thrilling moments. But for my money, it still just hasn’t managed to bring back the wild fun from the Smith years, or give a satisfying resolution to a convoluted Moffat plotline. But I really liked Capaldi this season, and his chemistry really cemented with Clara. Maisie Williams’ turn was kinda fun, but I never really got her character. Any season without Danny Pink is a step up in my book though.

48  Togetherness

Along with Casual, one of the two quirky spawn of Six Feet Under this year that didn’t really know what it was trying to say. Still amusing at times.

47  Casual

Along with Togetherness, one of the two quirky spawn of Six Feet Under this year that didn’t really know what it was trying to say. Still amusing at times.

46  Bob’s Burgers

Still funny.

45  House of Cards 3

Solid: Doug’s whole arc. Less solid: The rest of it.

44  New Girl 4

Getting funny again.

43  Transparent 2

I was kinda struggling through this season. Those Pfefferman kids are just the worst, and really didn’t slow down heading into this season. In fact, the one character that gave some relief last season, Maura, started showing her narcissistic side as well, and I was ready to sign out completely. But the last few episodes kinda redeemed it for me. I really liked how the flashbacks to thirties Germany connected with the present day, and gave a really interesting context for their family. I also liked the Womyn festival storyline, and how there was a bit of a persecution competition that I wouldn’t have expected. (And as much as I love Kathryn Hahn, I really hope she gets as far away from those people as possible. RUN!)

42  Wet Hot American Summer

More ridiculous Wainy goodness. But this time, with more amazing Jon Hamm comedy.

41  Community 6

In some ways, Harmon has gone off the deep end, but mostly in a good way. It felt like he was leaning less on past gimmicks (somehow despite yes, another paintball episode), and was back to playing around with format in the way he does. They weren’t all winners, but all in all a pretty funny season of Community (probably the last).

 

Stay tuned for tomorrow: 21-40!