I love television and watched a lot of it last year on
most terrestrial and streaming services; especially the BBC, ITV, SKY and
NETFLIX channels. I must admit I am way
behind on many AMAZON and ALL 4/CHANNEL 4 programmes so will be rectifying that
this year. Indeed, there are probably some glaring omissions because of this.
For comparison I include last year’s favourite TV shows. This year I have not included South Park (Season 22) as it was not as good as prior years, despite clearly being one of the funniest shows around. Also, Doctor Who does not make my list as there were too many average episodes. Lastly, a special mention to The Walking Dead (Season 9), which at the mid-season break had somehow pulled itself out of the torpid decline that occurred around Season 6. It may make my 2019 list once the latest season has finished screening this year.
FAVOURITE 12 TV SHOWS OF 2017
BIG LITTLE LIES (2017) – HBO CURB YOUR ENTHUSIASM – SEASON 9 (2017) – HBO FARGO (2017)– SEASON 3 – FOX / CHANNEL 4 GAME OF THRONES (2017) – SEASON 7 – HBO THE HANDMAID’S TALE (2017) – HULU/CHANNEL 4 IT’S ALWAYS SUNNY IN PHILADELPHIA (2017) – SEASON 12 – NETFLIX LEAGUE OF GENTLEMEN – 20TH YEAR ANNIVERSARY (2017) – BBC LEGION (2017) – FOX MINDHUNTER (2017) – NETFLIX SOUTH PARK – SEASON 21 – SOUTH PARK STUDIOS STRANGER THINGS 2 (2017) – NETFLIX THE YOUNG POPE (2016) – HBO
Produced by: Nina Yang Bongiovi, Kelly Williams, Jonathan Duffy, Charles D. King, George Rush, Forest Whitaker
Written by: Boots Riley
Starring: Lakeith Stanfield, Tessa
Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Danny Glover, Steven
Yeun, Armie Hammer
**SPOILER FREE REVIEW**
Just when you think the well was drying up somewhat in regard to favourite films of the year, Sorry To Bother You (2018) comes along and jumps straight into my top twelve. Written and directed by activist and musician Boots Riley, this really is a humdinger of an absurdist comedy and must surely be a contender for best original screenplay of the year.
Centring on Oakland-based Lakeith Stanfield’s downtrodden everyman, Cassius Green, we find him unemployed and desperate to find work. So much so he takes a soulless commission paid job at RegalView selling encyclopaedias. So far so normal but very quickly events take many left field turns and Cassius is catapulted into a world of corporate greed, worker rebellion, romantic difficulties and some very weird science.
I do not want to give too much away but I had a blast with this film. Indeed, it’s best watched when you know as little as possible about the story. All throughout writer and director Riley has managed a great balance between believable situations and ridiculously surreal humour. His screenplay manages to satirise both the greed of corporate America and racial profiling, while at the same time never preaching or getting heavy. The tone of the film reminded me of so many films and TV shows I love, including: Being John Malkovich (1999), Atlanta, TheMighty Boosh and Monty Python’s Flying Circus. It’s also a thematic sibling to Jordan Peele’s massive horror hit Get Out (2017); which found white people exploiting Afro-Americans to nefarious ends.
The cast jump on board the many hyper-real and absurd concepts with abandon. Lakieth Stanfield, who is brilliantly deadpan in the show Atlanta, shows what a gifted actor he is. Again, Tessa Thompson proves what a brilliant actress she is as Cassius’ energetic artist and activist girlfriend; while Jermaine Fowler, Danny Glover and Steven Yeun provide really solid support. Special mention for Armie Hammer who really amps up the comedy with his representation of avaricious corporate megalomaniacs who care more for profits than they do for human life.
Incredibly, this is Boots Riley’s debut feature film and what a fantastic job he has done. Sorry to Bother You is brimming with hilarious comedic scenes, on-point parody, textured style and credible social commentary. Cassius’ journey throughout is believable too as he is tempted by the promise of money but at severe and Faustian cost. Riley, within the hyper-reality of the world he presents, never strays far from the idea that the collective must join forces to overcome the paymasters. Ultimately, the film may be messy and chaotic at times but this project-mayhem-gonzo-style, along with the colourful design and moody cinematography combine to deliver one of the most memorable films of the year.
Starring: Donald Glover, Brian Tyree Henry, Lakeith Stanfield, Zazie Beetz
Original network: FX
Donald Glover and his multi-talented cast and crew deserve all the praise and accolades they have or will receive for Atlanta. It is easily one of the best and most originally voiced television shows I have watched in the last decade. Set in the Atlanta, which is the most populous city in the U.S. state of Georgia; it centres on a collection of characters on the outside of the capitalist system just trying to make their way in life through: creativity, music, strange schemes, ducking, diving; and possibly a bit of drug dealing.
Atlanta has a rich political history. In the 1960s it became a major organizing centre of the civil rights with Dr Martin Luther King Jr. and many others playing serious roles in the movement’s leadership. Flash forward fifty years and, while we find the USA has moved beyond segregation from a legal perspective, inequality and social divide remain everyday from an economic perspective. The underclasses stay just that with the rich getting richer and the poorer communities unfortunately scrabbling around just trying to get by.
It is against this social milieu we meet our main protagonists in Atlanta. Donald Glover is Earnest “Earn” Marks, a young Princeton dropout turned manager; Brian Tyree Henry as Alfred “Paper Boi” Miles, Earn’s cousin and up-and-coming rapper; Lakeith Stanfield as Darius Epps, Alfred’s eccentric right-hand man and visionary; and Zazie Beetz as Vanessa “Van” Keefer, Earn’s on-again-off-again girlfriend and the mother of their daughter Lottie. These are presented as complex characters who, while at times, not following the law or rules are just trying to survive in these difficult economic times. A mixture of both society and their own poor decisions trap them, and from this comes much drama and comedy.
This is a very rich show, which over two seasons, is brilliantly acted, scored, filmed, written and directed. Thematically, it is very powerful while retaining a very honest humour. Episodes cover: stoner culture; crime; family relationships; the working class struggle; guns; violence; street gangs; drugs; children; social media; hip-hop; fashion; celebrity; as well as satirizing white people’s attitude to black culture and the music scene in general. It is confidently written with a loose episodic structure with events linked thematically and often looping back and re-joining much later in the season. Atlanta also experiments with form as well as style using a meshing of genres including: pop video, short film, chat-show, horror, comedy, internet and various dramatic devices to tell its story.
Overall, this is one of those shows which constantly surprises you and what appears to be a loose vibe is in fact a cleverly structured series of impactful vignettes full of rich moments. Indeed, episode 6 of Season 2 called Teddy Perkins is one of the most amazing pieces of television I have seen in a long while. Atlanta is not just a TV show but an experience not to forget and I certainly had Georgia on my mind long after I’d finished watching it.