Television programs, like music artists, have certain audiences they appeal to, and not everyone will like the an artist or show regardless of the quality of the end product. So, while I can’t say these are the best shows, or any more worthwhile than TV genres I usually avoid (reality TV shows), I can say, these are the shows I like. If you are wondering “why should I care what Noivad watches?” or under what “authority” I share this.
The quick answer is that I graduated with a degree in Broadcast & Electronic Communication (with a production emphasis)—so I know how to make the stuff. That’s not important nor enough reason for authority, but what it means is that quickly deconstructing television shows and movies is easy for me to look beyond the surface (which can be enough reason to watch in some cases) into the substance of a show. I can usually quickly spot potential, and shows with deeper layers or more suspense & less explored subject matter I tend to enjoy. Also, I try to watch all the new shows to see which ones aren’t rehashes of prior shows. (This means you probably won’t find “CSI: Spacepants” joining this line up anytime soon.)
Before I begin, I should mention my likes (biases) are very much shaped by things I enjoyed in my youth, such as cartoons, comedy, sci-fi, fantasy, video games* and science shows on PBS. So, I have a weak spot for these genres, even if they are not written or performed particularly well. Of course, I realize this is also an opinion — degree in Broadcasting Communications (Radio+Television Production) or not — but my suspension of disbelief only carries things so far. When a character delivers a cheesy line, does something that prolongs strife that any sensible person wouldn’t do, only these genres do I give a break to. On any other shows, like straight dramas, I would tune out. But what follows is a list of current shows I go out of my way to catch every episode of — whether it be live or thanks to the Internet TV on demand service such as Hulu Plus. First my top shows. Any one of these deserves more than a few paragraphs here. So, I’ll quickly dissect each and comment on how each show’s sum can be greater than its parts, to show people who aren’t familiar with the shows what makes them worth watching in this very cursory treatment.
(1) Person of Interest — In its fourth season on CBS the environment has changed from vigilante group using hi-tech to thwart murders to them being actively hunted by the same type of tech they once used. Aside from brilliant writing and performances, character development seems natural considering the character’s environments change each season. While an AI of “The Machine’s’ specification seems far fetched, and the security flaws might be a bit weaker than in real life, they aren’t far from the truth that digital surveillance and communications interception is about as ubiquitous as portrayed. I had thought I was tired of spy shows until Person of Interest came along. This show renewed my faith in spy thrillers because it has managed not to fall into the standard spy vs. spy cliches such as pitting family members against each other, reveals that friend were actually spies or twists that have been overused in other shows. I have seen every episode to date, and I’m often on the edge of my seat watching it. One last thing: I showed the first episode to my best friend, who watches very little TV, and has very high expectations for what will make a show worth watching. After the first episode he was hooked.
(2) Marvel’s Agent Carter — Another well written sci-fi spy drama on ABC set in the 40s, shortly after WWII. Margaret “Peggy” Carter was Captain America’s love interest before he died in the war. We know he’s coming back in 65 about years, but to the world he was symbolic of what the USA lost — what she lost. The characters are a mixture of the comic book archetypes with a flourish of golden age acting, attitudes and dialog pacing of movies from the 40s. However, what sets this apart is both the perspective: the story is told from a woman’s point of view. Here the damsel is the one doing the rescuing. Part of the brilliance of this show is showing the dichotomy between reality and the radio show within the show that portrays the men as the rescuers. It is a nice touch and nod to the times. The snappy slang in the dialog is executed with just the right touches in tone to remove the hokeyness of some of it and instead immerses the viewer in the times. I credit this to the first rate acting and directing. For those more into action, the plots and sci-fi elements are enough to entertain action fans and even children since the most coarse words uttered are “damn” and “bloody.” (Peggy & Jarvis are British after all.) At this time I have not heard of it being renewed for a second season, but both the ratings and the audience reception have been pretty strong. So, here’s hoping for six seasons and a movie. More on 6 and 1 later…
(3) Better Call Saul — AMC’s spinoff to Breaking Bad follows the life of Saul/James McGill(Bob Odenkirk) before he met Walter White. This series is less violent than its predecessor and has a much more adult drama oriented. Despite the refinement (to some) this series would not have been possible without the built in audience of Breaking Bad. Despite the leg up, Vince Gilligan, the creator is not resting on his laurels even though he could (and has been done many times before by other show creators). He spins tales full of depth and intrigue as well, if not better than anyone in the business. The cinematography in Bingo where (without being too much of a spoiler) Kettleman’s discover their loss while Jimmy waits patiently is masterful. Even a mundane shot of a cart with a lame wheel gliding down the aisle takes on new meaning, and his mixture of flashbacks and flash forwards draws in viewers deeper into the world that shaped Jimmy’s (Saul’s) life before he met his last client. Saul’s background is Jimmy’s foreground, and an interesting life it was. Fans of the predecessor will instantly recognizes similar situations that played out in the former series, and see how Saul gained the ability to talk his way and navigate any situation as Jimmy — former con artist turned lawyer. We meet an interesting cast of characters — some familiar — that add to and make a richer world. If Vince Gillian’s track record holds, this should also be a classic series. As Family Guy jested: “Better Call Saul is the best show ever…”
(4) The Big Bang Theory — well known hit of silliness on CBS. While many non-geeks might think the show is not for them, the situations the characters get into will be familiar to anyone that has friends or family. The best scenes are when these worlds collide (“Fish out of water”) in the form of the interactions between Penny and Sheldon, and the boys and regular social situations.
The science bent and odd characters that any self-proclaimed geek or nerd can identify with is one of those shows that now on its eighth season, has a rich back history to draw from. Although one does not need to know any of the history to enjoy the many visual gags and jokes that anyone of any degree can relate to, it simply adds layers to them. It mixes smart jokes with bathroom humor very well, and has a wider appeal than one would think.
(5) Community — formerly on NBC with the sixth season on Yahoo, Community barely makes this list. What wider audiences and NBC forgot was the brilliance of this show. To watch it is to deconstruct TV. Each show is a spoof on various genres and TV shows with the common thread being the backstory that 4 adults and 3 fresh out of high school kids form a study group at possibly the worst — easily the zaniest — community college ever. From the crazy asian Spanish Professor to the flamboyant dean, no genre is safe from deconstruction. So, no matter what your favorite genre — war movies, sports, sci-fi, fantasy, police shows, westerns, gangster, mob, hospital shows, soap operas, game shows, reality shows, documentaries, mocku-mentaries… you name it — the cast manages to adapt to each either with a school contest or a person’s imagination as the setting. The various pop culture references are simultaneously lampooned and revered through each episode, and any fan of pop culture and entertainment —that we are all immersed in — should take a look at this show.
(6) @midnight — Comedy Central’s improvised comedy game show host by Chris Hardwick is in its second season. I am happy to say, I “discovered” it, not knowing who Chris was it’s first week, and have been a fan since. I am not normally a fan of improv, but in the format of making the punchline the response in a Jeopardy-like format of events drawn from the internet, this show could conceivable go on for as long as Chris wants to do it. The revolving panel of contestants are usually comedians, comedy actors and internet celebrities. Despite all the snarkiness of some of the jokes, the show still manages to remain light-hearted and usually laugh out loud hilarious. This show is perfect for any fan on stand-up comedy, internet memes and one-liners.
(7) The Goldbergs — Told from the point of view of a grown up Adam Goldberg reflecting on his childhood, ABC’s the Goldbergs manages to hit upon the truths of families and friends regardless of era. While the technology was different, and the pop icons were different, the motivation and conflicts between friends, siblings and parents remain the same. Given I grew up during the times this is set in, and I had some of the same toys and interests as Adam, this show has found a soft nostalgic part in my mind because I can identify with him and the circumstances. Luckily, the writing and performances are good, and the situations can be truly funny or embarrassing. The master stoke in this show is that at the end they usually show a clip or a picture of the actual event that inspired the story which tells the viewer: this part — often among the funniest parts of the story — actually happened, and Adam Goldberg did not make this stuff up. I guess that’s why it is so easy to hit those notes of societal truth.
(8) Conan — While I don’t catch every show, I catch as many as I can. He is probably one of the most entertaining hosts on TV. His comedic range goes from incredibly silly and goofy to smart and quirky. Add in the raunchy-warped quick wit of Andy Richter (who returned when Conan went to TBS from NBC), the skits and interviews that sometimes get more revealing than most, and you have the best talk show currently airing, bar none IMO. Also, I have been watching the show since Conan’s second week. I still miss the NBC skits Pimpbot 5000 and Polly the NBC peacock that CoCo has had to retire. But at least Triumph the Insult Comic Dog escaped.
(9) The Daily Show with Jon Stewart — CC’s long running fake news show is helmed by who is probably among the best most insightful interviewers ever on TV. Jon honed his interviewing skill on his own talk show decades ago. He and his writers have managed to deliver solid “infotainment” year after year and have launched the in front of the camera careers of many TV stars including Steve Carell, Stephen Colbert, John Oliver, and Larry Wilmore.
(10) Silicon Valley — Mike Judge is back on HBO with a highly satirical take on Silicon Valley. Judge portrays a highly dysfunctional land rush of every one starting a start-up just to sellout and get rich quick. His setting hits many true notes in the level of trend-chasing venture capitalists that extinguish the ideas that will actually advance the industry for the ones that they can label as “the next ____” and self-labeled “visionaries” that also plunder advances because only see as far as their self-interest. This dysfunction is the setting for comedy as we see the young developers with the actual ideas being manipulated like pawns by the tech CEOs who do little work and have lost touch with the lifestyle of their customers.
Judge is a master at subtle—and not to subtle (Idiocracy)—comedy, and unfortunately, some people only look at the face value comedy and completely miss the satirical comedy. His treatment of women and minorities was a hot button issue upon the show’s premiere. Being familiar with his previous shows and movies, I found it hard to believe he would write plots praising any type of *ists. After watching the show it became obvious that these were probably the same type of people that protested the main characters of Beavis & Butthead (“set a bad example to teens”), and King of the Hill (“encouraging ignorance”).
Because the satire is so subtle, some people might not pick up on it and those moved to outrage seem not to don’t understand satire if it’s delivered with a straight face — especially if its a topic they are particularly sensitive to.
A Few Notable Shows
(#) Last Man on Earth — FOX’s new show Last Man on Earth is a straight faced comedy showing the good and bad of having no one around. Phil (Will Forte) wakes up one day with no one around. He goes on a long drive across country to find people, paining signs with his location. He eventually let’s himself go and then has to learn what being a part of society is again when strangers find him one by one. This show new, but as of right no it’s both funny and strange. We will see how it evolves and how audiences receive it.
(#) Marvel’s Agents of S.H.I.E.L.D. — Of the super hero genres that have gaping holes in them, this one somehow does the best at making them least painful and jarring. I’ve titled them “soap operas in spandex” because often the logic is lacking, but meh. I like the hints and other marvel characters that make appearances so this one, I love parts of and cringe at other parts of the same goes for the next 2. Luckily, Marvel’s “fiction” part of their brand of fantasy/sci-fi is much more cohesive and the only things that yank me out o the story are the characters suffering from plot-induced stupidity.
Other “Soap Operas in Spandex”
(#) The Flash — of the DC shows, this one is slightly better because at least the hokey dialog seems less hokey. The convoluted conversations and plot-induced stupidity often throw me. I’m a sucker for comic book shows. So I watch. Luckily, the dialog in recent episodes has gotten a bit better, while the science fiction continues to get more outlandish and self-contradictory. The Flash is guiltiest at overcoming my suspension of disbelief simple because they try to explain away something only to have it become another hurdle an episode later. (Coincidentally, this type of self-conflicting phenomena parallel what happens with the introduction of many comic book characters as they are handed off between writers.)
(#) Arrow — the earlier entry in the DC TV shows, The Arrow has some of the best fight scenes and some of the worst dialog. The plots often make little sense and the acting is often much more soap opera level than award-worthy. But meh, its entertaining and somewhat interesting to see how Oliver will pull everyone out of the fire. The writing quality is extremely variable. In the first season one character’s only purpose was a thin (crawling) subplot and to recap the prior episodes for jump-ons which is among the worst forms of TV writing.
As far as the last 3 go, all suffer from the dreaded “tech/smarts will quickly solve/find everything until the showdown,” to some extent — especially in the last 2. The dramatic fights depend on either tech failing or intelligence going out the window so the story can continue to fill their 44 minute episode and/or to make the hero(es) to fall back on “heart” because the writers have to hack together some sort of virtue so the morality speech at the end will make sense: “If it wasn’t for you helping me…” blah, blah, blah. Sadly, these last 3 are only worth watching for comic book fans.
[*Looney Tunes Cartoons (particularly early Daffy Duck), Rocky & Bullwinkle, Superhero Comic Books, The Muppets, Advanced Dungeons & Dragons, Star Wars IV–VI, Quark, Battlestar Galactica (70s version with my favorite sci-fi exchange. child:“The stars: they’re backwards!” adult: {whispers} “We came from the other side.”), Tom Baker Doctor Who, Blade Runner, Robocop, Pinball Machines, the first Arcade Games, the Atari 2600, and the list goes on.]