Top 10 limited series of 2019

Watchmen

Continuing on the subject raised in the previous list, here is another masterpiece of sort-of superheroes with a twist. Damon Lindelof's "Watchmen" is both a reboot of, sequel to and remake of the original comic book and its film adaptation, and at the same time it's neither of those things. It's an important and current drama that uses the characters and setting of a legendary comic book to reckon with institutional and historical racism, and it does so in an incredibly entertaining, well-made, poetic, artistic and thought-provoking way. As such, it's an amazing achievement, for it's proof that a comic book sensibility and style is not antithetical to handling hefty issues in a mature and respectful way. Putting the main vigilantes from the original gang on the sidelines as supporting characters and inventing new ones that exist in the world of "Watchmen," on its terms, is a really clever trick, and with the deluge of awards and accolades it received and the amount of people's end-of-the-year lists it showed up on, you can certainly say they pulled that trick off with aplomb!    

Catch 22

Joseph Heller's "Catch 22" is one of the funniest and greatest books ever written, if you ask me. Hulu's six episode adaptation doesn't have the same goofy tone, but it is equally great. The creators Luke Davies and David Michôd have certainly taken a more serious approach to the story, eschewing a lot of the wit, the silliness and the admittedly sexist humor, but I don't mind because the absurdity of the story and of war in general is still in the forefront, and that's the most important thing. I mean, the novel coined a phrase to describe an absurdly paradoxical situation, so you can't really leave out said absurdity. With great direction and superb casting - particularly Christopher Abbott as Yossarian - "Catch 22" was a real highlight of the year in television for me.   

Unbelievable

There were a lot of series in 2019 that reckoned with injustices and changes in society in very tasteful, provocative and passionate ways. "Watchmen" was one. "Unbelievable," an original Netflix series that questions and challenges most of our pre-conceived notions of rape, assault and its surrounding issues, was another. This was also a year when dramatizations of real-life crime stories became something a little more sophisticated than the usual sensationalist fare of the past. Merritt Wever once again turns in another top-notch performance, here abetted by the always effective power of Toni Collette. But it's the ground-breaking and eye-opening way the series handles its topic that stays with you and that in some way leaves you a changed person. It's quite thrilling to be able to say that of a TV series.    

Country Music

A new documentary series produced by Ken Burns is always something to behold, but his latest, a look at the history of country music, is quite spectacular. There is a century of it to cover, yet the series doesn't feel like it leaves any stone unturned, and while it's so rich with information, music and images, it never becomes too overwhelming. "Country Music" never stops being an entertaining study, and it fitted well into a television landscape that was quite enlightening in all sorts of areas - just look at most of the titles on this list! Documentaries often tend to become tedious, with too many talking heads and repetitive talking points, but like his previous work on the Vietnam War, Burns' exquisitely edited and detailed journey through music history and, to some extent, American history, is as pleasurable as can be - a real joyride.    

Chernobyl

In the year when the phrase "fake news" was on everyone's lips, "Chernobyl" on HBO was the perfect drama series, for it revisits a time in modern history when a government actually gaslighted an entire country and quite successfully covered up one of the biggest catastrophes in recent memory. If you're too young or too far away from Europe to know anything about the real story, then this is a must-see. For those of us who remember the event, or at least have some awareness of it beforehand, this is still an incredibly well-made period piece, heavy and disheartening to watch but so solidly shot, written and acted that you can't pull away from it.  

When They See Us

Ava DuVernay's series about the Central Park Five is another entry on this list that has perfect timing and is perhaps, hopefully, indicative of a new way of producing true stories and representation on television. "When They See Us" is as heart-breaking, gut-wrenching and unsettling as they come, and it leaves you baffled, full of questions and angry for answers. Which is exactly what it wants, I believe. It leaves you wondering how deeply institutional racism is actually embedded in society, and where ever do you start digging in order to root it out? It also leaves me for one wondering how in the world the despicable Linda Fairstein could continue to work as D.A. in New York after the shameful behaviour on display here, aggressively lobbying for the condemning and incarceration of five innocent boys! Another thing it leaves me wondering is where in the world the marvelous acting from Jharrel Jerome in the role of Korey Wise (who wasn't even in the park that evening, but served the longest prison sentence) was when I last saw him in the awfully dull "Mr. Mercedes"?   

Fosse/Verdon

Another important story released in 2019 was "Fosse/Verdon" on FX. Maybe not as overtly important as "When They See Us" or as dramatically significant like "Chernobyl" or "Unbelievable," but important in that it shines a light on a hugely talented and by most people completely overlooked star, Gwen Verdon. It makes you wonder what Bob Fosse, and "Cabaret" in a way, would have been without the support and inspiration of the red-headed dancer, choreographer and performer Verdon, brought to brimming life by the supertalented Michelle Williams (who enabled some serious changes in regards to equality behind the camera in her role as executive producer on the series). It also shows that given a role that isn't a redneck or a moron or a racist, Sam Rockwell can really shine with all his versatility and experience, and give a really memorable and moving performance that'll leave you wanting more. 

The Act

With the fine, nuanced and utterly engaging performances from the two leads Joey King as Gypsy Blanchard and Patricia Arquette as her mother Dee Dee, along with the sophisticated writing and direction, Hulu's "The Act" is a great example of when dramatization is actually an improvement on documentary, of when a fictionalised interpretation of events can be more rewarding than just the facts. The true story behind "The Act" in particular is so bizarre in a way that it's almost necessary to create a fictional version of it that puts you inside the events and lets you get to know the people and where they come from in order to not be completely put off by it. Both women are great, but Arquette in particular does some of her finest work here, much better in my opinion than her turn in "Escape at Dannemora," although they both got her awards. It's also quite fascinating to consider than the monster she portrays was actually much worse in reality. But then again, reality always trumps fiction.  

Years and Years

Partly a dystopian view of the near future, partly a satire of our times with the issues being fought over in reality and the technology we live with, and also a scathing criticism of populist politicians, "Years and Years" is the excellent Russell T. Davies' latest series. As is usually the case with British television, it's all down to great stories, characters and dialogue. Davies introduces us to a large and diverse family living in Manchester, and their day-to-day struggles during major political and technological upheavals, and we're immediately hooked. Right away we get the feeling that we've known these people for years. You need a good writer for that, but also good actors, which you always get when you hire the likes of Rory Kinnear, Russell Tovey and Jessica Hynes, to say nothing of Emma Thompson, who unsurprisingly makes the biggest impression of all. Which is impressive when you consider how briefly she appears in the series. 

Sanditon

The latest period piece from one of the greatest television writers ever Andrew Davies, who has created some of the best BBC adaptations of classical literature for over thirty years now, obviously set out to make a name for itself by being a little provocative. Not something you usually expect from a Jane Austen adaptation, which is perhaps because the story "Sanditon" is based on was unfinished, or perhaps because of changing demands upon television drama, but it was nevertheless a welcome change. It may not look like much when you think about it, the little amount of sex and allusions to sex it featured, but it was enough to cause some controversy. But it's the quality of the acting, cinematography, direction and writing that makes it hit home and why it goes down as smoothly as a glass of fine wine. 

Top 10 new TV series of 2019

The Mandalorian

If you're a Star Wars fan and are alive in 2019, you're in for a treat. Right around the time a good Star Wars game finally came around, the Xbox One release Star Wars Jedi: Fallen Order, Disney+ launched its streaming service with some of the best Star Wars material we've seen in years. From none other than Jon Favreau of all people. That man is now my hero! Like the titular bounty hunter from Mandalore, the TV series is impressive. It's impressive how purely Star Wars it is, at least in terms of the original trilogy, while at the same time being completely original - finally proof if proof was needed that you don't need the Skywalker saga to tell a great Star Wars story. It's also thrilling how purely Western it is, which you can see in every line of dialogue, every turn of the plot, every character and setting, and not least of all in Ludwig Göransson's wonderful score, which also contains strong hints of samurai movies. We couldn't have asked for a better christmas present from Disney.

Good Omens

This pretty spot on adaptation of Terry Pratchett and Neil Gaiman's popular book would originally have appeared on the list for best new limited series, but because this list is as late as it is, and because of recent developments on that front (i.e. a second season in production), Good Omens is now included here instead. 2019 started off great when David Tennant and Michael Sheen graced our screens in a textbook example of thoroughly inspired casting as, respectively, the demon Crowley and the angel Aziraphale, old friends who team up in order to stop the birth of the Antichrist and the coming Armageddon. The result is the kind of fantastical, hilarious and dark mix that you could expect even if you were unfamiliar with the original source material but had an inkling of who the writers are. And it's one of those rare instances when eight or ten episodes would actually have been justified, as the only negative thing you can say about it is that the fun is over much too soon.

The Boys

The superhero genre has now been around long enough for the emergence of a post-superhero subgenre, and as evidenced by the three entries on this list, the hottest new thing is "alternative" superheroes. In the lead right now in that area is Amazon Prime Video's satirical The Boys. I don't know if Amazon considers this their "flagship" series, but they definitely should. The level of quality in the writing, the high production values, the humor and the violence, leaves The Boys unmatched in Amazon's entire catalogue. Plus it's got something interesting to say about celebrity culture and the way big time corporations rule the world today. But perhaps the biggest reason for its huge entertainment value is the excellent chemistry between the five members of the anti-superhero vigilante group, led by Karl Urban, who has finally been bequeathed a part that makes the most of his charisma, wit and dynamic acting abilities.

What We Do in the Shadows

When you think about it, there is no outright funnier comedy on television right now than FX's re-working of What We Do in the Shadows, which originated as a little seen but widely hailed mockumentary by the brilliant Taika Waititi in collaboration with Jemaine Clement way back in 2014. The TV series, of which only Clement is credited as creator, is something as amazing and rare as never not funny, which is down to several things, like the way it retains the style and concept of the original film and the short, concise running length of the episodes. But mainly it's thanks to the three main vampires Nandor, Laszlo and Nadja and the wonderfully witty, charming and creative comedians Kayvan Novak, Matt Berry and Natasia Demetriou who play them. And the inclusion of Colin, an energy vampire who feeds on human energy by being unbelievably boring, is such a stroke of genius!

Servant

Though he's only executive producer and director of two episodes, the Apple TV+ thriller Servant has got M. Night Shyamalan written all over it. For instance, in how beautifully shot it is, in Shyamalan's favorite old place Philadelphia, with great performances from a great cast, in its great mix of dark humor and a creepy atmosphere, all in the service of an unforgettably weird plot. Shyamalan has had a bit of a return to form these last years, starting with 2015's The Visitor, though the series is technically speaking created by British writer Tony Basgallop. But maybe that's just what Shyamalan needed to get back on track, a great idea from another weird storyteller to collaborate on. Either way, the end result is deliciously strange, well-made, thoroughly entertaining and full of surprises!

The Witcher

After Game of Thrones came to its lambasted conclusion in the spring of 2019, us fantasy nerds had to put our hope on Netflix's adaptation of Andrzej Sapkowski's popular books about Geralt, the white-haired monster hunter with the impossibly deep voice, already a somewhat iconic character thanks to the famous video game series. Opinions may have varied, as they always do when there is a strong established fan base, but personally I was satisfied with the casting of Henry Cavill and found most of the eight episodes cool and interesting. Never having read the books I cannot judge it on that level, but as a lifelong lover of the genre in general I had no complaints. The Witcher delivered just what I want in a fantasy series, an elaborate world that feels lived-in, a good amount of magic and monsters, and an engaging story.

Doom Patrol

Now for the second entry in this list that takes the superhero genre into a truly weird place, Doom Patrol on DC Universe (and HBO Max). I wouldn't fault you for asking yourself if this is truly a show about superheroes, for Jane with the sixty-something different personalities in her head, Rita Farr, the old Hollywood has-been who melts when she gets stressed, Larry Trainor, the former pilot who is possessed by an electrical entity and constantly wrapped in bandages, Cliff Steele, a race car driver whose brain was transplanted into a metal body after an accident, are really more freaks of nature than heroes. But isn't that the whole point of Doom Patrol? I think so. It is surprising how brilliant this series is, coming as it did off an incredibly lacklustre and much more inferior superhero show, but it's also surprising and somewhat unusual to see something that dares to be this weird and silly, while at the same sneakily getting you hooked on its characters and their somewhat moving arcs. That's great TV right there!

His Dark Materials 

Finally Philip Pullman's magical and wonderful book series gets the adaptation it deserves. It's nice to be around at a time when television production has the means to visualize a world this fantastical, with all those "daemons" and that steampunk-ish alternative Oxford setting. And Iorek Byrnison, the armored polar bear, of course. Much can be said about the inherent quality and value of Pullman's story, and much probably has been said, especially considering how rare female protagonists are in a genre that has long been woefully underpopulated with role models for young girls. But I would rather focus on the excellent casting of Dafne Keen as Lyra "Silvertongue" Belacqua - the little firecracker who wowed us all in Logan in 2017 feels born to play the part. She's got just the right amount of strength, smarts and charisma to carry it. And with the always excellent Ruth Wilson as her villainous mother and the versatile Lin-Manuel Miranda cast against type as Lee Scoresby, she's got great support indeed.

The Umbrella Academy

And now for the third and final alternative superhero show on this list, The Umbrella Academy on Netflix. Though the first season takes a little time to get interesting, the overall impression leaves me for one wanting more - a lot more! I love the cast and the chemistry between them, in this makeshift family of adopted foster kids brought up to be superheroes, which is in itself such an unusual and fascinating idea! I also love the conceit of a secret government that exists outside of the real world and makes sure that people don't defy the laws of nature. Most of all I really love the idea of number five, "The Boy," with the mind of an old man trapped in the body of a thirteen-year-old boy. I mean, you've got to forgive a new show with such a lot of potential and such high ambitions for being a little uneven in its first attempt, don't you?

Carnival Row

Apparently, Amazon Prime Video's Carnival Row was originally intended to be a feature film, but I think it's a good thing it was expanded into a series, because there's so much to uncover in this kinda gothic, kinda steampunk, urban fantasy world. It's also a great example of how interesting it can be when the fantasy genre is used to tell stories about the real world, to symbolize actual problems and work as both escapism and metaphor, in this case creating a version of Britain where mythical creatures like fairies and fauns have migrated to the human world and thereby created a lot of tension. Admittedly, the symbolism isn't subtle in the least. No, Carnival Row tackles complex modern and classic issues like war, class, migration, integration, racism and sexism in a very overt and head-on way, while simultaneously managing to squeeze in a great political conspiracy plot and a well-written and well-acted love story as well. Bravo!