After writing at length about how much I enjoyed American Gods, here’s the usual round-up of the rest of my favourite shows of the year,
The Good Place – “Dance Dance Resolution”/”The Trolley Problem”
After mining comedy gold from offices in The Office (US), local governments in Parks and Recreation, and police stations in Brooklyn Nine-Nine, Michael Schur has tackled a more ambitious environment in his newest series – the afterlife.
The Good Place follows Eleanor Shellstrop (Kristen Bell) from the moment she’s told some very good and very bad news: the bad news is, well, she’s dead, but the good news is she’s now in the Good Place, a version of heaven where all of humanity’s best and brightest live out eternity in a blissful wonderland paired up with their soulmate as a reward for all the good they did during their time on Earth.
However, Eleanor didn’t do much good while she was alive, quite the opposite in fact, and feels that she must have ended up here by mistake.
American sitcoms don’t usually concern themselves too much with plot, as they’re often content to just act as a comfortable half-hour hangout where characters deal with their day-to-day lives at a leisurely pace while getting involved in increasingly-daft misadventures.
This show is different.
It delights in constantly surprising us with different aspects of its surreal setting and new information about Eleanor and her neighbours, then ending every episode in a cliffhanger that leaves us dying to see what happens next.
The plot is so chock-full of big reveals that talking about the second season without spoiling anything is actually a very difficult task.
What I can say is it’s absolutely brilliant, hilarious, and endlessly-inventive.
Highlights so far include ‘Dance Dance Resolution’, which doesn’t stop to take a breath as it zips through several seasons of potential storylines in one dizzying episode, and ‘The Trolley Problem’, where Eleanor and her friends try to explain human concepts of morality to a higher being through an ethics lesson that spirals out of control.
Following Eleanor’s experiences with her ethics professor ‘soulmate’ Chidi (William Jackson Harper), the posh British socialite next door (Jameela Jamil), all-knowing AI assistant Janet (D’Arcy Carden), and the neighbourhood’s supernatural architect and guardian Michael (Ted Danson, clearly having a great time in the role) is great fun and I can’t wait to see what future episodes have in store for them.
(The Good Place is on Netflix)
Mr Robot – “Runtime Error’/’Kill Process’
Picking up immediately after the ending of its divisive second season, Mr Robot quickly tackles the criticisms of that season by clearing up much of the confusion over character motivations and filling in gaps in the narrative which were infuriatingly teased but left unexplained throughout 2016’s episodes.
The psychological conspiracy thriller puts the emphasis firmly back on ‘thriller’ with a fast-paced rollercoaster of a season which focuses on a newly-motivated Elliot (Rami Malek) attempting to undo some of the damage his well-intentioned revolution has caused.
This goal puts him in direct conflict with powerful forces that have mysterious motives while his nearest and dearest hide devastating secrets from him.
Meanwhile, the show’s continued exploration of the rise of digital currency, the ever-widening gap between rich and poor, and the loss of privacy in the digital age makes it as timely as ever.
To call it a return to form would be a bit of an insult to season two, which I quite liked despite its issues – and its emphasis on character and backstory made a great foundation for this season to build on – but these new episodes are astoundingly good.
They’re full of memorable moments, shocking twists and astoundingly cool and clever tricks, and they maintain the show’s signature atmosphere of dread and disorientation.
‘Runtime Error’ follows Elliot and Angela (Portia Doubleday) in real time as he has a bad day at work and she struggles to follow instructions, tracking them in a way that makes the whole episode look like one long uninterrupted shot.
Far from being just a gimmick, this is an impressive and immersive way of building tension during a crucial day in the life of these characters – it’s thrillingly-executed, ambitious and just a hell of a lot of fun, even as the tension keeps relentlessly building over 45 long minutes.
Then ‘Kill Process’ sustains this tension by constantly cutting between several characters as Elliot tries to avert disaster and the FBI closes in on its targets until the suspense is almost unbearable, with a few gags and unexpected moments of slapstick comedy included to give viewers a bit of a breather.
The aftermath of these episodes dominates the rest of the season, as Elliot and Angela struggle to deal with what they’ve played a part in causing and the show flirts with the possibility of introducing sci-fi elements before quickly grounding itself firmly back in reality.
The cast still deliver brilliant performances, the direction is as stylish as ever, the writing is on point, the soundtrack is eclectic and Mac Quayle’s electronic score complements the action perfectly.
Most remarkable of all is that, three seasons in, it’s still very difficult to tell how this show will end, but I’m on board for whatever the future has in store.
(Mr Robot is on Amazon Prime Video)
Legion – “Chapter 7”
Legion is like watching an eight-episode psychedelic fever-dream.
The series sticks the viewer firmly inside the head of David Haller (Dan Stevens), who begins to suspect that the voices and visions he hears and sees, the same voices and visions that have lead to him being sent to a psychiatric hospital, may actually be real.
He might not be insane, but he may be insanely powerful.
David starts a relationship with another patient (Rachel Keller) just before he is caught up in a battle between a sinister government agency who wants to experiment on him and a misfit band of rebellious mutants who want to help him control his powers.
Film and TV are saturated with stories about superheroes these days, but Legion is unique.
It’s bursting with style, creativity, and confidence, flicking between reality, memories, nightmares and something else altogether at such a dizzying pace that it is, at first, a bit difficult to keep track of what’s what.
Thankfully, this is not a show that obfuscates and confuses just for the sake of it.
Things settle down slightly as David gets a better grasp of his abilities and the plot, which is fairly straightforward when all the visual pyrotechnics and unreliable narration are stripped away, reveals itself.
Each episode has an audacious showstopper of a sequence designed to leave jaws on the floor and minds well and truly boggled, and the main cast all give excellent performances.
It is, quite simply, one of the most impressive shows on TV right now.
(Legion is on DVD, Bluray, and NOW TV)
Doctor Who – “World Enough and Time”/”The Doctor Falls”
Taking a year off has done the show a world of good, as it returned reinvigorated with new companion Bill (Pearl Mackie) and a fantastic-as-ever performance from Peter Capaldi.
Through Bill, the familiar tropes of the show seemed fresh and exciting again, as the writers managed to find plenty of inventive ways to introduce the Doctor’s new travelling partner to his time machine, his alien features and his complex morality.
I immensely disliked Matt Lucas’ character Nardole when he was first introduced two Christmas specials ago and the news that he would become a regular was met with a loud sigh, but he proved to be a fine addition to the TARDIS team.
He’s a well-written and likeable robot-human thing who is in the unusual position of being the Doctor’s travelling partner, his intellectual equal and, occasionally, his boss.
This season was intended to be a soft reboot, a good jumping-on point for new viewers, like Matt Smith’s first season was, and it does a wonderful job of showing how diverse and ambitious this show can be, enticing new viewers and reminding old ones why they like it so much.
Its first half features a string of great episodes that show Bill struggling to get used to the implausible sights and sounds she’s experiencing with this eccentric, wild-haired old Scottish man.
Even the episodes with plots that sound God-awful on paper (killer puddles, deadly emoji robots, etc) are surprisingly decent, and a few of the rest are the best in recent memory.
Victorian caper ‘Thin Ice’ is a perfect example of what a stand-alone Doctor Who episode should be, with a cool and unusual setting, a mysterious monster, good jokes, and well-performed character drama caused by a conflict between the differing perspectives of the Doctor and his companion, while space-zombie chiller ‘Oxygen’ has an intriguing premise, good twists, and – gasp – actual lasting consequences for the Doctor.
But these episodes, as good as they are, aren’t the ones mentioned at the top of this entry. With ‘World Enough and Time’ and ‘The Doctor Falls’, Stephen Moffat, in his final year as showrunner, has managed to outdo himself.
His tenure has been far from perfect and he’s written some cringe-worthy dreck over the years, but these two episodes show off everything he’s best at: cleverly-constructed out-of-sequence storytelling, impressive quotable speeches that show a keen understanding of the Doctor’s character, and well-devised concepts that are not just ‘scary for kids’ but scary full-stop.
‘World Enough and Time’ starts amusingly enough, with Moffat cramming in a few more self-referential ‘Doctor Who?’ gags while he still can, then it abruptly turns into a nightmare that gets darker and grimmer and bleaker as the minutes tick by before ending on an iconic final shot and a heartbreaking cliffhanger.
‘The Doctor Falls’ is about as cheery as its title suggests, putting the Doctor and Bill in a situation where it seems actually impossible for them to succeed and there’s an inescapable feeling of inevitable death over the whole episode because both writer and viewer know full well that Capaldi’s incarnation of the Doctor is on the way out.
All this doom and gloom is occasionally interrupted by one baddie merrily chewing the scenery and some touching moments from a surprising source.
Capaldi’s time as the Doctor has seemed oddly brief compared to his immediate predecessors, despite having as many full seasons as Tennant and Smith, but it’s great that he’s going out on such a high.
(Doctor Who is on DVD and Bluray)
Better Call Saul – “Chicanery”/”Fall”/”Lantern”
Another year, another stellar season of Saul. After opening with a couple of episodes that seemed like they were intentionally trying to frustrate those who complain that BCS is far too slow, the show ramped up to a long-awaited mid-season showdown between the brothers McGill.
The rest of the season explored the aftermath of that courtroom battle, which saw the first proper manifestation of Jimmy’s ‘Saul Goodman’ persona.
This was also the year that Better Call Saul became more like the Breaking Bad spin-off it was expected to be when it was first announced, with more characters from the original show popping up and playing key roles – the most notable one being Gus Fring.
I sometimes wonder whether this series would work for someone who’s never seen Breaking Bad.
Better Call Saul still does because it manages to skilfully introduce more explicit ties to its predecessor without letting them take over the show and steal the spotlight from Jimmy.
Though Mike’s meetings with Gus and Nacho’s dealings with the Salamancas are gripping and also work as fanservice that doesn’t feel gratuitous, Jimmy’s slow transformation into Saul is still very much the focus.
In “Fall”, Jimmy is finally the amoral asshole he was always going to become, using his persuasive charm to manipulate and deceive one of his clients as the audience watches, stunned at his complete lack of empathy or remorse and finding themselves suddenly starting to hate this lovable wise-guy they’ve followed for three seasons.
This episode and the finale, “Lantern”, are a rough one-two punch that act as a dramatic reminder that, despite its slower, low-key feel, Better Call Saul can be just as shocking, upsetting and devastating as Breaking Bad when it really wants to be.
(Better Call Saul is on Netflix)
Fargo – “Aporia”/”Somebody to Love”
While it was good to have Fargo back, something just wasn’t clicking at first.
The characters were the sort of motley crew that wouldn’t feel out of place in either of the previous seasons, there was the requisite moment of shocking violence to kick off the plot, and the performances were all top-notch, especially Ewan McGregor playing the dual roles of Emmit and Ray Stussy.
During the slow early episodes, there was a well-executed episode-long diversion to another city that was like a short story tangentially-related to the tale the rest of the season was telling, which seemed like the sort of cheeky, vaguely-experimental creative decision I’d be going gaga over in previous years.
But not this year. I was appreciative but distant, not fully engaged in the story this time around for reasons I couldn’t explain.
Then, around the half-way mark, something changed. The stakes were suddenly raised, dots were joined, ill-thought-out actions were having horrible consequences and I suddenly found myself caring immensely about characters I had previously thought of as quirky but fairly flat.
At the same time, the theme of the season was being hammered home with little-to-no subtlety but at least now I had a better understanding of what the show was trying to say, and it was saying it through the snaggle-toothed, bleeding-gummed mouth of the villainous V.M. Varga.
David Thewlis’ deliciously disgusting scene-stealing performance as this human ooze is a sight to behold.
His larger-than-life loan shark rambles about irrelevant trivia to sound clever and disarm his victims before telling lies so effortlessly that they became accepted truth through the sheer conviction of his slimy delivery.
Truth is the theme of the season, as the show confronts the lie it inherited from the film it’s based on which has appeared at the start of every single episode: “This is a true story.”
It examines how easily the truth can be distorted, moulded and transfigured for the malicious ends of the powerful and the greedy (no real-world subtext here, no sir), and how, sometimes, the truth is knowingly disregarded and deemed unnecessary when the lie is more convenient.
This analysis is wrapped in the riotously-entertaining second half of the season which features more of those cheeky, vaguely-experimental creative decisions that I normally go gaga for – and this time I did.
Back on the top TV list you go, Fargo.
(Fargo is on DVD, Bluray, and Netflix)