Top 10 new TV series of 2018

KILLING EVE

It's so exciting when something like "Killing Eve" comes along. A TV show as cool, smart and funny as this doesn't come around very often. Its brilliance is in no small part thanks to Phoebe Waller-Bridge, creator of the acclaimed comedy series "Fleabag," who has helped turn all the familiar old tropes and clichés in spy thrillers on their head. But it's also due to the wonderfully committed and crackling performances from the two leads, Sandra Oh and Jodie Comer (or three leads if you include Fiona Walsh), but especially Comer, who has created one of the best and most entertaining portrayals of a psychopath since Hannibal Lecter. "Killing Eve" arrived on our screens almost entirely under the radar, and didn't sound like anything special on paper, but its originality lies in its darkly comedic mix of dangerous thriller and overtones of lesbian psycho-drama that always stays too sly and stylish (and weird) to lose its bearings. These days we often have to sit through TV shows with too many episodes that are too long and too short on ideas, but in the case of "Killing Eve," it's the opposite: once the eight forty minute episodes are up, we're starving for more. Fortunately, it appears that this cup of joy isn't going to run out any time soon. Easily the best TV show of the year, and a strong contender for one of the best shows of the entire decade.  

SEX EDUCATION

Another British comedy that is bound to become a modern classic is Netflix's "Sex Education," which has all the ingredients needed for a super good viewing time - a great premise and a superbly well-rounded cast, all the way from the top down to even the smallest parts. "Sex Education" boasts some truly inspired writing, which is as touching and sincere as it is awkward and whimsical. It is also anchored by the presence of Gillian Anderson, in all honesty one of the greatest actresses ever, as Dr. Jean Milburn, sex therapist and mother to teenager Otis, who finds he has inherited some of her therapy skills and puts them to good use on his sexually confused school mates. "Sex Education" is a show that never fails to surprise you in the way it constantly reinvents itself and always finds new ways to charm you even further. It won't take long before Otis, Maeve and Eric are your new favorite characters on TV.  

SUCCESSION

The perfect drama series for 2018, "Succession" is Shakespeare's "King Lear" for the Trump era, partly made in the style of Aaron Sorkin and in the style of "The Big Short" and "Vice," which is no surprise as it is co-produced by Adam McKay and Will Ferrell. It's quite amazing how a show with such despicably avaricious and/or moronic characters speaking such absurdly smutty and rude dialogue can be so engaging and engrossing, but underneath the veneer of something like "Veep" on Wall Street, it is sneakily intelligent and quite sharp in its satiric skewering of the 1%. Kieran Culkin, Sarah Snook and Matthew Mcfadyen are always good actors, but they have truly surpassed themselves here, especially Mcfadyen, giving perhaps the best performance of his long television career. Which of course isn't to say that the rest of the cast isn't tops as well, and I must not omit to praise Nicholas Brittell's beautiful score along with the most memorable opening credits of 2018. In short, I can barely contain myself in anticipation of season two.   

THE CHILLING ADVENTURES OF SABRINA

I'm sure everyone remembers "Sabrina the Teenage Witch," like I do, by which I mean the sitcom with Melissa Joan Heart that pestered the TV landscape back in the late 1990s. But Netflix's new hit show is not a remake of that, but an adaptation of Roberto Aguirre-Sacasa's darker, more adult reimagining of the old Archie comics character Sabrina Spellman in a story where witchcraft, demons and the supernatural in general has more heft and consequence to them. It doesn't hurt that the series features such experienced and talented actresses as Miranda Otto (from "The Lord of the Rings") in the role of Sabrina's aunt Zelda, Lucy Davis (from the original "The Office") as Sabrina's other aunt Hilda and Michelle Gomez (from "Doctor Who") as the demon Lilith in the form of Sabrina's high school principal. With strong feminist themes and a lot of references to classic and contemporary horror film and literature, "The Chilling Adventures of Sabrina" is outrageously appealing. All in all, a very well-made show, with some highly relatable teenage problems and with some episodes that are properly creepy and others that are quite touching. However, though I know it's silly of me, it takes me a while to get used to seeing Kiernan Shipka in the leading role because every time she's on, I can't help seeing little Sally Draper from "Mad Men." But I guess that's often the case with child actors.

MY BRILLIANT FRIEND

One of the most talked about book series of the last couple of years became one of the most aniticapted TV series of the year. And thank goodness it is made in Italy, in Italian, because it sure wouldn't have worked any other way. Naturally, novels as masterfully written as Elena Ferrante's will in some way disappoint when they're adapted for TV, partly because of the limited format, but also because so much of the pleasure is in the reading and so much of the beauty is in the prose. But I can't for the life of me see how it could be any better than Saverio Costanzo's adaptation for HBO, not only when it comes to the cast and the production values, but in its look and how it feels, how it captures a time when Naples wasn't yet completely taken over by the Camorra. At times it almost feels like watching an old neo-realist film from the 1940s or 50s, but in color and with higher resolution, and that is high praise indeed. I think one of the things that makes Ferrante's novels so great is that you can basically put any two girls in the shoes of Lila and Lenù and it'll work, because there is something so universal and something so relevant for everyone about these two best of amicas. 

LOST IN SPACE

The cult classic original from the 1960s was quite before my time, but even so, the legendary line "Danger, Will Robinson!" is as familiar to me as "Beam me up, Scotty!" or "You will be exterminated!" As a sci-fi lover, all I had to do with for many years was the below average film version from 1998, but now we've got a high quality and more up-to-date long format version to fill our long winter evenings. This time around, it takes a little while for the line to come, but by the time it does, Netflix's "Lost in Space" has already won me over with its sweet charm, its cool design and its affable cast. And the little gender reverse casting of the always reliable Parker Posey in the previously male role of Dr. Smith is a stroke of genius. In this age of remakes and reboots and shows based on existing content, this is a remake that doesn't feel forced or gratuitous. Maybe the time is just right for a new "Lost in Space," a show where kids get to be as smart as adults, and grown-ups of all types and appearances get to work together (or plotting against each other) in a visually stunning, interstellar sci-fi world that is as intriguing as it is tastefully grounded. Here's hoping the showrunners will keep this level of quality going for hopefully at least a couple more seasons.   

CASTLE ROCK

How familiar are you with the works and the artificial worlds of horror author extraordinaire Stephen King? I mean, when a character goes by the name of Jackie Torrance, does that make you tingle a little? When you see an old cop named Pangborn, does that make you go, where do I know that name from? Or simply the setting and title Castle Rock? Surely, Shawshank Penitentiary will ring some bells, but everyone knows that one. And do you see the connections between Stephen King and "Castle Rock" co-stars Sissy Spacek, Bill Skarsgård and Frances Conroy? If the answer to all above is yes, then check it out. "Castle Rock" is in part produced by King himself, and J.J. Abrams, and that collaboration behind the whole production should tell you all about what you can expect from Hulu's very atmospheric drama. The series adheres more to mystery than outright horror, although there are a couple of jump scares and creepy moments, even a little dip into sci-fi. But it's the moments of genuine tragedy and just real life issues that are most memorable, such as Spacek's Ruth Deaver struggling with dementia, portrayed in one of the most gripping and imaginative ways I've seen on TV. Impressive how it manages to feel entirely like its own thing, despite being so heavily influenced by the King's style. Decidedly, a very strong premiere. 

DISENCHANTMENT

2018 saw a strong return to form for Matt Groening, legendary creator of "The Simpsons" and "Futurama," and it's truly a welcome return. "Disenchantment" is basically to fantasy what "Futurama" was to sci-fi, and if you love those genres both, then that's not a bad thing. The similarities to "Futurama" is pretty much due to the fact that it features much of the same voice cast, but with some great new voices adding some freshness, including Abbi Jacobson of "Broad City" in the lead as the princess who'd rather party than live a courtly life, Eric Andre as a cute little demon and Nat Faxon as the often abused elf aptly called Elfo (top Groening humor there). That is a trio at the centre of this hilarious world that you simply cannot get enough of, and by the looks of it, a lot of people would agree. "Disenchantment" has already been approved for two more years, and there is a lot of fun to fill all those episodes with. It's a little bit ruder than "Futurama," and the animation is a little bit sharper, but we'll just have to see if it will stand the test of time the way "Futurama," which is one of if not the best animated comedy series ever made, has. Based on the first ten episodes, it has a bright future.  

THE ALIENIST

When Netflix first released "The Alienist," a period drama crime mystery based on a novel by Caleb Carr, it was released as a limited series. It has since then gone on to receive a follow-up season, and I'm thrilled about that, because "The Alienist" (a late nineteenth century term for a psychiatrist) hits all the right spots for a viewer like me. It's set in an endlessly fascinating time of history, and New York is always the best setting for anything, but even more so at that particular period - a combination of time and setting that has not exactly been overused in film and TV. On top of that you have macabre murders, well-written characters portrayed by Daniel Brühl, Dakota Fanning and Luke Evans and some excellent cinematography. It's one of those TV series that definitely feels like a film, through and through, and the fact that there is already a series of books with these characters and in this place available for adaptation is a sign that it will bear further mystery adventures. A crime show where the police is not the primary investigator or protagonist (à la Sherlock Holmes) is always an interesting conceit. "The Alienist" is also quite historically rich, with a lot of details based on historical facts, that will leave you feeling like you learned a couple of things here and there, which is always an added bonus. 

ALTERED CARBON

In Netflix's 2018 output of new sci-fi material, we were also gifted with this cyberpunk series starring Joel Kinnaman as a former soldier put into the body of a cop in a future world where such things, and many other fantastical things, are possible. Cyberpunk is a subgenre of sci-fi that, when done right, is unbeatable. "Altered Carbon," based on a novel by Richard K. Morgan, is not a masterpiece on the same level as William Gibson's "Neuromancer" or Ridley Scott's "Blade Runner," but that would be a tall order by any means. No, what "Altered Carbon" lacks in plot or originality it more than makes up for in its great premise, in looks and in the world it creates. Plus, though it may be flawed, it does contain some truly unforgettable moments, such as a hotel run by a hologram Edgar Allan Poe and a fight scene with an army of naked clones. 

Top 10 limited series of 2018

THE HAUNTING OF HILL HOUSE

I hit the roof when I first learned that the great horror film maker Mike Flanagan, whose Netflix horror films "Hush" and "Gerald's Game," as well as his indie gems "Oculus" and "Ouija: Origin of Evil," are all some of the best in the genre these past five years, had been hired to adapt Shirley Jackson's classic gothic horror novel "The Haunting of Hill House." That film maker working with that source material would surely be something phenomenal. And it was. Actually the best thing on TV the whole year. Horror is a genre that doesn't usually work over a season of, for instance, ten episodes. But "The Haunting" works. The pace of the horror is perfect, but what it has going for it most of all is simply just a great story (which differs almost completely from the story in the novel). A good adaptation should always be a personal interpretation, I think. It is always better to take a great story, give it a unique spin or a different approach while staying true to the spirit of the original story, rather than just putting what's on the page up there on the screen, word for word. "The Haunting of Hill House," which works best when binged, made me cry several times, which I think is proof that really good horror is very close to tragedy.

MANIAC

2018 was the year I officially changed my mind about Jonah Hill, and that is largely thanks to Netflix's limited series "Maniac," in which he stars as a man in a somewhat alternate universe who may or may not suffer from some form of schizophrenia and volunteers to participate in a pharmaceutical trial where a tailored cure for people with mental health issues by way of a very moody computer program results in some rather surreal experiences. "Maniac" is bonkers in the best possible sense of the word, and wears its influences openly - one can recognize a lot of Terry Gilliam in it, and even more Michel Gondry (particularly his "Eternal Sunshine for the Spotless Mind"), but I also think there are subtle parallels to some of the ideas of Philip K. Dick and a lot of similarities to the dark humor of Charlie Brooker's "Black Mirror." Like a ten-hour movie, "Maniac" should be watched from start to finish to be fully appreciated and can definitely hold up for more than one viewing. 

THE TERROR

The great writer Dan Simmons' re-imagining of what actually happened to the British polar expedition that vanished in the mid-1800s was turned into an amazing horror drama by AMC, otherwise mostly known for "The Walking Dead" and "Preacher." Although "The Terror" is technically a monster movie for TV, with some terrific scares and excellent visual effects, this is a much more serious and somewhat minimalist story than what AMC is mostly known for, yet it's that slow burn that makes it stand out, or rather slow chill, for it's a story that is more interested in the mental toll of being trapped in a place where the sun doesn't shine and surrounded by ice than fighting the vengeful beast that lurks out there in the darkness. To convey such a challenging story, the right actors are required, and "The Terror" includes some top performers working with great scripts to make for something as rare as a top-notch period horror show.  

VANITY FAIR

You can always count on British television adaptations of classic literature to be fulfilling pieces of entertainment if you're a friend of period drama. But Gwyneth Hughes' "Vanity Fair" for ITV and Amazon is a remarkable work and perhaps even the best adaptation of William Makepeace Thackeray's great novel ever made. A lot of that is down to its somewhat moden touch, with music and cinematography that you normally don't get in these types of shows, but it is even more so thanks to the casting choice of the marvelous Olivia Cooke, who has already had quite an interesting career for her young age, as the non-heroic protagonist, the unscrupulous Becky Sharp. She perfectly combines the charm and intelligence with the cold-heartedness and self-serving bitchiness of Becky Sharp and still manages to come off as a fun character whose company you would thoroughly enjoy and who you surprisingly enough even root for. Another small bonus is Michael Palin as Thackeray himself, presenting each episode like a omniscient circus manager. All period drama should be this rewarding to watch.

PICNIC AT HANGING ROCK

Yet another brilliant TV adaptation in 2018 was the Australian re-imagining of "Picnic at Hanging Rock," originally a novel by Joan Lindsay in the late 1960s, but more famously a 1975 mystery film by Peter Weir. Thanks to the explosion of material on TV and in film made by women, "Picnic at Hanging Rock" features an all-female cast led by Natalie Dormer as the headmistress of Appleyard College, where a group of students go missing after the titular picnic in the year 1900. The all-female crew have taken the hypnotic and creepy quality of Weir's 1975 adaptation, but which is also inherent in the story, and turned it up maximum. As a fan, it's exciting that the weird story of "Picnic at Hanging Rock" has now been both expanded upon and improved upon.  

WILD WILD COUNTRY

Netflix's "Wild Wild Country" surpassed all the most popular true crime documentary shows on TV combined, and a lot of that is not just due to the fact that it is incredibly well made but that the real events that took place in Oregon in the early 1980s are rather unknown, which gives you as a viewer a wonderful sense of discovery and originality. There is also something inherently fascinating about cults and particularly its members. The focus tends to be on the cult leaders, but not here. There have been a lot of good documentaries produced lately about cults, including great programs about Jonestown and the kidnapping of Patty Hearst, plus a very watchable dramatization of the infamous events in Waco, and "Wild Wild Country" is the cream of the crop. The failed attempt by the guru Osho's followers to establish a commune in the U.S. is so full of drama and shocking plot twists that it's amazing that it's all real, and although it's not about a cult per se, it has some interesting things to say about fanaticism.

PATRICK MELROSE

Showtime's adaptation of Edward St. Aubyn's celebrated novels is, compared to "The Haunting" on the top of this list, a very traditional and literal adaptation, where a lot of great material from the books are lost in translation. But the Patrick Melrose quintet is such a rich piece of work that even if the five episodes exclude a lot they still manage to cover the important parts and capture the cynical wit that is so vital to the story. Benedict Cumberbatch gives another magnificent performance in a role that is an example of perfect casting, as the recovering addict with a mind as sharp as his tongue and a past that is dark beyond your worst nightmares. Often today, in this golden age of television, we have to sit through TV series where a story more suitable in shorter form has been fleshed out (or in some cases, watered down) to make up more episodes. But with "Patrick Melrose," it's the opposite. In this case, five episodes are barely enough - although each episode is as strong as a movie, we would have been happy with at least twice that amount. 

ESCAPE AT DANNEMORA

That Ben Stiller is a competent director is nothing new, being in fact his primary vocation - he was a director as far back as 1994, in other words longer than he has been an actor. But he is primarily known for comedies, and "Escape at Dannemora," a kinda funny, kinda silly but mostly sad depiction of an actual prison break that occurred in upstate New York in 2015, feels sophisticated, genuine and cinematic to the point that I wouldn't blame you for thinking it was made by a big shot director of more prestigious reputation than the man behind, say, "Zoolander." With Paul Dano and Patricia Arquette in two leading roles, one would expect nothing but the best, but it is also noticeably the best acting Benicio del Toro has done in years. 

BODYGUARD

It's a concept we've seen before, a hard-nosed bodyguard and the high-profile woman he's hired to protect falling in love with each other as she ends up in the line of fire, but never on the level of Jed Mercurio's six-part series featuring a career-defining performance from Scottish eyebrows Richard Madden (long ago best known as Robb Stark in "Game of Thrones"). "Bodyguard" has the same gritty, realistic and intense suspense that one would expect if one has seen its creator's previous hit show "Line of Duty," with a highly detailed and fascinating insight into the world of personal security. It is also a terrifically and tightly scripted mystery show with plot twists that do not feel as contrived as they normally do in detective shows and a gripping character study.

CAMPING

I'm probably the only person in the world who's never seen "Girls," the now legendary dramedy created by all-around maverick producer Lena Dunham. Not because I've intentionally avoided it, it's just strangely enough passed me by. Still, I was quite excited to see her American update of the British series "Camping," and not just because it features a groovy cast (including one of my favorites, David Tennant) but because seeing a bunch of neurotic, middle-aged control freaks and super-awkward immature middle-class city slickers go glamping together sounds like a minefield for hilarity. Then there's Juliette Lewis as the most infuriating hippie ever, adding extra spice to this tasty broth of cringeworthy comedy and, to some extent, social commentary.