My Top Ten List of 2018

This has been another dark year for the entertainment industry. Not as bad as last year when it comes to scandals, though we did have more than our share, but there have been a lot of deaths, a lot of departures, and a lot of chaos. A lot of great series left the air, and it’s hard to tell where their replacements shall come from. And a lot more of last year’s great series spent 2018 on hiatus.

It doesn’t change the fact that, if you knew where to find it, there was still magnificent television to be found everywhere. From networks to cable, from streaming to platforms, even as great series depart, there are still fine shows everywhere more than willing to fill the gap. When the book comes to be written on the 2010s, there’s going to be a lot of contention for great TV series of all time among these shows.

So let us begin:

10. GLOW (Netflix)

This is one of the rarest of things for Netflix – a dramedy from Jenji Kohan that I absolutely worship, and I think was underrepresented by the Emmys this year. The fictionalized story of how the women’s wrestling league that for a brief moment was a spark on syndicated television is one of the funniest series on TV today. Not only does it work as a period piece, it also demonstrates just how far we haven’t come as a society. One will never forget the memorable scene where Ruth escapes harassment by a network executive, and when she confides in her friend, gets a harsh lesson in how the industry ‘works’. It’s also remarkable that in a case filled with brilliant actresses, Marc Maron remains the series greatest asset. I can’t wait to see what happens in Season 3.

9. Billions (Showtime)

With the possible exception of FX, Showtime is by far the most daring source of original programming in any platform today. And by far it’s most astounding project is this series about the rivalry between hedge fund manager Bobby Axelrod (Damian Lewis) and District Attorney Chuck Rhoades (Paul Giamatti). Their struggle for dominance nearly ended in Mutually Assured Destruction, and the season that followed ended in a climax that may have put the two leads in a position we never even considered – allies. The series has one of the best casts working today, and it’s perhaps most astonishing that Asia Kate Dillon, the first non-binary gender actor on TV anywhere is so good as Taylor that the writers have created someone who can not only hold their own against these powerhouse, but is one of the most vividly drawn characters I’ve seen anywhere. The fact that we are now approaching rocky financial times should make for more exciting drama in Season 4.

8. Crazy Ex-Girlfriend (CW)

I may have to wait until this series and Jane the Virgin come to a conclusion next year before I deliver a verdict on which of these series belongs on the list of greatest series of the decade. What I do know is that this series remains by far the most original and most enjoyable of any series I’ve seen in a very long time. As Rebecca Bunche finally manages to evolve in a way that characters on television (especially on the networks) usually don’t, we see character growth that is usually reserved for the anti-heroes that populate so many TV series. What’s more, almost every other character on the series is demonstrating remarkable emotional change. And oh yes, the series is a musical, and still produces some of the most wonderful and satirical numbers you’ll ever hear anywhere. I don’t know if Rebecca will ever find true love, but she has found inner peace, and that’s even more remarkable. As a side note, could we get Rachel Bloom to host every award show from now until the end of time?

7. The Good Place (NBC)

I didn’t think it was possible, but the most original comedy on network television got even better this year. With the characters back on Earth trying to better themselves,  Michael and Janet trying desperately to make the world a better place, and with it becoming more and more obvious that the system of determining what makes a person ‘good’ is horribly broken, the series continues to become more and more imaginative. The mid-season finale episode ‘Janets’ in which the four human found themselves all being played by D’Arcy Carden is one of the most visually stunning works of TV I’ve seen anywhere in years. I don’t know of any other series that can make philosophy accessible and entertaining. And in the best news of all, both the Golden Globes and the Broadcast Critics are starting to give the series the recognition it deserves. Could Emmys for Ted Danson and Kirsten Bell be far behind? That would be the best forking news I’ve had in awhile.

6. Better Call Saul (AMC)

We’ve now passed the point on this series where this is more the best origin series for anything on TV. It is becoming increasingly clear that this series is coming close to reaching the levels that Breaking Bad did. It’s sad to see Jimmy (Bob Odenkirk) finally letting go of his moral compass and becoming more and more the slippery attorney that will be doomed to a life of hiding in Omaha. And it’s equally sad to see Kim (Rhea Seehorn, in a performance that deserves a nomination from the Emmys) the one person who truly believed in him finally beginning to break away from the man she loves, even though he’s not worthy of her. And it’s always fascinating to watch the origin story of so many of the characters – we see the scope of Gus Fring’s revenge on Hector Salamanca begin, as well his plans for the future. And watching as Mike finally converts to the side he will occupy was nearly as big a blow as Jimmy’s lie to the board. Try not to take so long getting to Season 4, Vince.

5. The Assassination of Gianni Versace (FX)

Let’s clear this up outright – the second edition of American Crime Story wasn’t anywhere as good as the first. But it’s hard to argue that’s it wasn’t as relevant as The People V. O.J. Simpson, and in its own way, it was more successful. By airing in reverse order, we saw the construction of Andrew Cunanan (an incredible Darren Criss) as a serial killer and the web of lies that he constructed, bit by bit.  This edition also did a far superior job at showing who the true victims of the crimes were (something the previous edition failed at), and just how living in the world of lies surrounding homosexuality in the ‘90s – not nearly removed enough from the today – could allow a monster like Cunanan to thrive. All of the performances, from Edgar Ramirez to Judith Light were all flawless, showing that in a bizarre way Versace and Cunanan were not different at their core – Cunanan just never had the resources. It’s horrifying to think that we live in a world where indifference allowed Cunanan to get as far as he did – and the sad part is, we haven’t come as far as we’d like to think.

4. The Good Fight (CBS All Access)

In just its sophomore season, this series set in the same universe as the incredible The Good Wife, has already demonstrated that it is already playing at its origin series high level. Watching Diane (Christine Baranski, why do the Emmys ignore thee?) begin a slow-motion process of spiraling out in relation to the insanity that surrounds much of the modern day world was both sad and hysterical. Freed from the central plot that took up a little too much of last season, the supporting characters (particularly Sarah Steele and Cush Jumbo) have begun to shine in ways that were even more daring last season, and the series continues to introduce more memorable recurring characters into its universe. (An entire article could be written on the in-jokes this show keeps slipping in – including the Schoolhouse Rock segment on impeachment we never knew we needed). About the only real question that needs answering is – why are the Emmy voters ignoring this series? It’s got the swear-words and sex and its on streaming, which seemed to be the only reason The Good Wife was ignored season after season. This series is going to be here awhile. Don’t ignore it just cause its not on Netflix.

3. This is Us (NBC)

We learned how Jack died. We learned that his baby brother didn’t. In between was some of the greatest television that any show has done in awhile. Just when we thought all our questions were answered about the Pearsons, we got to see Jack’s story in Vietnam, and how much of his life was affected by the loss of his brother. We also got to see the first flash-forwards of the Pearsons final chapters (please don’t let it come to it soon) , Kate’s wedding, her struggle for a child, Kevin’s trying to build a relationship, and Randall’s struggles with his father’s legacy – which may be causing damage to the one relationship in this series we thought could not break. Milo Ventimiglia continues to astonish, and the rest of the cast remains at a supreme level. Yes, this series has a great gift at making us weep. But it wouldn’t be so good if we didn’t care so much. This is one of the most joyous experiences I’ve seen on TV in awhile

2. Atlanta (FX)

The world had to wait more than a year to see the further adventures of Donald Glover’s incredible series.  We definitely got our money’s worth. If anything, Glover went into even more radical directions than he tried in the ultra-ambitious first season. We saw Paperboi take a journey into the woods on the run, we saw Earn breakup with his girlfriend, and his girlfriend so on a surreal journey involving Instagram. We saw the sage of a $100 bill, and we saw just how deadly trying to have a fake shirt could be when you were in middle school. And that’s all without having to deal with the incredible journey of ‘Teddy Perkins’, one of the most incredible episodes of television of the year. Atlanta is a brilliant story on race, class and growing up poor in America disguised as a comedy. It is one of the most incredible accomplishment television has ever aired, and every episode makes you wonder: how can Donald Glover and company top this? Season 2 was subtitled Robbin’ Season but the biggest robbery was that the cast and crew didn’t get nearly enough Emmy love. (I liked Marvelous Mrs. Maisel too, but still?) I don’t know how long we’ll have to wait for Season 3, but it will be worth it.

1.      The Americans (FX)

All year long, I wondered how  The Americans would  end. It didn’t end with a bang or a whimper, but that didn’t make it any less perfect. The Jennings’ spent most of the seasons working against each other. Philip learned he was a failure as a travel agent. Elizabeth finally began to buckle under the pressure. Stan finally began to realize who his neighbor were. When the revelation finally came as to who the Jennings were, it led to a finale that was one of the greatest episodes not only of this year, but of all time. The final confrontation between Stan, Philip, Elizabeth and Paige was one of the greatest scenes I’ve ever seen as everything was laid bare. No guns were fired, no blood was shed, but it was as powerful a scene then any you’ll see anywhere – and had a conclusion that no one saw coming. The Jennings got away, but their children stayed behind. Stan can probably never trust his wife. And the Cold War ended – but we all know how that turned out. There were no winners in the end – except for the viewers. This is one of the greatest show in television history, deserving to be mentioned in the same breath as Breaking Bad and The Wire. The Emmys were even willing to give it some much deserved trophies, and I expect there will be more in the next month. Bravo, FX. Dos vadanya.