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.
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