Every January, it is customary for me to review my favorite media of the prior year. No criticism, critique, or concern–just a pure celebration of awesome things that I love. Of course, it’s over halfway through February so I’m a bit late because I wanted to complete my three-part series on visual & procedural rhetoric. So let’s dive right in with my top television shows from last year:

1) Big Little Lies

This mini-series from HBO feels a bit like a somber Parenthood. The show focuses on a group of parents who are trying to raise their children with love and intention–within the context of their wealthy Monterey, CA community. Jane, played by Shailene Woodley, is a single mom who has just moved into the area so that her son can attend a better school, but very soon after they arrive, her son is accused of hurting one of his classmates, an act that he denies. This incident, along with flash-forwards to an impending murder within the community, frames the rising tensions among the various parents who either choose to support Jane or remain suspicious. Each family has their own secrets and personal struggles. Madeline, played by Reese Witherspoon, is in battle with her teenage daughter and feels constantly outdone by her ex-husband’s new beautiful wife. Celeste, played by Nicole Kidman, outwardly appears to have a perfect life and charming husband, but in truth, their relationship is dysfunctional and abusive.
The drama in each family’s life could easily have been exploited for an overwrought and melodramatic series, but instead, the show creators maintained a subtlety. Each character is treated with compassion and complexity. Some of the individuals I strongly disliked and then found myself softening towards them; others I instantly loved but over time came to see them as more complicated and messy. For all of the characters, one was forced to fully confront the difficulties that parenting entails, and particularly those unique challenges within their socio-economic bracket. Do note, this is not for the light-hearted. True to HBO form, Big Little Lies is dark, depressing, and intense — but I would say well worth it.

My next picks are all sequel series:
2) The LeftoversSeason 3
This show defies any simple synopsis. The basic premise of the show is that 2% of the world disappears into thin air–individuals of every age, ranging from the unborn to the elderly. The show follows those who were left behind, the leftovers, and how they try to come to terms with this unexplainable incident. Some turn to religion; some turn to science; some try not to think too hard about it; others descend into deep despair. The Leftovers is one of HBO’s highest rated shows, yet it maintained a relatively small audience because this show challenges so many conventional expectations of what television is supposed to do. Magical realism is woven throughout the show…but in a manner that feels natural and unsurprising, though certainly unsettling. The episodes move slowly and the storylines unfold in complicated ways, requiring a level of patience and commitment that is unusual for long-form media that are not a mini-series or movie. 
But this is a long-term relationship that is truly worth the work and dedication. It took me a long time to get through season one, but once I found my rhythm, I was fully drawn into the profound richness of the show. Through each character who must make sense of the world after this event, the creators are able to grapple with some huge philosophical questions about the meaning of life, death, family, and society. This third season was probably the strangest one yet, but it gave a really fulfilling end to the series. I’m also relieved it’s over because as much as I love this show and think it’s simply brilliant….I was exhausted by the end! 

3a) The ExpanseSeason 2

Ok I am cheating here a little bit. Number three is a tie between two sequel series for shows that I simply love. Season 2 of The Expanse was amazing. After the slow, tension-filled build-up of the first season, this season was a well-earned whirlwind. There were some new characters like Bobby, who were fantastic, and this season did a much better job in the writing of its women. The politics and interpersonal dynamics of this show are extremely well-executed, and it is one of the few visual adaptations of a written SF text that is able to capture the philosophical complexities, or as Darko Suvin would say, the “cognitive estrangement” of the intended narrative. This show is not about the action or drama (though there is plenty of that); it is very much about ideology, society, and humanity as all good SF should be. (IMO) For more details about the show, check out my review of the first season.

 3b) Broadchurch, Season 3

I’ve mentioned this show before here at High and Low, so I’ll point you to my previous review. It is an all-time favorite of mine, so I was thrilled that they decided to add one more season. This season is less directly connected with the prior two seasons, but it provides some nice breathing room for the town of Broadchurch to transition into its future while being more cognizant of the dark realities that the town has always held. In this season. detectives Miller (Olivia Colman) and Hardy (David Tennant) must solve the case of a local woman’s rape, another traumatic crime for Broadchurch that will challenge a different set of assumptions, particularly in regards to the community’s hegemonic expectations associated with gender. The first two seasons remain my favorites, but this was still a solid season that I swiftly binged.

4) Rick & Morty, Season 3

Fans have been waiting a very long time for this third season to Rick & Morty, but thankfully I only just discovered the show last year so I didn’t have long to wait. If you were a fan of NBC’s Community, you will likely appreciate this cynical and witty endeavor from Dan Harmon about a brilliant but morally challenged (and usually drunk) scientist and his earnest grandson who travel through time and space on various adventures. The first two seasons were smart, but this season’s writing was a whole new level of pay-attention-or-you-will-miss-the-many-layers-of-meaning-and-pop-culture-allusions. This season also contained a much stronger overall season arc, following Morty and Summer as they come to terms with their parents’ separation and Rick as he must face his own role within the family. Season 3 is both the bleakest season yet, but simultaneously a really honest exploration of the value of family. Only Dan Harmon manages to execute that kind of dichotomy. 

5) Master of None, Season 2

Everybody raved about season 1 of Master of None, but I was fairly underwhelmed. When I eventually got round to season 2, however, I was pleasantly surprised. The opening episode is a riff off of great Italian cinema classics like The Bicycle Thief, shot entirely in black and white and set in Modena, Italy. Dev has a random, magical encounter with another tourist but before he can pursue her further, someone steals his phone that also happens to contain her number. The entire season takes on a similar wistful tone as Dev and his friends continue to pursue romance in the modern era. This season felt a little more serious, a little more pensive, a little sadder, but, as a result, I also found myself resonating with the characters in a way that I didn’t with the first season. In many ways, this season felt more like a collection of carefully executed short films, especially considering the stunning cinematography and aesthetics of each episode. 

Special Mentions:
There are a few other shows that I thoroughly enjoyed last year but didn’t make the top 5, ahem 6, list for various reasons. Thanks to a new friend Alea for introducing me to Bravest Warriorsan amazing show from Pendleton Ward, creator of Adventure TimeBravest Warriors also contains a storyline where children must grow up quickly in a tough world without their parents, but this show is definitely for a slightly older audience. After much nagging from several friends, I finally started The Good Place and then promptly binged all two seasons until I had caught up. It’s one of those shows I’d rather not tell you anything about…just trust me and go watch it. It’s funny but also so smart. I also picked up some shows that are old classics upon recommendations from friends. I’ve been steadily working through Battlestar Galactica for quite a while now, but as of this week, I only have 9 episodes left. Season 3 lost its way towards the end, and I’ve been warned to keep my expectations low for the end of Season 4, but still I have thoroughly enjoyed this journey through space with the crew of the Galactica.  Then there was Orphan Black…which I hardcore binged all the way through last year. I just couldn’t put it down. Tatiana Maslany acts as all of the main characters in this ensemble cast…and she is simply amazing. If you want to know why, watch the pilot…I give away no secrets. Finally, I must apologize to everybody who has been telling me to watch Parks & Recreation. Ok fine, you were right. It’s awesome. I’m almost done…

 

Thanks to everyone for the great discussion following my last post about La La Land. I had a couple of people actually call to chat about their varied experiences of the film, which was quite fun, and I really appreciated many of the disagreeing perspectives offered. 
 
But now it’s time for my favorite set of posts when I get to look back on the previous year and share my top five media in several key categories. It’s a nice chance to remember the best of a year, especially in years that felt like 2016 did. So here we go, kicking it off with television shows. This list contains all brand new shows except one sequel. Of the shows I mentioned last year (see list here), such as Mr. Robot and The Unbreakable Kimmy Schmidt, I found the sequels enjoyable but unremarkable. Unfortunately, this does seem to be the case often with TV and film. 
 
1) Westworld, Season 1
In first place solidly is the new HBO show Westworld that completely blew audiences away this fall. Based on the Michael Crichton novel and the 1973 film, the show gives the viewer a fragmented view into a futuristic Western themed park staffed by ingeniously engineered and extremely lifelike androids. The idea behind the park is that visitors can come and be whoever they want, experimenting with violence and sexuality on the “hosts” as they are called. Extreme immoral behavior is justified because the androids aren’t “real”. The park becomes supposedly a place to escape and a space to avoid repression. Naturally it’s also a brilliant commercial endeavor. 
 
The show creators, Jonathan Nolan and Lisa Joy, use the narrative to dig deep into addressing a number of complex philosophical questions about what it means to be human and how society engages and understands questions of morality and belief. The Western context also opens up thinking about how the park operates as an extension of Manifest Destiny in a future world where the only room for expansion and domination is by creating the object and spaces we will subsequently dominate. From my academic background, it’s a field-trip for postcolonial and media theory, but aside from all the deep thinking, it’s a superbly acted and engrossing drama that also functions as a complex puzzle that the audience is invited to attempt to solve. 
 
2) Stranger Things
This was another popular favorite in 2016, and for good reason. The Netflix Original is about 3 twelve-year old boys who, while searching for their missing friend, meet a strange young girl with a nosebleed, who introduces them to a mysterious place called The Upside Down. The series is a delightful homage to the ’80s and an excellent nod to the old-school form of “horror” where what you don’t see is far more important than what you do see. In truth, Stranger Things crosses a number of generic borders, so it’s not even really a horror piece: it plays with elements from science fiction, fantasy, historical fiction, and coming-of-age drama. (Indeed if it was truly horror, I wouldn’t have been watching it.) Unlike some of the other choices on my list, Stranger Things isn’t terribly intellectual, but the characters are fantastic and the story is gripping. We binged this one straight in a few days.
 
3) Black Mirror, Season 3
This is my only selection that is not a premiere season. I have been a huge fan of the show Black Mirror from its original production for the UK Channel 4 to now, as it is produced and distributed by Netflix. Black Mirror is an anthology series, like The Twilight Zone, meaning that each episode is standalone but together each episode functions to project a hypothetical near-future world in which our usage of media and technology has transformed human society in dysfunctional ways. Charlie Brooker, the creator of the show, remained at the helm when the show moved to Netflix, and as such, the show maintained its recognizable aura. What makes it so brilliant is that it speculates futures that you can almost recognize because they’re only half a step ahead of the world as we know it today. In addition, the show doesn’t focus on the technology but rather on the individuals using the technology and their relationships. As a result, the audience quickly empathizes with the messy, heartbreaking, or outright terrifying decisions that characters must make. While the show does critique some technology in its own right, it more often challenges the viewer to rather think about the way we implement technology in our lives–a far more nuanced and thoughtful position. Admittedly, I didn’t love all the episodes, but aside from a few meh ones, the rest are downright brilliant. My favorites from this season are “Hated in the Nation” (probably my favorite Black Mirror episode ever), and “San Junipero”.
“Hated in the Nation”
4) The Expanse, Season 1
I’m slightly cheating with this one because it technically first aired right at the end of 2015, but I’m counting it as a 2016 show because I didn’t include it in last year’s lists. The Expanse is a show on the SyFy channel based on the book (and subsequent series) by James A. Corey entitled Leviathan WakesThe narrative unfolds around the disappearance of a wealthy heiress, Julie Mau, who rebelled against her father to support the Belter revolution. The Belters are the lower class individuals who live and work in the Asteroid Belt, mining the asteroids for water and much-needed minerals for Earth and Mars. Due to their prolonged stay in space stations in the Belt, the bodies of these individuals and their families have permanently adjusted to the lower gravity, rendering them probably incapable of returning to Earth. In fact, the younger generations have never even set foot on Earth. Their impending revolution against this new iteration of space serfdom or slavery is just one element of the complicated political tensions in this show. Earth and Mars are also engaged in tenuous relations because Mars was originally Earth’s colony before its occupants declared (heavily militarized) independence. Mau’s mysterious disappearance turns out (of course) to be woven into a larger system of political intrigue–a situation upon which the crew of one mining vessel accidentally stumble. I did a longer review of this show back in February of last year, so if this sounds intriguing to you, you can read that review here. The second season launches in a few weeks, so this is the perfect time to dive in. 
 
5) Marvel’s Luke Cage
Finally, I end with the latest of Marvel’s new television series on Netflix. We were briefly introduced to Luke Cage last year in Marvel’s Jessica Jones, which made my list last year. Luke Cage has bullet-proof, impenetrable skin along with super-strength and an obscure past that includes an undeserved stint in prison. We meet him not in Hell’s Kitchen, where Jessica Jones is set, but rather in Harlem where he juggles multiple menial jobs as a barber’s assistant and kitchen assistant. The show, like the previous Marvel-Netflix collaborations, is part-superhero origin story, part-mystery, part-human drama. Unlike the Marvel blockbusters, the characters in these shows are complex and believable; we want to spend hours upon hours with them. But Luke Cage goes even a step further and also dedicates a significant portion of the series to exploring the heritage and struggles of the African-American community in the U.S. For example, the very nature of his impenetrable skin is a commentary and reversal to how so often the color of one’s skin has put one in danger living in this nation. Here his skin is the very thing that protects him, and it is something that the community of Harlem can take pride in. There have been some valid critiques of how the show explores race, but it’s certainly worth watching and entering into the thought-provoking dialogue that the show’s creator, Cheo Hodari Coker, has initiated.
 
Extra Mentions
That concludes my top five list for TV but I have a few other shows to briefly comment on. There were a couple older shows that I was introduced to last year that I fell in love with. My sister introduced me to Jane the Virgin, which is a remarkably smart show and a lot of fun. It is currently in its 3rd season. Then my husband introduced me to Rick & Morty, which is Dan Harmon’s (Community) venture into the animated world. It’s a bizarre, irreverent nod to the science fiction genre, and it makes me so happy. Then I have some disappointments to log as well. The Netflix release of a new season of Gilmore Girls was underwhelming, though I must admit it was fun to hear mother and daughter cracking jokes that held contemporary relevance. I was also extremely irritated with the new season of Blindspot, which felt completely hokey (including terrible South African accents). Finally, I finished off 2016 by binging the Netflix Original The OA, which I’m still trying to decide how I feel about. It’s not love, it’s not hate, but perhaps a mixture of the two.

Once I finished the latest season of Unbreakable Kimmy Schmidt, my first order of summer binge-watching business was to watch this British show on Netflix that so many of my friends had been raving about: Broadchurch.

Broadchurch unfolds like your standard British crime drama. A young boy is murdered in a sleepy coastal village and summer tourist destination. The local police detectives must investigate and interview the local community to figure out whodunnit. Secrets emerge and tensions arise.

I’m a huge fan of this genre and grew up watching Midsomer Murders and the Agatha Christie’s Poirot series, so at this point, I’d be perfectly content to sit back and enjoy a good mystery story. However, Broadchurch does not end there. Instead they use the classic crime genre as a foundation to build upon with a fascinating narrative that explores the nature of family. First, the immediate family of the murder victim must come to terms with their loss and determine whether they will do so alone or with each other. This proves complicated when the family must also endure the scrutiny of the police. Vulnerability becomes a requirement, not a choice.

But Broadchurch extends beyond the immediate nuclear family and asks: who truly is “family”? What role do our neighbors play? As the investigation ensues, we gradually discover multiple other individuals in the community that took on paternal/maternal/familial roles with the victim. With each discovery, the immediate family must revisit their own relationship with and understanding of their son and their relationship with each external character. Even friendships on a horizontal level must be considered; what responsibility does each member have to each other? What sort of relationship is at play in each connection? The unacknowledged interdependencies within the town are exposed by this tragedy and simultaneously put at risk, threatening a municipal implosion unless Broadchurch can come together to redefine family.

To complicate matters even further, Broadchurch is set in the 21st century, and so the town is not left alone to work through matters itself. Social media and the Internet place the town under national scrutiny, begging the question: what role does the national community play in this idea of family? Is the modern idea of the nation, the imagined community, actually functional? Can individuals from outside of this tight community provide any value or support to the situation? Do they even have the right or responsibility to be informed about and involved in Broadchurch’s situation? This question is played out with a few characters, such as individuals representing national media outlets and family members of similar murder cases, but it is particularly explored with Detective Inspector Alec Hardy (David Tennant), the brilliant but troubled man who has recently transferred into the local police force. He has little connection with the local community and an abrasive personality, resulting in much distrust and aversion from his colleagues and the people of Broadchurch. Both DI Hardy and Broadchurch have very different conceptions of what family means, and they must wrestle through those definitions with each other. Here again, notions of independence and dependencies are teased apart.

Ultimately, the question of family is intimately wrapped up in the question of knowledge. Who deserves to know what and why? What do we mean by “the right to know”? How is that actually played out? When does knowledge empower and when does it destroy? What is the difference between what we think we know and what we actually know? Or, how much of our knowledge is actually knowledge and not assumption? What is the correspondence between knowledge and truth?

The story of Broadchurch is a messy one. At times it is uncomfortable, and at times, it is cathartic. The narrative challenges, and it comforts. It is chilling, and it is warm. It’s complicated–as life is complicated. This acknowledgement of the paradoxical nature of life along with the down-to-earth, realistically portrayed characters is why I think so many people have resonated strongly with this show. I walked away from the two seasons (of eight episodes each) feeling deeply connected to the residents of the town, sharing in their emotions, and admiring their grasp of what it looks like to be both fierce and fragile — human.

Featured image is one frame from the first season of Broadchurch, used under fair use.

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