15.) It's Always Sunny in Philadelphia (FX - Season 12)
There's a sad tinge writing about Always Sunny right now. It premiered very early in the year, and it may be a while before it is back, with or without Glenn Howerton who is unsure about continuing. Can't blame him. I'm sure no one more than him, Rob and Charlie thought they would get 12 seasons to tell their story. What is amazing is how when so many shows get stale when they cross even a 4th season (see Veep), the 'Dumb Seinfeld' show decided to get better, or at least more inventive. Somewhere around Season 7, when Mac got fat, the show has never been the 'watch five hilarious friends tend bar.' And while there may be some longing to those more simple days, seeing the creators actually create has been amazing. In the 12th season, they did a brilliant parody of The Jiux, a sharp look at black vs. white life experiences, a very serious look at whether hate speech has any nuance, to character studies of Rickety Cricket and finally Dennis himself (and Charlie less so who finally beds the waitress). To have creative imagination twelve whole years in is just ridiculous. They even did give us all our candy with one episode simply title 'The Gang Tends Bar' for those who longed for the day when they tended bar.
14.) Fargo (FX - Season 3)
Through maybe 5 or 6 episodes, this was quite a bit further down the list (as in towards the bottom quarter), but pretty much following the moment the bus crash occurs through the end the season caught life. The beginning half of the season was like a bleak facsimile of the brilliant show it used to be. The second half was right up there with those first two seasons. It was mostly Mary Elizabeth Winstead's character coming to life, assisted by Mr. Numbers from the first season, one of the two deaf henchman, coming back to take their revenge. It almost seemed as if Noah Hawley realized midway through that the supposed stars of the season, the twins played by Ewan McGregor, were fairly milquetoast, and the stars were David Thewlis and Mary Elizabeth Ellis, even moreso than Carrie Coon's detective Gloria Burgle. The plot was more streamlined than in past seasons, less strange diversions (great moments from the previous two), but the end-game was worth waiting for. Also, I really did enjoy the strange third episode where they left the Minnesota setting for once and had Gloria go to Los Angeles, and that was thrilling. Creator Noah Hawley has been ambivalent about bringing the show back (and is spreading his auter seed a bit further with Legion - personally found a bit too ambitious and overrated), and there are some diminishing returns, but the last three episodes, and the character arc of Nikki Swango were fun enough to rope me in to a potential fourth season.
13.) Silicon Valley (HBO - Season 4)
For the first time in the four years that Silicon Valley has preceded Veep, I found the former better than the latter. Sure, it is mostly about Veep falling off a bit and losing itself in plot, but I think Silicon Valley had a really strong season, mainly because an aggravated, relatively neutered Gavin Belson is a great Gavin Belson. The odd pairings made this season work quite well, whether it be Gavin and Richard, or Jianyu and Monica, or the continued greatness of Gilfoyle and Dinesh. Sure, the show hit reset over and over again, as it has always done and will continue to always do, but there seemed to be more joy in it this year. I can't see the show going much longer than this, and certainly losing Erlich will hurt, but with the growth of other characters they are better set to absorb it now. The show stretched credulity a bit this season, mostly with the ludicrous plotline of Big Head teaching a class at Stanford, but it was all in good fun, something the show sorely lacked at times in recent seasons that got a bit too far down before Pied Piper inevitably broke back. My largest criticism of the show is the emotional hearstrings have been pulled so many times their worn out at this point. If they can refocus on what they still do well: tremendous, quick humor, it can remain a great show for the planned duration.
12.) 13 Reasons Why (NETFLIX)
There are four shows on this list that feature non-adults (or at least majority non-adults). The first was Dear White People. The last two are still to come. 13 Reasons Why was the darkest, the most serious. One of the great elements of shows with kids and/or young adolescents is the unbridled joy whether in the performances or the environment. 13 Reasons Why was not that. It was the long story of a girl killing herself to start and unwrapping why she did. It is a great set-up for a show (and a novel which it was based off of). My only real complaint with the show, in truth, is that they built up to the idea that the tape about Clay would be so horrifying and dark, and in reality it wasn't nearly the worst of the offenses. What really impressed me about the show was how well acted it was given how dark the source material was. Katherine Langford, who plays Hannah (the victim), was brilliant. The actors playing Tony Padilla, Jessica Davis and Justin Foley were all strong. The adults in the room were also great (forgot how good Kate Walsh can be). The source material was interesting in the current climate too, uncovering how all the 'let teenagers be teenagers' can lead to some really dark places. I don't know if any show asked more questions than this one. There were enough critical thinkpieces to avoid talking about them, but I'll say it made me rethink what went on even at my high school. I have no need for the show to continue, which it seemingly will. I have no real expectations for that season. This was good enough for me.
11.) Game of Thrones (HBO - Season 7)
If not for the incredible stretch of reality that the second to last episode (the great Wight heist), Game of Thrones would be far higher up. Color me fairly intrigued for the penultimate season. We finally got so many great pairings that we all waited four or five years for, like Jon & Dany, or the Lannisters and Dany, or the great return of Tyrion to King's Landing. My favorite moment was when Dany's envoy (without her) and the Lannister meet in King's Landing and seeing all the old pairs from seasons past acknowledge each other (Brienne & Hound, Brienne & Jamie, Pod & Tyrion, Pod & Brienne). The big action sequences were so well done, from the 'Loot Train Attack', to Dany's various display of dragon bad-asserry. Even if the final R+L=J confirmation was more or less known for years, having it happen in reality was meaningful. What Game of Thrones has perfected is spectacle. As we head away from small moments, or random pairings driving storylines (everything with Arya and the Hound), we have started to rely on spectacle even more. The sheer amount of plot moving needing to take place over these 7 episodes and the next 6. But my lasting memory of the season will probably be the slow-played drama that took place at Winterfell, with the living Stark children reuniting after years in teh wilderness, and deciding to kill the scheming person who set this all up.
There's a sad tinge writing about Always Sunny right now. It premiered very early in the year, and it may be a while before it is back, with or without Glenn Howerton who is unsure about continuing. Can't blame him. I'm sure no one more than him, Rob and Charlie thought they would get 12 seasons to tell their story. What is amazing is how when so many shows get stale when they cross even a 4th season (see Veep), the 'Dumb Seinfeld' show decided to get better, or at least more inventive. Somewhere around Season 7, when Mac got fat, the show has never been the 'watch five hilarious friends tend bar.' And while there may be some longing to those more simple days, seeing the creators actually create has been amazing. In the 12th season, they did a brilliant parody of The Jiux, a sharp look at black vs. white life experiences, a very serious look at whether hate speech has any nuance, to character studies of Rickety Cricket and finally Dennis himself (and Charlie less so who finally beds the waitress). To have creative imagination twelve whole years in is just ridiculous. They even did give us all our candy with one episode simply title 'The Gang Tends Bar' for those who longed for the day when they tended bar.
14.) Fargo (FX - Season 3)
Through maybe 5 or 6 episodes, this was quite a bit further down the list (as in towards the bottom quarter), but pretty much following the moment the bus crash occurs through the end the season caught life. The beginning half of the season was like a bleak facsimile of the brilliant show it used to be. The second half was right up there with those first two seasons. It was mostly Mary Elizabeth Winstead's character coming to life, assisted by Mr. Numbers from the first season, one of the two deaf henchman, coming back to take their revenge. It almost seemed as if Noah Hawley realized midway through that the supposed stars of the season, the twins played by Ewan McGregor, were fairly milquetoast, and the stars were David Thewlis and Mary Elizabeth Ellis, even moreso than Carrie Coon's detective Gloria Burgle. The plot was more streamlined than in past seasons, less strange diversions (great moments from the previous two), but the end-game was worth waiting for. Also, I really did enjoy the strange third episode where they left the Minnesota setting for once and had Gloria go to Los Angeles, and that was thrilling. Creator Noah Hawley has been ambivalent about bringing the show back (and is spreading his auter seed a bit further with Legion - personally found a bit too ambitious and overrated), and there are some diminishing returns, but the last three episodes, and the character arc of Nikki Swango were fun enough to rope me in to a potential fourth season.
13.) Silicon Valley (HBO - Season 4)
For the first time in the four years that Silicon Valley has preceded Veep, I found the former better than the latter. Sure, it is mostly about Veep falling off a bit and losing itself in plot, but I think Silicon Valley had a really strong season, mainly because an aggravated, relatively neutered Gavin Belson is a great Gavin Belson. The odd pairings made this season work quite well, whether it be Gavin and Richard, or Jianyu and Monica, or the continued greatness of Gilfoyle and Dinesh. Sure, the show hit reset over and over again, as it has always done and will continue to always do, but there seemed to be more joy in it this year. I can't see the show going much longer than this, and certainly losing Erlich will hurt, but with the growth of other characters they are better set to absorb it now. The show stretched credulity a bit this season, mostly with the ludicrous plotline of Big Head teaching a class at Stanford, but it was all in good fun, something the show sorely lacked at times in recent seasons that got a bit too far down before Pied Piper inevitably broke back. My largest criticism of the show is the emotional hearstrings have been pulled so many times their worn out at this point. If they can refocus on what they still do well: tremendous, quick humor, it can remain a great show for the planned duration.
12.) 13 Reasons Why (NETFLIX)
There are four shows on this list that feature non-adults (or at least majority non-adults). The first was Dear White People. The last two are still to come. 13 Reasons Why was the darkest, the most serious. One of the great elements of shows with kids and/or young adolescents is the unbridled joy whether in the performances or the environment. 13 Reasons Why was not that. It was the long story of a girl killing herself to start and unwrapping why she did. It is a great set-up for a show (and a novel which it was based off of). My only real complaint with the show, in truth, is that they built up to the idea that the tape about Clay would be so horrifying and dark, and in reality it wasn't nearly the worst of the offenses. What really impressed me about the show was how well acted it was given how dark the source material was. Katherine Langford, who plays Hannah (the victim), was brilliant. The actors playing Tony Padilla, Jessica Davis and Justin Foley were all strong. The adults in the room were also great (forgot how good Kate Walsh can be). The source material was interesting in the current climate too, uncovering how all the 'let teenagers be teenagers' can lead to some really dark places. I don't know if any show asked more questions than this one. There were enough critical thinkpieces to avoid talking about them, but I'll say it made me rethink what went on even at my high school. I have no need for the show to continue, which it seemingly will. I have no real expectations for that season. This was good enough for me.
11.) Game of Thrones (HBO - Season 7)
If not for the incredible stretch of reality that the second to last episode (the great Wight heist), Game of Thrones would be far higher up. Color me fairly intrigued for the penultimate season. We finally got so many great pairings that we all waited four or five years for, like Jon & Dany, or the Lannisters and Dany, or the great return of Tyrion to King's Landing. My favorite moment was when Dany's envoy (without her) and the Lannister meet in King's Landing and seeing all the old pairs from seasons past acknowledge each other (Brienne & Hound, Brienne & Jamie, Pod & Tyrion, Pod & Brienne). The big action sequences were so well done, from the 'Loot Train Attack', to Dany's various display of dragon bad-asserry. Even if the final R+L=J confirmation was more or less known for years, having it happen in reality was meaningful. What Game of Thrones has perfected is spectacle. As we head away from small moments, or random pairings driving storylines (everything with Arya and the Hound), we have started to rely on spectacle even more. The sheer amount of plot moving needing to take place over these 7 episodes and the next 6. But my lasting memory of the season will probably be the slow-played drama that took place at Winterfell, with the living Stark children reuniting after years in teh wilderness, and deciding to kill the scheming person who set this all up.
