I’m self-indulgently posting a short series on the entertainment that’s fed, stimulated and enhanced my 2013. I’m making this up as I go along, as it’s my game and my rules, so it may not all have been produced in 2013 – the point is that the media in question have all been a big part of my year. Where possible, I’ll link to the media in question, or an article I wrote about them; click on a title to follow a link if I’ve found one suitable. This post’s about the TV I’ve been stimulated by in 2013.
Remember when you were told that TV would rot your brain? Someone once told me that having a TV is like having an open sewer in your living room. Nonsense. Of course there’s rubbish stuff on TV; the immoral, the bad, the lazy, the vacuous. I’d also argue, as many others have, that we’re in a golden age of TV drama – writing, acting, direction and effects have gone up several notches in the last few years as the juggernaut of pay-tv has continued to bring more money into the industry and forced those who produce new material to up their game. Downloads and DVD box sets mean you can enjoy whole series at your leisure, and PVRs make recording and watching only what you want to see viable. Ironically the vacuous on TV these days is pseudo-reality; talent shows and inane rolling news, with all the depth of analysis and honesty of Victorian penny-dreadfuls. There’s great art out there in 45 minutes chunks. Here’s what I’ve especially enjoyed in 2013.
Top Of The Lake Cinema’s Jane Campion directed this New Zealand set short series about the hunt for a missing girl in and around a small-town. So much more than a police story, this was about gender and power, fear of the unknown and how our past changes our present, all laced with beautiful photography and some brilliant performances. Especially outstanding was Mad Men‘s and The West Wing‘s Elisabeth Moss in the lead role; all the better for giving us a complex and conflicted female character around whom the whole drama focussed.
Mad Men I’m a couple of seasons behind the rest of the world here, but this understated, complex drama around a 1950s American advertising firm continues to show us the origins of the modern age of consumption, the way work can eat a person’s soul and the danger of private and public not matching up. Lead character Don Draper is a disintegrating personality in whom we can all see ourselves.
Justified Pretty much anyone who writes about TV agrees that there is no logical reason to explain why Justified isn’t one of the biggest shows on TV. The performances are note-perfect, the episodes set around crime in small town Kentucky are full of whip-crack smart wit, dark foreboding and shoot-outs that may not be frequent but when they do come are brilliantly staged. Using Elmore Leonard’s crime story as a jumping-off point, this series took the great writer’s trademarks and has given them flesh, blood and texture on-screen. The title refers to a law-enforcement officer’s justified use of force; scratch the surface, of course, and each character is searching for his or her own unique brand of justification. Brilliant, and bizarrely you probably haven’t heard of it.
The Newsroom The Newsroom isn’t as good as the writer’s most famous work, The West Wing; then neither is A Comedy Of Errors as good as Romeo and Juliet. A stronger, still flawed second series, about a TV news show set around the reporting of real-life events broadened scope to largely good effect and took characters to interesting new places. It’s far from Sorkin’s best work; but that’s still exalted company.
Doctor Who To rise to the challenge of 50 years of the show, and a growing global audience, and to pull it off with two classy, different, year-end specials was an achievement of note. One of TV’s longest-running shows, and arguably one of the UK’s most significant piece of homegrown pop culture has had a very good year.
House Of Cards Taking a set of novels and a show from Thatcher’s Britain, transporting to contemporary America and launching it on an online service only initially was bold, and destined to annoy. That it didn’t is down to the inspired casting of Kevin Spacey in the central role and faithfulness to the original’s eternal themes of power, corruption, truth and falsehood. Into the bargain, it may just have initiated a new revolution in how TV is made and consumed.
Breaking Bad I watched the first series of this in the UK several years ago, then annoyingly lost track on moving abroad. Having watched every episode of the 5 seasons this year, I’m in no doubt in joining the many ready to hail this show about a family man with a terminal cancer diagnosis who turns to drug manufacturing to leave a legacy to his family as a genuinely great achievement. One or two narrative mis-steps early on, and female characters less on the periphery would have lifted this even further. A morality play, thriller and family portrait for the ages.
Veep A winning British formula, translated by British writers to American politics worked against all expectations. Behind the scenes political comedy, with fine performances, addictively and acerbically funny.
Other posts in this series: