The TV beat has a problem: 2018 was a great
year in television. On one hand, as the television
addicts we claim ourselves to be, this “problem”
has provided us with a myriad of excuses to avoid
social contact and stay in. On the other hand,
the consistent stream of quality television makes
any effort to choose definitive favorites all the
more difficult. The selection process itself was
strenuous: on what criterion should we base our
picks? Should we skew towards smart comedies,
somber dramas, or meet somewhere in the middle
with the wide range of dramedy hybrids on the
market today? Should entertainment value be the
main determinant or technical prowess? What
role should cultural context and inclusion play? As
best as we tried to pick shows that combined each
of the above criteria, in trying to nail down an
angle, it became very clear that no matter which
shows we selected, and which order we placed the
shows in, at the end of the day, it is subjective. So,
if your favorite show does not end up making the
cut, you still have pristine taste, champ!
Also, please consider the fact that this list was
drafted before the Golden Globes; we do, indeed,
have minds of our own.
1.
“The
Marvelous
Mrs.
Maisel” (Season Two)
After a pilot season that brought in two Golden
Globes, four Emmys and an infinite amount of
praise from critics, the cast and team of “The
Marvelous Mrs. Maisel” had a lot to live up to in
the sophomore season of the Amazon Prime Video
comedy. The show clearly did not disappoint.
Rachel Brosnahan is a glowing, persistent light
in gloomy world of cookie cutter comedies. Her
magnificent performance is only enhanced by the
equally impressive work of her costars, from the
flawless comedic timing of Alex Borstein as Suzie,
Maisel’s agent, to the love-to-hate-him role taken
on by Michael Zegen as the star’s complicated
ex(ish)-husband. Everything about “Maisel” is
pleasing to watch: the saturated set design, the
perfect soundtrack and the clever jokes woven
into the show so well you might miss them.
“Maisel” is so simply entertaining that it is easy to
overlook the painstaking attention to detail that
lies within the show. Once again, “The Marvelous
Mrs. Maisel” has proved itself as the exemplar of a
period comedy, highlighting the novel charm of a
bygone era, but never failing to wryly critique the
problems of it we have progressed from. One can
only hope it will sustain its rule.
— Samantha Della Fera, Senior Arts Editor
2. “Atlanta” (Season Two)
Donald Glover and Hiro Murai have developed
a symbiotic partnership for the ages. The Lennon
and McCartney of modern TV, they achieved the
rare feat of following up a brilliant debut season
of TV with another, surpassing the first in terms
of boldness, innovation and emotional resonance.
There are too many episodes in season two that
made me completely re-evaluate how TV can or
should be done, in a way that reminds me of the
way I felt I first watched “Twin Peaks” hit its
stride. Donald Glover’s creative genius is common
enough knowledge that any further lauding would
seem redundant. More underrated are the virtuosic
performances of Lakeith Stanfield as Darius and
Brian Tyree Henry as “Paper Boi,” with the latter
giving a nuanced and heartbreaking portrayal of
depression this season. “Atlanta” continued to
hit the surreal notes it did so well in season one,
including a stunning “revelation” about Drake
and perhaps the best episode of TV this year, the
horrifying “Teddy Perkins.” Although the titular
city remains its central focus, Murai and Glover
take us to a variety of locales within it, from a
German festival to a state college frat party (which
also produces one of the show’s most memorable
and disturbing scenes set to D4L’s “Laffy Taffy”).
All that’s left is to wait and see what this duo can
accomplish next.
— Sayan Ghosh, Assistant Arts Editor
3. “Barry” (Season One)
Hired assassins have had a moment this past
year, but our two favorites could hardly be any
more different. Just as “Killing Eve”’s Villanelle
is vivacious and disturbingly passionate about
her job, the titular hitman in Bill Hader’s
brilliant “Barry” is increasingly frustrated and
disillusioned with his. He finds his true calling
in an acting class directed by Gene Cousineau,
played by Henry Winkler in one of his greatest
performances.
Like
“Killing
Eve,”
“Barry”
straddles the increasingly fine line between
comedy and tragedy, and is anchored by Hader’s
masterful portrayal of depression and his quest to
climb out of it, all while his past life clings on.
— Sayan Ghosh, Assistant Arts Editor
4. “Killing Eve” (Season One)
You know what’s tired? Having the same debate
every three months about whether or not James
Bond can be played by a Black man. You know
what’s wired? Scrapping the whole James Bond
idea and allowing “Killing Eve” to replace it as the
premiere spy story in pop culture. It is rare that
a show can hook you from the first minute and
then retain that chokehold grip on your attention
for the remainder of the season, but “Killing Eve”
does it. What makes the show so engaging is its
usage of the parallel narrative arcs following both
Eve Polastri (Sandra Oh, “Grey’s Anatomy”) and
Villanelle (Jodie Comer, “My Mad Fat Diary”). The
quickness with which the show intercuts between
protagonists makes it difficult for audiences
to figure out exactly who to place our support
behind, which keeps us watching. The first season
of “Killing Eve” is particularly exciting because
of its boldness in daring to diverge away from
genre conventions. At first glance, “Killing Eve”
appears to be just another thriller-drama, devoid
of all humor. But then moments of dark, off-kilter
hilarity occur — like a character accidentally
dying from spraying perfume (that really wasn’t
perfume) and before you know it, you’ve devoured
the entire season.
— Ally Owens, Daily TV Editor
5.
“Bojack
Horseman”
(Season Five)
The animated show about a goddamn self-
loathing horse man continues to produce the
realest content on TV. Let the brilliant animal
puns (seriously, how do they still come up with
them) draw you in, but let the touching, intelligent
portrayal of everything from addiction to loss
to abuse keep you mesmerized. Every season,
“Bojack” delivers episodes that push the envelope
of what we can expect from the medium itself
— from an entire episode under the sea with no
dialogue, to Seasons 4’s magnum opus “Time’s
Arrow,” which let us into the deteriorating mind
and traumatic past of Bojack’s mother. This season,
we received “Free Churro,” an entire episode
delivered as a monologue before ending on a note
so absurd it pretty much sums up Bojack’s entire
relationship with his mother. “Bojack Horseman,”
in all its brilliance, continues to set the standard
for absurdist comedy (where else can you find a
season-long arc about a sex robot gone rogue?)
that has the capacity to make nuanced social
commentary.
— Sayan Ghosh, Assistant Arts Editor
6. “Insecure” (Season Three)
Well, I wanted to simply use a photo of Issa
Rae as my justification for this ranking. But, alas,
this job requires me to write, so I will attempt
to summarize (in under 10,000 words) why
“Insecure” ranks amongst the best television of
2018. While single-handedly transforming what it
means to be a funny Black woman on television,
this is not the sole reason why “Insecure” is
great television. With each season, Rae and
her team raise the bar of quality for the show —
the writing continues to become snappier, the
characters more layered, the cinematography all
the more beautiful. However, I want to zero in on
what season three has done in particular. Season
three, in many ways, was a season of transition
for the characters of “Insecure,” and while
still continuing to provide enjoyable, hilarious,
escapist television, it does an excellent job
reflecting real changes twenty-somethings must
endure. Through seeing the central characters
surmount changes of great magnitude, “Insecure”
remains one of the few shows on television in
which all characters, central and secondary alike,
have an element of depth and authenticity to them.
During season three, particularly, characters like
bougie Tiffany (Amanda Seales, “Blackish”) and
brash Kelli (Natasha Rothwell, “Love Simon”),
who were previously minor and underdeveloped,
were given the chance to evolve before our eyes
into fully fleshed out characters with a semblance
of a life outside of their interactions with Issa.
— Ally Owens, Daily TV Editor
7. “GLOW” (Season Two)
Because the season one finale neatly concluded
the season-long arc dedicated to seeing whether
the Gorgeous Ladies of Wrestling could actually
produce a successful television program, I
wondered where the show could take the ragtag
bunch in its sophomore effort. I was pleasantly
surprised to see that everything enjoyable about
the first season was reproduced and elevated
in season two. One of the best things about the
second season was the opportunity to learn
more about the real women behind the theatrical
wrestling personas. While in the first season, the
central drama afflicting the diverse ensemble was
their satirical acceptance of their stereotypical
roles, in season two, viewers are able to see what
lies beneath the surface. Most memorable was
the episode following Tammé’s (Kia Stevens,
“Total Nonstop Action Wrestling”) struggle
to explain to her son how and why she deals
with participating in minstrelsy for a paycheck.
Although we definitely saw more of the diverse
ensemble cast than in season one, “GLOW”’s
problematic tendency to centralize only its white
characters remains. Being one of the best shows
of 2018 does not mean it comes without room for
improvement. Hopefully, in the forthcoming third
season, we will be able to see the same heart and
eclectic humor, but with better storylines for the
characters of color. However, “GLOW” makes up
for any shortcomings by finally providing viewers
an episode completely dedicated to showcasing
the show-within-the show in all its spectacular
’80s-ness.
— Ally Owens, Daily TV Editor
8. “The Good Place”
As a fan primarily of comedies, I have never
switched one on for the purpose of an intellectual
challenge. That is, until I discovered “The Good
Place.” From the beautiful mind of Michael
Schur, a man that gave us both “Brooklyn Nine-
Nine” and “Parks and Recreation,” “The Good
Place” is a comedy about death, decisions and
doing the right thing (sounds hilarious, right?).
It is the harmonious marriage of philosophy and
comedy, two subjects that do not meet as often as
they should. While watching “The Good Place,”
you’ll find yourself chuckling along with loveable
demon, Michael, played by certified silver fox Ted
Danson and then moments later be captivated by
a discussion of Kant with the dreamy Professor
Chidi
Anagonye
(William
Jackson
Harper,
“Patterson”). Yes, the entire cast is hot. “The Good
Place” will challenge both your mind and your
ability to pick up on some incredible niche jokes.
And if the Golden Globes won’t say it, I will: this is
one of the best shows of the year.
— Samantha Della Fera, Senior Arts Editor
9. “Queer Eye” (Season Two)
2018 was a long year. It’s hard to imagine that
between Kylie Jenner giving birth, an Olympic
games, a World Cup and Mark Zuckerberg taking
over the government that not one, but two,
seasons of the “Queer Eye” reboot were released.
But, it’s true, “Queer Eye” triumphantly returned
this year, and oh, was it wonderful. “Queer Eye”
is the embodiment of joy neatly packaged in a
makeover show. No matter how you may feel
about individual members of the Fab Five (sorry,
Antoni), the show undoubtedly acted as a force of
positivity against a horrifyingly bleak year. While
polarized political parties rip each other to shreds
in Washington and across the country, “Queer
Eye” reflected a different possibility: Georgia
conservatives and queer men cuddled up on a
couch shouting “Yas, Queen!” together. At its core,
“Queer Eye” is a show about hope: Hope that some
of our differences are not irreconcilable, and hope
that it is possible to truly fall in love with yourself.
— Samantha Della Fera, Senior Arts Editor
10. “This is Us”
Late at night, when you’re lying next to
someone you love, a thought might strike you.
If one thing had changed, your whole life would
be different. “This is Us” is a show operating
only on this thought. Its third season continues
the work of its predecessors, building beauty
out of the humdrum. Just when it seems like the
Pearsons might be living life with a little too much
comfort, they’re set back. The big date doesn’t
go as planned, a community retaliates against
assumptions about them and depression puts you
to bed when you don’t take your meds. Its honesty
and self-awareness easily are the best part of
“This is Us.” It’s how the Pearson family wrangles
with the moments where things fall apart and
makes do. It’s how they admit they overreact. It’s
how they try to grow, and fail at it. It’s the want to
love and be loved. It might be a story about them,
but at times, it feels like it could be about you as
well. Season three has not seen the show turn
towards the saccharine. Instead, it continues to
straddle the line of feel good television and reality.
Season three tightens its hug around viewers and
envelopes you in such a way that an hour of “This
is Us” has begun to feel like home.
— Max Schwarz, Daily Arts Writer
The best television from TV’s best year in a long time
AMAZON STUDIOS
BBC AMERICA
FX
NETFLIX
4B —Thursday, January 10, 2019
b-side
The Michigan Daily — michigandaily.com