Top 5 TV Shows of 2017

It’s December, which means it’s the season to reflect on the year and assign an arbitrary number to the things you liked over the past 12 months. This year, I’m splitting up my lists in order to tantalise my readers, and give me more things to post this month. (I’m still working on my review of Danganronpa V3, which should hopefully be out sometime next week). I’ve decided to start with TV shows, because no new TV shows are coming out or ending this month that will bump anything off this list. If Black Mirror Series 4 ends up surprise dropping just after I post this, then so be it, but other than that, the TV season is over for this year. I’ve also extended the boundary to mean that old shows can now appear on this list, meaning I’m ranking it by season, not simply first season, which I thought was a bit limiting. Anyway, with that rambling out of the way, let’s continue.

Honourable Mentions

I didn’t have any of these last year, but 2017 has been so fantastic for media (perhaps compensating for other deficiencies) that all my lists now need this. I guess I’ll start by shouting out the last thing to be bumped off my list – Nirvanna The Band The Show, which aired two excellent seasons this year despite not even being on my radar until it was half way through the second season. It’s notable for its semi-documentary stylings, wherein the majority of the show is scripted, but chance encounters with ordinary people often change the direction of the episode’s plot. It’s also got a really nice relaxed and unique style of comedy that comes with the improvised nature of the show. It’s hard to find to watch, but worth seeking out. I think Crashing also deserves a mention on here; even though it’s another “comedian makes semi-autobiographical semi-comedy show”, it really worked for me, and since we can’t watch Louie anymore, this fills in the void nicely.

There are loads more shows I’d want to talk about in detail, but because that’d make this way too long, here’s a list of what to check out for you; Lady Dynamite Series 2 (the first season made my list last year, this season is more of the same in a very good way); Curb Your Enthusiasm Series 9 (the worst season of Curb is still good TV, and it’s just nice to have Larry back); Back (basically Peep Show with beards, but who doesn’t love Peep Show?); Big Mouth (Nick Kroll and John Mulaney cartoon about puberty… somehow surprisingly touching); The Good Place (The best network show everyone is talking about); The Mick (The best network show no one is talking about) and Vice Principals, which finished its short run to become an excellent dark comedy, even if the ending didn’t blow me away.

5. On Cinema: The Trial of Tim Heidecker

Screen Shot 2017-12-06 at 00.01.44

Part of what makes me love the trial season of On Cinema so much is that it’s really ambitious television. On Cinema, for those who aren’t aware, is a web series hosted by Tim Heidecker and Gregg Turkington where they review films on a scale of 1 to 5 (or is it 6?) bags of popcorn. As the series progresses, hints as to the two’s personal lives are revealed and the show becomes a mini soap opera that plays out on the set of a film review show. The On Cinema universe has even expanded to take over the twitter handles of both Tim and Gregg, as well as the creation of the band Dekkar, and a whole separate TV show Decker, created by Tim and Gregg (in character). The show’s fanbase are also an integral part of the experience, continuously in character when interacting on social media. It’s an amazing experimental miniature universe, which was bought to some kind of a culmination this year in the trial of Tim Heidecker, broadcast live over 6 days, and played amazingly straight by a cast of On Cinema regulars and some lawyers. I’m not sure if the trial itself was more captivating than watching it with the On Cinema Facebook page open, but On Cinema has only ever partly been about the show, and has grown to encapsulate the fan base. Even so, the trial stands out as great television, with some classic courtroom drama and pretty hilarious cringe comedy. Without the fans, this might land only in my honourable mentions of the year, but On Cinema wouldn’t exist without its fanbase. Now, if you’ll excuse me…

Even putting aside my bias as a Gregghead, this trial was a total SHAM and a mockery of the legal system. It’s obvious to everyone with half a brain that Tim meddled behind the scenes here – he paid off witnesses for fuck’s sake! Also, that Star Trek writer was completely misguided, and Tim was leading the witness anyway. What a disgrace…. but at least we can now focus back on what matters, the movies.

4. Trial and Error

Screen Shot 2017-12-06 at 00.15.12

I talked in my Office post, as well as in my review of The Good Place, how much of a Michael Schur fan I am. In Parks and Recreation, Brooklyn Nine Nine and The Good Place, he’s crafted three worlds that are a pleasure to inhabit, with extremely likeable characters and comedy that is relaxing and laugh out loud funny. Many shows have attempted to crib his style, but the one that comes the closest is for sure sure this year’s Trial and Error. I think it succeeds in aping Schur’s style mainly by not trying. The town of East Peck bares a passing resemblance to Pawnee, but its local customs have more of the absurdist comedy of a Fey/Carlock show. The show also has much more of a running plot than any of Schur’s shows, even The Good Place. Because of its courtroom setting (I’m sensing a trend), the show has much more of a narrative thrust, which gives it a great sense of pacing and light tension to the comedy. But although the comedy of the background is absurdist, and the narrative is pushed to the forefront, the character comedy that defines a Schur show is replicated brilliantly here – even though each character is a joke, they’re a joke with real heart, and that’s the essence of a truly great single cam ensemble comedy. I hope I’m not diminishing the show’s unique charms by constantly comparing it to Schur’s shows, but given that Schur is my favourite comedy tv show creator working at the moment, it’s high praise indeed.

3. Review: The Final Season

Screen Shot 2017-12-06 at 16.45.29

I’ve written extensively about this season of Review already, and its place as only #3 on this list should give you an idea of how amazing this year was for television. Review, is, after all, still my favourite TV show… ever. And this final season, despite its short length, wrapped it up admirably. I think the final episode ranks among this year’s best episodes of TV, but the preceding two episodes felt slightly as if they were in service of setting up for that finale, and as such they make the whole season a little worse. (To continue the courtroom theme, while justifiable, I found the way the trial wrapped up a little disappointing). Still, two mediocre episodes of Review are still two incredible episodes of television. Andy Daly’s show tracks the fall of Forrest MacNeil with the kind of dark comedy that most comedians would be terrified to touch with a ten foot pole. And he does this while still managing to craft a show that’s amazingly funny and explores ideas about criticism and what it means to have an unwavering dedication to your work. I don’t think I’ve ever seen a TV show quite like Review, and this final season, and most importantly, this final episode, ends it perfectly.

2. Master of None 

Screen Shot 2017-12-06 at 16.52.24

The first season of Aziz Ansari’s Master of None was pretty good. Although Aziz Ansari isn’t a perfect actor, he’s a great comedian, and much of his best material translated well to a tv show. Some episodes in the first season went above and beyond, but often they were a bit meandering, a bit unmemorable – not funny enough to make the mundane watchable, but with not enough to say that the comedy wouldn’t be missed. The second season immediately injects the show with a bit of energy by constructing a loving ode to Italian cinema – beautifully shot and lightly funny, with a plot that sets up perfectly Dev’s struggle in love during the second season. As it progresses, each episode does something unique and memorable, and even the more “mundane” of the episodes are bolstered by a strong ongoing plot. Episodes like “Thanksgiving”; “First Date” and “New York, I Love You” distract from the central love affair between Dev and Francesca, but are strong enough to work on their own right. Meanwhile, the pivotal romance, explored in the Italy episodes, “The Dinner Party” and the two final episodes, is absolutely heartbreaking and brilliantly real. Even if Ansari isn’t the greatest actor out there, the script seems to be tailored to make his (to be generous) “naturalistic” performance shine. What’s more, the series’ signature sense of style is played up to the fullest, with an excellent soundtrack and visual direction. A jump in quality and confidence this severe is always heartening to see, and even if Master of None doesn’t return for a third season (which, given the ambiguity of the final shot, I hope it doesn’t), it makes me anxious to see Ansari’s next project.

1. Nathan For You

Screen Shot 2017-12-07 at 00.32.31

Nathan For You has always had a special place in my heart as the counterpart to Review that I found delivered more laughs out loud, but was, at least in my eyes, always in the shadow of its Comedy Central companion (I do realise how arbitrary the comparison is, but I’m not the only one to have made it). Finally, with the fourth season, it has surpassed it. To be more precise, two episodes really make this season shine above the rest. That’s not to say other episodes weren’t great; they played out as “standard” Nathan For You episodes, meaning they delivered lots of laughs and great moments, but weren’t quite groundbreaking. However, “The Anecdote” and “Finding Frances” rank as two of the best episodes of television I’ve seen in a long time – good enough to catapult this season of Nathan For You to the top of an excellent year for TV. I can’t say much about “The Anecdote”, because to do so would be to ruin the surprise, but it is the perfect blend of hilarity and really clever humour, capitalising on the pre-release hype of the fans in a genius way. “Finding Frances”, the series finale, turns from classic laugh-out-loud Nathan For You schemes into a touching exploration of love that plays with the boundaries of the show’s reality TV format to genuinely profound effect. The final shot, which uses a drone to reveal the cameras that have been filming the entire show, is lent a huge poignancy by the people on whom it focuses. Again, I don’t want to spoil anything about this episode, but I don’t really see any way Nathan For You could improve on it. If this ends up being the show’s final season, it will have gone out not only on a personal high, but on a high for all reality TV.

So that’s my favourite TV of the year. The other two lists (films and games) will come out over the course of December, but before that will be the V3 review, so look forward to that!


Review: The Final Season

Screen Shot 2017-04-13 at 20.53.23

This review contains massive spoilers for the final season of Review, and all the proceeding seasons. I urge you to watch the show (it’s only 3 seasons) before reading any further. You won’t regret it.

Review isn’t, at its core, about reviewing things. Sure, that forms the basis for the life work of ‘life reviewer’ Forrest MacNeil, but it is his life and his actions that the show primarily concerns itself with. It is a character study of a deeply fucked up man and his undying allegiance to a TV show. That said, to say Review doesn’t have anything meaningful to say about the job of a critic would also be to miss something. I think the latter two reviews in Locorito, Pet Euthanasia, Dream prove as much. In Review, Forrest constantly interprets the reviews he’s given according to his own desires. He interprets the review ‘what’s it like to put a pet to sleep’ metaphorically, refusing AJ’s suggestion to sing a cat a lullaby and instead giving it its standard definition; killing a domesticated animal. However, in the very next review of ‘what’s it like to live your dream?’, as if unable to give himself a single happy review, he interprets it literally and reviews recreating a dream he has while asleep. Review recognises that critics bring something of themselves to reviews; us critics (and I realise I’m tooting my own horn calling myself a critic) always bring our own experiences and tastes to what we review. The show Review, for example, is perhaps my favourite tv show ever made, and as such I may ignore any flaws it may have (similarly, when playing games or watching films in a series or by a director whose work I enjoy, I tend to be more lenient). Similarly, our experience of something will be heavily influenced by the conditions in which we experience it. Review pumps both these factors up to 11; when interpreting the review, it seems to only be in a way that will bring him the most misfortune, and when giving the final score, his personal experience is king, with no regard for finding any universal meaning in his reviews. I hope, that in reviewing the final season of Review I can aim to find some justification for why I regard this show to be one of the greatest TV shows I have seen in my TV-watching experience (which, at least in regard to comedies, is embarrassingly large). If, however, this review descends into unadulterated gushing, you’ll just have to bear with me.

Screen Shot 2017-04-13 at 20.49.18

I was initially planning this post as a sort of ‘Review retrospective’, covering all three seasons. However, the final season alone deserves special praise for the way it finishes up Forrest’s saga, and I feel that in talking about this season I can properly express why I love the whole show as much as I do. Let’s start by talking about the first episode of the season; Locorito, Pet Euthanasia, Dream. The first review here is not too much more than a funny premise, but it also introduces some important details. The first is, of course, that although Forrest thinks of himself as some sort of academic, he’s simply a TV host, and here he is, having been saved from the brink of death, having to do some good ol’ product placement. Of course, he can never call any of his reviews frivolous or unnecessary. He’s already destroyed his life enough for the show that to invalidate one suggestion would open too many troublesome trains of thought for Forrest. The second, more minor detail, is that the review comes from a 6 month old, now defunct fast food chain, foreshadowing the lack of reviews caused by the severe decrease in viewership. All three of the reviews in the first episode, it’s worth noting, serve to re-introduce the viewer to Review by rehashing some of the key ideas from earlier episodes. Locorito follows the ‘simple review becomes needlessly complicated’ model; reminiscent of something like ‘Rowboat’ from season 2. (There’s also the idea of Forrest getting involved in a court proceeding while in a Review, an idea visited in ‘Being Batman’ and ‘Helen Keller’.) Pet Euthanasia, meanwhile, has echoes of ‘Quitting your job’ – Forrest getting too attached to something in a Review, but tragic inevitability means that you know the horrible ending to come. I’m not sure Pet Euthanasia has the sting of ‘Quitting your job’, maybe because it’s only Forrest who’s hurt at the end of it all, or because he is spared having to kill Beyonce, the more obviously tragic outcome. The sly glimpse of Grant though, is perhaps important in reminding viewers what a slimy bastard he is. He knows before Forrest, or the viewer, does the outcome of putting the lizards together, and he revels in it. The final review in this episode is ‘Dream’, which is a ‘Forrest misinterprets the review’ skit à la ‘Sleeping with your teacher’ or ‘William Tell’. ‘Dream’ serves the express purpose of reintroducing the viewer to Forrest’s relationship with Suzanne, which will play a huge role in the finale. That Forrest rents Grant’s garage is another funny detail that again reasserts Grant’s antipathy to Forrest. The first episode, then, re-treads a lot of old ground; it is a reintroduction to Review, but one that becomes necessary when viewed in light of the finale.

The second episode, Co-host, Ass Slap, Helen Keller, Forgiveness, is much more vital in its job of setting up for the finale. ‘Co-Host’, of course, teaches Forrest how to use AJ’s tablet, but more importantly than that, it allows the viewer to see the importance of Review in Forrest’s life. I’ll quote here from Emily Stevens, who writes ‘Looking around A.J.’s cheerful, happy dressing room, Forrest remarks on what a small role the show plays in her life. From that, he doesn’t conclude that her life is enviably full, but that it’s empty and insignificant—because without Review propping him up, Forrest is empty and insignificant.’ (Source) Forrest is a man who has become absorbed by his work over the past 2 seasons of Review, and Susanne herself remarks on this in ‘Forgiveness’; she tells him he used to do things for fun, whereas now everything is for the show. In the finale, Forrest’s dependence on the show is what will allow Grant to manipulate him into the Veto, but this segment gives the viewer the information that we need to understand just how committed he is. He believes himself to be an intellectual, and seeing his vision destroyed by AJ is painful to him. His belief is so strong, it even allows him to be completely selfish, talking directly over AJ’s voiceover (ironically in which she learns much more than he does, despite not actually doing the review). In ‘Helen Keller’, we finally get the resolution of the murder trial, dismissed in the unexpected way consistent of the show. Still, the moment Forrest’s inept lawyer calls Helen to the stand is horrifically hilarious, in that classic Review fashion. ‘Forgiveness’, however, carries on the main theme of the episode; that of Forrest’s selfishness. He goes to Suzanne for the show, and the same can be said of Grant. He doesn’t do it for them, but for the show, which, as mentioned, has absorbed his life in a way as to be synonymous with Forrest. There’s another aspect to the show that is touched upon in this season, and this review; that Forrest calls Review and it’s mysterious selection process; ‘The hand of the universe’. His blind faith in the show and it’s absorption into his personality is one aspect of what makes him such a twisted human being, but this has given him a blind faith in its ‘powers’. Although not perhaps religious, Forrest worships the show, and it is this that has allowed it to so easily consume him. I don’t think the show is making a point about religion (Andy Daly himself has shot down the theory that it is a retelling of the Job story), but the parallels are certainly useful in helping understand the twisted mind of Forrest MacNeil.

Screen Shot 2017-04-13 at 20.57.19

And so we come to the finale. Cryptically titled ‘Cryogenics, Lightning, Last Review’ (perhaps the only time in the series history wherein the name of a review is not mentioned in the title (unless you count the mini-reviews from ‘giving six stars’ (this interruption was pointless))), this might be one of my new favourite episodes. I don’t think anything can top the 1,2 punch of ‘Pancakes, Divorce, Pancakes’, but this certainly came close in terms of delivering a huge emotional gut punch. Forrest is likely spurred onto reviewing ‘Cryogenics’ by AJ saying ‘if I were you, I wouldn’t do it.’ Still desperate to regain his own perception of his work as important, Forrest now must do it, if only because AJ wouldn’t. This effect is sadly repeated after the revelations of ‘Cryogenics’ when AJ suggests a Veto to ‘Lightning’. The review of ‘Lightning’ is perhaps a bit poorly paced, but it only really needs to do two things. The first is the sight gag of Josh crushed under the lightning pole. The second is that Forrest does the review in the first place. The revelation he has in ‘Cryogenics’ is there, but AJ’s comments lead him to the wrong conclusion. While the answer is obvious to us that he should stop doing (at the very least) life-threatening reviews, he stretches the interpretation to allow him to continue with the show. It might be doubtful if Forrest believes that it really is the correct conclusion to draw; that it was putting himself in harm’s way that allowed him to get to one revelation, and doing it again will lead to another revelation. However, at this point it’s already too late. A long time ago Forrest dug in his heels to the show and now he cannot get out. He is trapped in a prison of his own making; a fervent belief that the show is ‘fate’ and will guide him correctly, and the absence of anything to fall back on (which can probably be traced back to his review of Divorce). And so Suzanne pulls out her trump card. She offers him an escape, which is to leave Review and come back to her. This is the natural end to Forrest’s story; a man who has lost everything because of his tragic flaw (in this case, the show), is allowed everything back. It’s a story of redemption. But I think two things prevent Forrest from being allowed back into Suzanne’s arms. The first is that along the way, Forrest has made enemies of a number of people, but none more so than his producer Grant. And Grant knows exactly how to push Forrest’s buttons. Grant is the one man who can tempt Forrest MacNeil back into Review, because, in a way, Grant has helped to create Forrest MacNeil, by helping pushing him ever further into the maw of Review right at the very beginning (remember that his first appearance was pushing Forrest to complete the review of Pancakes). But the more tragic reason Forrest cannot accept Suzanne’s review is because he’s already too far gone. Even without Grant, he would probably have reached the same conclusion, because by this point, Forrest MacNeil has risked everything for the project that he believes to be his intellectual life work, and he cannot let that go. And so he doesn’t. But, in the tragic twist of fate that is classic Review, the show betrays him. Were Review to simply be cancelled without the review of ‘What’s it like to be pranked?’ it would be tragic. I have no doubt that Forrest would kill himself as he threatens to do. But the writers of Review have it in for Forrest in the worst way, and so the show ends with probably the darkest ending of any TV show I’ve seen. The creator of the original Australian Review chimes in to ask Forrest ‘what’s it like to be pranked?’, and in such huge denial of the truth, Forrest is able to cling onto the only thing that gives his life meaning even though we, the viewer, knows that it’s gone. The ultimate dramatic irony. When Forrest realises that Review is, in fact, over, he may well kill himself. But to show us that is too much. Review is crueller than that, and leaves his awful fate to our imagination (it’s always worse when it’s implied). I guess the question every viewer has to answer is ‘Did Forrest deserve better?’. I can’t answer that for you, but I’m sure, as I do, you have your own answer for that. However, what is clear is that the Forrest at the start of Review did not deserve this. From the first episode onwards, we see the slow descent of a man from someone with a full life to someone with absolutely nothing. This descent is what is at the heart of Review.

I think the third season of Review manages to wrap up the show admirably. Each segment plays a part in contributing to the ending, which sends off Forrest MacNeil in one of the darkest ways possible. Hopefully in giving a bit of thought to why this season works, I have been able to put a small glimpse of an idea as to why I love the show so much. It’s a masterful tragicomedy. Both the comedic elements and the tragic core work off each other – both need to be excellent in order for the show to succeed, and, in my eyes, it works exceedingly well. Review is destined for cult classic status, but it should be recognised worldwide for the masterpiece that it is.