#theaarons

I haven’t caught up on The Mandalorian yet. I should Grogu that. Here is The Aaron for Best TV Performance:

WINNER: Rhea Seehorn as Carol Sturka - Pluribus

Having to place the outcome of Pluribus on one actor’s shoulders, Vince Gilligan wisely knew he’d better call Saul’s Rhea Seehorn. Playing one of a dozen people immune from a hivemind, Seehorn is tasked with showcasing the full breadth of the human experience opposite calmer co-stars. The same grand expressions of grief and trauma that won her this award back in 2022 for her work as Kim Wexler translates perfectly to the isolated Carol, and her exasperation at the alien Others’ peculiarities once again takes the actor over the edge. Out of many praiseworthy performances last year, this one stands alone. 

HONORABLE MENTIONS:

Britt Lower as Helly R. - Severance

Lower’s performance reached new heights with the reveal of hidden layers to the role of Helly R.

Stephen Graham as Eddie Miller - Adolescence

Graham’s germination of grief throughout Adolescence nurtures the depth of its tragedy. 

Michael Shannon as James A. Garfield - Death by Lightning

For at least a short while, Shannon provides a soothing portrait of a President driven by hope and integrity.

Sarah Snook as Marissa Irvine - All Her Fault

Snook is all too convincing as the anguished mother of a missing child; whatever failings the mystery show had were certainly not her fault.

I’m told the recipients of this award totally would have accepted them in person this year if not for the actors’ strike. What about next year, you say? Oh, uh, well, you see, they may be preparing for their next strike. Here is The Aaron for Best Film Performance:

WINNER: Cillian Murphy as J. Robert Oppenheimer - Oppenheimer

Throughout his career, Murphy has been rightfully acclaimed for his ability to fully immerse himself in his roles; now, he has become Death, Destroyer of Worlds. To convey the unfathomable nature of its wide-ranging events, Oppenheimer traps viewers in the haunted headspace of the eponymous scientist. Murphy’s brilliant embodiment of the intellectual traces his obsession with accomplishment through to its harrowing aftermath. A scarecrow could scarcely look more gaunt than the actor by the time of the film’s finale. Through the subtle reactions in Murphy’s eyes, one can plainly see the horrific chain of events that Oppenheimer feared he brought to fruition.

HONORABLE MENTIONS:

Lily Gladstone as Mollie Burkhart - Killers of the Flower Moon

The wealth of talents possessed by the Certain Woman star reached full bloom with Flower. 

Margot Robbie as Barbie - Barbie

Equal parts perky and percipient, Robbie’s rendition of the iconic doll will leave viewers tickled pink.

Greta Lee as Nora - Past Lives

Lee leaves a lot unspoken as the loving lead; her nuances as Nora puts her in full control of Lives.

Zac Efron as Kevin Von Erich - The Iron Claw

Efron’s heartbreaking portrayal of a man wrestling with unthinkable pain is the strongest in the actor’s body of work.

While I do highly recommend all the shows listed here, I don’t expect you to watch that much TV if you don’t want to. We’re The Aarons, not The Marvels. Here are The Aarons for Best TV Show:

#10. My Adventures with Superman (Season 1) - Adult Swim

As James Gunn steels himself for Superman’s big-screen revival, he would be remiss not to take notes from the character’s recent small-screen success. Alongside the still-strong Superman & Lois, the new Adult Swim show confirms the key to the character’s appeal is his good-natured boyish charm. Adventures bolsters this tenderness with pretty animation and a storytelling focus on the young hero’s budding relationships with Lois Lane & Jimmy Olsen. The series stands out with a fresh-spin on its famous rogues gallery, including tantalizing teases of an imminent alien invasion, but it’s this spot-on romantic characterization that will sweep viewers off their feet and up, up, and away. 

#9. Star Trek: Picard (Season 3) - Paramount+

The final installment of the Star Trek spin-off boldly goes where it has never gone before: onto a ‘Best of TV’ list. It only took a complete creative overhaul and the return of the entire Next Generation crew to make it so. Functioning as a mulligan for both that cast’s previous send-off and the first two seasons, Picard’s third outing put the long-standing chemistry of its venerable characters front and center. In between all the nostalgic spaceships and evolving relationships, the show wove a madcap mystery out of surprising pieces from the franchise’s extensive lore. As unbelievable as it sounds, that adaptable energy made Picard one of the bright spots of TV last year (and there are four lights.) 

#8. I’m a Virgo (Season 1) - Amazon Prime

Sorry to Bother You filmmaker Boots Riley made another welcome addition to his idiosyncratic output with I’m a Virgo. If the director’s involvement wasn’t enough of a signal to watch, the premise is even more intriguing: the coming-of-age of a 13-foot-tall Black teenager named Cootie in an absurdist version of Oakland policed by a fanatic billionaire superhero. An awe-inspiring mix of puppetry, prop design, and perspective is used to bring this giant protagonist to life. It’s a tall tale, but not one without real-world relevance. Riley uses the towering position afforded him to champion racial and economic equality; the strangest thing about the surreal show ends up being that Amazon of all places signed off on it.

#7. Barry (Season 4) - HBO

Last year’s Aarons noted that Barry was gunning for a place in television’s greatest works. With a fantastic final season, it hit its target. The culminating episodes consolidated directorial duties in the multiskilled Bill Hader while bifurcating their storyline with a dramatic eight-year time-skip. In the first half, Barry stages a dazzling prison break; the second half makes it clear that the repercussions of one’s actions are far harder to escape from. This complexity further complicated a dark comedy that has always been difficult to define. Though the series got a lot bleaker as it went on, its status as a showbiz satire returned with a vengeance during the final curtain call. Without shying away from the fallout of its violence, Barry still manages to get the last laugh.

#6. The Last of Us (Season 1) - HBO

The Last of Us has been one of the greatest experiences in video games for a decade now; with the first-rate television adaptation, non-gamers now have no excuse to be left behind. The post-apocalyptic road-trip, shepherded by Chernobyl’s Craig Mazin and game creator Neil Druckmann, upgrades the original’s already-impressive production design with the ample resources afforded by HBO. Players will recognize, yet still recoil from, the show’s unsettling set-pieces, but it’s the small deviations from the source material where everything truly clicks into place. Taking advantage of the medium to enrich its world-building and side characters ensured the story held lasting intrigue for new and old fans alike.

#5. Reservation Dogs (Season 3) - FX

The news that Sterlin Harjo and Taika Waititi’s comedy would end with its third season was met with a lot of reservation since the series remained as brilliant as always. However, the decision secured the show’s ability to go out as one of the top dogs of TV. The final season, like the heartful series as a whole, advocated for embracing one’s community. It embodied this theme by entwining the advancing arcs of its young cast with that of its eccentric elder characters. These mirrored storylines fostered an unforgettable forum for processing grief, celebrating joy, and passing along wisdom between generations. As made explicit by the series finale, Reservation Dogs’ ending should not be viewed as a time of mourning but of happiness for all the life it had.

#4. Mrs. Davis (Miniseries) - Peacock

One of Peacock’s best shots at becoming a competitive streaming service lies in the defiance of an algorithm. Hailing from Watchmen’s Damon Lindelof, the bizarre Mrs. Davis sends devout nun Sister Simone on a quest for the Holy Grail as a last ditch effort to rid the world of an omnipresent artificial intelligence. The miniseries is recommended if you like ambitious sci-fi, spiritual journeys, unpredictable plot-twists, magic tricks, Super Bowl commercials, or chicken wings. The sheer absurdity of its various plot threads may seem at times like a lot of horsing around, but those who hold faith in the show’s ability to bring all those listed things together for a thoughtful conclusion will be richly rewarded. 

#3. Succession (Season 4) - HBO

The popular drama effortlessly rose through the ranks of the Aarons following a full series binge-watch this past year. Considering the nature of the premise, the final season, in which each character suddenly scrambles to enact their ultimate bid for power, was primed from the start to take over as its best. Unlike previous HBO hit Game of Thrones, it succeeded. As always, this was in no small part due to the sharp-tongued transactions between its talented ensemble. The richness of the writing lays bear the tragedy of its characters as they negotiate large acquisitions and influence Presidential elections without ever seeing the strings that are pulling on them. Luckily it’s all overseen with acerbic wit by creator Jesse Armstrong; a show with people this pathetic had no business also being this funny.

#2. The Great (Season 3) - Hulu 

Although it’s not his Favourite, The Great is the crowning achievement of writer Tony McNamara’s career. The third season of the risqué royal dramedy was as inaccurate as ever with the history of Catherine II & Peter III of Russia and no less on point with its scintillating dialogue. Some peculiar highs and precipitate lows in the duo’s tumultuous relationship gave stars Elle Fanning and Nicholas Holt equal opportunities to command viewers’ attention with their disarming performances. The progression of their marriage gave rise to some oddly emotional moments for the largely irreverent series. Those events are yet another example of the series playing fast and loose with the actual facts, but what is irrefutable is that The Great absolutely ruled.

AND THE BEST TV SHOW OF 2023 IS....

#1. Poker Face (Season 1) - Peacock

No lie: Poker Face was the best television of last year. One should have suspected as much from the start given the involvement of Rian Johnson; the mysteries here are every bit as sharp as Knives Out. Face has unique features for both a streaming series and detective show: its case-of-the-week episodes follow a howcatchem format instead of the more common whodunit. This formula folds each installment into an outstanding showcase for first-class actors, writers, and directors, including Russian Doll’s Natasha Lyonne fulfilling all three roles. Her charismatic character Charlie Cale anchors each story in perceptive humanity; that more than enough motive to be all-in on Poker.

75 films released in 2022 are eligible for this year’s ceremony. That ties a low with the pandemic year of 2020, but my goal was to focus on quality over quantity. Well, at least that’s what I told myself until I opted to watch Disenchanted over Decision to Leave. I did watch a lot of good films last year though. Here are the Aarons for Best Film:

#10. Scream

Ready or Not directors Matt Bettinelli-Olpin & Tyler Gillett were the first people brave enough to take a stab at Scream since the passing of director Wes Craven. They slayed at becoming its stewards. The fifth film’s satire has bigger prey in mind than just the slasher subgenre, cutting through a whole culture obsessed with reliving an idealized past. It’s a scary, and pertinent, reminder of how easily infantilized fan-bases can be weaponized against human beings, told with a sly style that would have made Craven proud. While the film features plenty of familiar faces and Ghostfaces, it’s the new blood of current and soon-to-be horror icons like Dylan Minnette and Jenny Ortega that really made the horror-comedy a scream.

#9. The Black Phone

Based on the short story by Joe Hill, The Black Phone recalls the best works of his father Stephen King. The 70s-set serial killer thriller grabs ahold of viewers with its supernatural hook - a phone that converses with the dead - but it’s the clever characters that will keep them captivated. Sinister director Scott Derickson slowly dials up the dread as young Finny Blake tries to escape the clutches of his kidnapper, with the looming specter of past victims making the cost of failure clear. The frightening film’s secret weapon is its resourcefulness, deftly deploying Ethan Hawke’s maniacal villain and eerie 8mm imagery as it lays the groundwork for an off-the-hook finale.

#8. The Batman

Since its debut, every comic book filmmaker has been riddled by the same dilemma: how to eclipse The Dark Knight. If director Matt Reeves, who sharpened his skill for thoughtful blockbusters on Planet of the Apes, didn’t solve the question, he at least gave a very good guess. Reeve’s reinvention pushed the envelope of superhero cinema by drawing inspiration from David Fincher, distinguishing itself in the competitive genre through grounded stakes and great spectacle. Abetted by Paul Dano’s riveting Riddler and Robert Pattison’s arresting, arrestedly-developed version of the vigilante, the twists and turns of the mystery noir keep viewers tightly-wound even after its dam breaks open. 

#7. TÁR

TÁR’s composition is unusual: it begins with a full set of production credits, shown in reverse of traditional order. The switch-up is the opening salvo of a film fully intent on upsetting power dynamics. The three-hour character piece plays with audiences’ sympathies as it chronicles the collapse of famous (fictional) symphony composer Lydia Tár. The nuanced tale of narcissism takes some cues from modern day ‘cancel culture,” but the tenor is a tragedy as classical as they come. To alleviate trepidation, it’s important to note that TÁR isn’t as stuffy as it may sound: the coda of this unusual composition is a rollicking punchline as appropriate as it is unpredictable.

#6. Pearl

Pearl is a gem. Filmed in secret alongside its predecessor (more on that shortly) and released a few months later, the prequel extrapolates X into a compelling study of its eponymous character. The wickedness of the Oz-inspired technicolor terror contrasts itself through its singular focus. Tracing the lead-up to Pearl’s first string of murders in 1918 as her fairy tale dreams turn into a deranged fervor, the film keeps the body count going but the spotlight fixed on the incontestable star power of Mia Goth. Goth’s devotion to the demented ending guarantees that, while X is extricating, Pearl will always linger in the back of one’s mind. 

#5. X

‘Elevated horror,’ the designation given to the recent trend of arthouse films, has routinely struggled to find the right balance between lofty thematic ambitions and expected genre titillation. X marks the spot. The trick was in fixating both on being unabashed about one’s nature. The thrust of Ti West’s throwback grindhouse flick, which documents a group of sexually-liberated filmmakers’ fateful encounter with an envious elderly couple, is a morality play about accepting mortality. The sexed-up slasher doesn’t skimp on penetrating flesh though, with gnarly gore effects designed by Wētā Workshop. It could have been objectifying and objectionable material, but West directs it all with a curious compassion; as a result, X multiplied wins for his films this year. 

#4. The Banshees of Inisherin 

Banshees is a lament of ghosting gone wrong. Martin McDonagh’s drama escalates an unconscientious uncoupling - truthful but tactless - between two life-long best friends to its most absurd and absurdly funny degree. Backdropped by the Irish Civil War, the boiling tension between the curiously incongruous but synchronously stubborn pairing of Brendan Gleeson’s ambitious Colm and Colin Farrell’s simplistic Pádraic highlights how quickly spite can erode one’s better angels. It’s a downbeat design yet Inisherin’s spirit lies in its impeccably witty dialogue. They may not be able to put their finger on whether it’s gaiety or grief, but audiences will be howling in response to Banshees for one reason or the other.

#3. Speak No Evil

Much has been said recently about horror’s use as a vehicle to process past trauma; Speak No Evil returns the conversation to the genre’s custom of cautionary tales. Danger lies ahead, not behind, of the film’s family when they accept an invitation to an idyllic weekend stay with a foreign couple. Evil preys on the unprepared; the insidious nature of its terror isn’t clear until its trap is already sprung. For the unassertive, the Danish film is uniquely devastating. The less said to prospective viewers, the better, though rest assured that Speak No Evil deserves every good word.

#2. The Fabelmans 

Steven Spielberg has spent a lifetime doing his dream work and capturing his audiences’ imagination along the way. Loosely based on his own childhood, The Fablemans brings that wide-ranging filmography into focus. The assortment of anecdotes is one of the director’s funniest films and undoubtedly his most vulnerable. While this semi-autobiographical story could have been a simple victory lap for the septuagenarian, Spielberg’s sentimentality has always been far wiser than critics claim. The sure to be sacred text to future generations of filmmakers is certainly a testament to the magic of movies. Yet, even as Spielberg reframes his past, the learned moral imparted by The Fabelmans is really about what cinema is unable to control. 

AND THE BEST FILM OF 2022 IS...

#1. Everything Everywhere All At Once

Movie multiverses may be inescapable at the moment, but no project encapsulates the concept’s infinite possibilities more than Everything Everywhere All at Once. The revolutionary martial-arts flick runs like The Matrix trading its estrogen for ecstasy as it awakens an under-audit laundromat owner to the larger worlds around her. The film’s directors, collectively credited as Daniels, learned the tools of the trade on the offbeat Swiss Army Man and apply that same sense of humor here: one that’s lewd, ludicrous, and incredibly life affirming.  Able to transform a universe of humans with hot dogs for fingers from joke to tearjerker and back again, the film is continually unexpected but everything one’s ever wanted all at once.

Last year, I got really into NFTs. By that, I mean Not Feeling Troubled to watch so many TV shows. I did still watch quite a few though. Here are the Aarons for Best TV Show:

#10. Invincible (Season 1) - Amazon Prime

Audiences would be forgiven for not wanting another superhero show in the currently cluttered landscape, but that resolve shouldn’t be, well, invincible. Adapted from the comic book saga by The Walking Dead’s Robert Kirkman, Invincible reanimates the giddy delights of that subversive superhero origin story alongside its vibrant & violent visuals, drawn from the work of artists Cory Walker and Ryan Ottley. While focusing on the coming-of-age of Mark Grayson, son of the world’s biggest hero, the universe is fleshed out by an impressive assemblage of voice talent, including Seth Rogan and Mahershala Ali. Its biggest strength though is in that central superpowered family, voiced by Steven Yeun, Sandra Oh, and J.K. Simmons, whose shocking secrets give rise to moments of unforgettable vulnerability.

#9. Superman & Lois (Season 1) - CW

If Invincible soars as counter-programming, Superman & Lois proves the classics can still be just as powerful. Inspired by recent developments in the comics, the new CW series follows the iconic figure as a family man, able to leap tall buildings in a single bound but struggling with the epic highs and lows of his sons’ high school football careers. Despite its small-town setting, the show pushes network TV special-effects boundaries with its awe-inspiring sequences of Superman as a global savior. Tyler Hoechlin plays a man with the weight of the world on his shoulders with casual charm, perhaps because it is not a burden shared alone; Elizabeth Tulloch’s Lois Lane rightfully shares the equal focus implied by her equal billing. The appeal here is the open and honest communication among the two and their children, the wholesome forging of bonds as a family of steel.

#8. Dickinson (Seasons 2 & 3) - Apple TV+

Dickinson’s dual seasons last year were focused on divisions - one on betrayals, the other on civil war. The intent, though, was once again on bridging the gap between the past and present by portraying historical figures with modern sensibilities. As the characters lament their contemporary circumstances, humor springs from its ironic rhyming with the stresses of today. The poetry program dissuades viewers from an egocentric look at life, but not from leaving a mark while still living. That’s a philosophy put to the test in the final season, which must reconcile with the legacy of the morbid and reclusive poet herself; in the end, Dickinson’s greatest accomplishment may just be staving off death for at least a little longer.

#7. Reservation Dogs (Season 1) - FX

What We Do In the Shadows’ Taika Waititi, as well as co-creator Sterlin Harjo, kept cable comedy from going to the dogs with Dogs. Revolving around a group of four Indigenous teenagers looking to escape their life on a reservation, the series has all the empathy and eccentricities expected from the director of Hunt for the Wilderpeople and Jojo Rabbit. The ensemble cast and shifting surreality of the show bears a resemblance to the unpredictability of fellow FX comedy Atlanta, a flexible framework that allows for harsh glimpses at generation trauma one episode and waggish Wendigo stories the next. Its culturally-specific comedy is something unique though: featuring accomplished Native-American actors Gary Farmer and Zahn McClaron among the newcomers, as well as an entirely Indigious writing and directing team, Reservation Dogs provides a much needed perspective within the television landscape.

#6. Stargirl (Season 2) - CW

Stargirl was already the bright spot of the doomed DC Universe streaming service, but its ongoing adventures on the CW just may have eclipsed the first. The sophomore season, subtitled ‘Summer School,’ put its heroes to the test, pitting them against both dangerous new foes like The Shade and lingering traumas from their last battle. It was a darker storyline, both literally and metaphorically, but lightened by an endearing cast alongside guest spots from old-school comic characters, including Jim Gaffigan as the mischievous genie Thunderbolt. The lesson of ‘Summer School’ concerns the characters learning to grow beyond the legacy left to them; that’s very fitting for a show whose star is still rising.

#5. The Good Fight (Season 5) - Paramount+

Despite recent changes in leadership, The Good Fight goes on. The legal show restructured itself again last year following the recusal of leads Rose Leslie, Cush Jumbo, and Delroy Lindo, and ended up with its most appealing season yet. Fight found new fire with the fallout of the January 6th insurrection, using the discovery of an unsanctioned back-alley court system as an allegory for the dangers of disregarding the rule of law. That’s an existential threat to the show and real-world alike, but prosecuted with deft drollery by new cast member Mandy Patinkin, as well as a returning Christine Baranski as the nonchalant Diane Lockhart. The future may look grim, but, with increased resolve and expected repartee, Good has never been better.

#4. Chucky (Season 1) - Syfy

Many famous horror franchises have struggled with a switch to the small-screen; Chucky made the change look like child’s play. True to the promise to fans to be friends ‘til the end, the show shares the same sandbox with the film series before, acting as a direct continuation of the continuity stretching back to 1988. However, this time, it’s personal: franchise creator Don Mancini packages the Good Guys gore with an affectionate coming-out story based on his own childhood. The iconic killer grows alongside the game cast through flashbacks that flesh out the lore and twists that open up new opportunities. With mechanical puppetry dolled up for its TV debut, Chucky’s never been better equipped to toy with viewers.

#3. Kevin Can F**k Himself (Season 1) - AMC

After years of building their brand on malcontent men breaking bad, AMC gave the put-upon wife her proper due. The show’s scornful fury and colorful name has its origins in the CBS show Kevin Can Wait, which infamously unceremoniously killed off and replaced the wife of Kevin James’ character to boost ratings. That’s just a symptom of a larger strain of sitcom misogyny that F***K Himself calls out. Shot as a multi-cam laugh-track comedy for the uncaring husband and a gloomy single-cam drama for the wife driven to drastic measures to get away, each episode cuts deeper into the impact of casual cruelty through correlating storylines. The combination is formally daring but remains attuned to each style’s appeal; for regular sitcom watchers with hesitations, Kevin simply can’t wait.

#2. Evil (Season 2) - Paramount+

Showrunners Robert and Michelle King have set up a classic conflict for Paramount+ subscribers: Good or Evil? Their supernatural drama got a little darker, a lot more risque, and a whole lot weirder in its move from CBS to the parent company’s streaming service, also home to the Kings' Good Fight. The investigators are still called by the Church to cases-of-the-week, including haunted elevators and fire jinns, but the second season really acts as a long dark night of the soul for the possibly possessed Kristen (Katja Herbers) and tempted seminarian David (Mike Colter). The fraught relationships of the character-focused season complicate that ‘good vs. evil’ question. The show itself presents a simple alternative: Evil is good.

AND THE BEST TV SHOW OF 2021 IS...

#1. Midnight Mass (Miniseries) - Netflix

Mike Flanagan has amassed an impressive resume of hauntings for Netflix, but his passion project was something far more divine. Midnight Mass is not unlike reading Stephen King from the pulpit, uniting the page-turning pulp of the prolific author with the introspection offered by a good Sunday sermon. Flanagan, directing every episode, patiently preys with viewers, enveloping them in the lives and losses of the isolated island community long before his batty bloodbath begins. While certainly indulgent in idiosyncrasies, Mass’ fears are not easily discounted. Grieving for people led astray and the suffering lives destroyed by that blindness, its anguish is all too real for as long as American Christianity aligns itself with fascism. Perhaps that’s just preaching to the choir, but the rapturous Midnight Mass could make anyone a believer.

Does anyone else with a Fire TV experience a glitch where the menu becomes tiny for no discernible reason? It’s bad TV performance. Here is the Aaron for Best TV Performance:

WINNER: Elizabeth Olsen as Wanda Maximoff/Scarlet Witch - WandaVision

‘Bewitching’ is really the only word to describe Elizabeth Olsen’s multifaceted role in WandaVision. Maximoff had never maximized the actor’s talents before, but in the headlining show, the entire universe was finally put under her enchanting sway. Summoning the spirits of Lucille Ball, Elizabeth Montgomery, and her own older sisters, Olsen rose to the challenge of every sitcom pastiche WandaVision dialed up. Each effortless era-specific evolution of the character added to the immortalizing performance for the once underappreciated actor. That makes it an easy pick for the best of the year: after all, what is great, if not talent persevering?

HONORABLE MENTIONS:

Hamish Linklater as Father Paul Hill - Midnight Mass

Linklater is a revelation as Mass’ mysterious minister, with preaching both perturbing and profound.

Elle Fanning as Catherine the Great - The Great

Fanning took charge in The Great’s second season; her success was evidently foreordained.

Brad Dourif as Chucky - Chucky

Idle hands are Dourif’s playthings; 30 years later, the Chucky voice actor can still creep viewers out with just his cackle.

Will Forte as MacGruber - MacGruber

Forte’s MacGruber continues to be da bomb; no one’s better prepared for such perfectly-timed meltdowns.

It was prime time for TV in 2020, with many more free hours to fill. I managed to get through a lot of my backlog in fact, finally getting around to watching shows like The Strain. It’s a show about a deadly disease that tears society apart because a lot of arrogant people think they are exempt from quarantining. The disease turns people into vampires, so it’s technically escapism. Here are the Aarons for Best TV Show: 

#10. The Plot Against America (Miniseries) - HBO

It’s not TV, it’s not HBO, it’s real life. The Wire-creator David Simon’s penchant for illustrating the human fallout of institutional failures made him a perfect collaborator for HBO’s Plot Against America, an adaptation of Phillip Roth’s alternate-history novel. Following a Jewish family in New Jersey navigating the increasingly-fascist America of a hypothetical Charles Lindbergh administration, the show is a terrifying warning of what happens when hatred and conspiracy theories are allowed to accumulate political force. Notably, while the book ends with history back on the right track, the closing moments here are left ambiguous. The show was a limited series, but in many ways, The Plot Against America is ongoing.

#9. Mrs. America (Miniseries) - FX

Its interests are married to The Plot Against America, but Mrs. America traces the country’s rising extremism from a more historically accurate perspective. The miniseries centers on political activists in the 1970s on opposing sides of the proposed Equal Rights Amendment, but its dialogue isn’t a strict dichotomy. The episodic format is expertly utilized to build out intersectional ideas from the likes of Rose Byrne’s Gloria Steinem, Uzo Aduba’s Shirley Crisholm, and Margo Martindale’s Bella Abzug, detailing the difficulties in building a diverse coalition, and the dangers of a single-minded one. Drawing parallels to current debates, its compelling centerpiece is how conservative Phylis Shafley (Cate Blanchett) successfully defeats the Amendment; voting against your own self-interests, Mrs. America says, is as American as apple pie.

#8. The Outsider (Miniseries) - HBO

Societal collapse comes from within in the two shows mentioned above, but the threat in HBO’s adaptation of Stephen King’s 2018 novel is decidedly an “other.” King clearly had his mind on modern manipulations of truth when crafting the ingenious premise: a man is arrested for the murder of two young boys due to irrefutable DNA evidence, only to provide an air-tight alibi for the crime. To match King’s procedural prose, HBO brought on The Night Of’s David Price, who layers the original work with meticulous mysteries. The Outsider has all the pulpy jolts expected of the author, but the show’s true horror lies in its overbearing grief, best brought to life by Ben Mendelsohn’s Detective Anderson. To say more would be to spoil its secrets; you’ll want to be on the inside.

#7. Perry Mason (Season 1) - HBO

Just like the famous fictional attorney, HBO can’t seem to lose, with Perry Mason marking its third entry on this list. The reimagining of the long running court drama actually takes place before the character’s illustrious law career; here he’s a down-on-his-luck private eye caught up in a scandalous child kidnapping case. The result’s a gangbusters production of old-fashioned moody noir: political corruption, femme fatales, and a more morally-complicated Mason, as played by The Americans’ Matthew Rhys. The lavish period details and character-actor cast, including Shea Whigham, John Lithgow, and Tatiana Maslany, will help draw viewers in, but, I’ll confess, I was already hooked by the season’s chilling opening moments.

#6. Zoey’s Extraordinary Playlist (Season 1) - NBC

Dour seasons have dominated this list thus far, but Zoey’s Extraordinary Playlist sings a different tune. It’s a lovably oddball premise: an accident during an MRI causes a young woman, played by Jane Levy, to hear other people’s thoughts in the form of popular music. It’s all karaoke, but, emphasized by the presence of Skylar Astin, a worthy inheritor to Crazy Ex-Girlfriend’s musical-comedy crown. The tracklist, workplace antics, and love-triangle drama all exist in a comfortingly familiar network TV realm, but the show takes additional steps for inclusion with stories highlighting Zoey’s genderfluid neighbor (Alex Newell) and an American Sign Language performance of Rachel Platten’s “Fight Song.” During a year in need of shuffling off stress, there was no better time to queue up Zoey’s Extraordinary Playlist.

#5. What We Do in The Shadows (Season 2) - FX

FX’s expansion of the mockumentary feature film of the same name lit up some of the darker corners of its universe in the show’s second season, transforming mundane-seeming material into something completely, uniquely batty. Each creature of Shadows took their turn in the spotlight this season, from a middle-management promotion gifting energy-vampire Colin Robinson unlimited supernatural power, to undead Nadja befriending a doll possessed by her own ghost, to Matt Berry’s Lazlo forging a small-town persona as a bartender/volleyball coach to escape a vengeful Mark Hamill. As always, it was the sympathetic Guillermo (Harvey Guillén), a Van Helsing descendent desperate to become a vampire, who gave the show its emotional stakes, and the vampires within a different kind altogether.

#4. Stargirl (Season 1) - DC Universe

Shadows was lit, but few things burned brighter this year than Stargirl (perhaps too brightly for the flamed-out DC Universe). The superhero drama is one of several that will outlive its original streaming service - fitting, given its obsession with legacy. Based on a character created by DC Comics stalwart Geoff Johns after the tragic loss of his sister, the show finds a young girl taking on the mantle of a fallen hero after moving to a town run in secret by supervillains. With sprightly fight choreography and an unabashed embrace of its comic book lore, Stargirl outshines the overabundance of small-screen superheroes out there. Its highlight is the bright performance of lead Brec Bassinger; put simply, she’s a star, girl.

#3. BoJack Horseman (Season 6b) - Netflix

Throughout its run, BoJack Horseman garnered acclaim for routinely delivering unexpected pathos, and the final season kept it on that track until the end. ...Get it, because horses run on tracks? The unexpected porter of television’s legacy of antiheroes ended in much the same vein as its sister shows - with consequences finally catching up with its protagonist. No amount of fanciful animal puns could soften that painful catharsis, as the show finally trampled its tricky web of abuse through bittersweet means. The series closed out with an especially thoughtful scene, the kind viewers who looked past the wonky pilot years ago were regularly blessed with; to the very end, BoJack, you were a gift, horse.

#2. Better Call Saul (Season 5) - AMC

As good as Bad ever was and better than ever before, the fifth season of AMC’s spin-off completely upended the world of its eponymous lawyer while bringing Vince Gilligan’s universe one step away from full-circle. Saul Goodman found himself in way over his head, and viewers found themselves way on the edge of their seats, as his first foray into “criminal” lawyering swiftly dovetailed with an escalating drug war. Despite the emotional distress of watching fan-favorite character Kim Wexler placed in perilous situations, there are no objections to be had with the drama’s continued masterful storytelling. Ramping up the slow-burn storytelling, season five saw Kim and Saul’s relationship develop in rich and unexpected ways, while still keeping their final fates unresolved. Fans are thus waiting with bated breath for the show’s final call next year. 

#1. The Great (Season 1) - Hulu

Who could be the best but The Great? There was a minor television controversy this year over Netflix marketing The Crown as a historical drama despite its fictional interpretation of events; The Great has no such pretentions. An asterix adorns every title card of the show, letting viewers know that its take on Catherine the Great’s coup against Emperor Peter III of Russia is only “an occasionally true story.” The show indeed is not great for education, but it’s the most entertaining television of the year, locking stars Elle Fanning and Nicholas Hoult in a battle of wits and a fight for the country’s soul under the watch of The Favourite co-writer Tony McNamara. The uproarious comedy slyly collates leadership based in cruelty with leadership based in goodwill in the background of its quite bawdy escapades, a subtle bit of relevant political maneuvering that lets it successfully claim the crown this year.

I had to cancel a lot of streaming services this year. They know what they did wrong. Here are the Aarons for Best TV Episode: 

#10. “Take Your Choice” (Batwoman, Season 1, Episode 12)

Coming out of the Infinite Earths crossover, Batwoman is left with a personal Crisis of conscience: Kate Kane’s efforts to redeem the villainous Alice, her presumed-dead sister, are derailed by the arrival of an alternate-universe version of her, one who didn’t suffer the same traumatic events. Multiverse collapse means only one can live, compelling Kate to choose between fighting a righteous lost cause or taking the easier path back to normalcy, the kind of complex moral dilemma that heroes are forged in. The original Alice is seen as both abuser and victim within, torturing Kate over her own lingering trauma, while fearing a second, far-worse abandonment. This enhanced sibling conflict reinvigorated the season’s second half. It’s unfortunate that dynamic is now lost with the decision to replace, not recast, Batwoman going forward, but, well, a choice had to be made.

#9. “The One Where We’re Trapped on TV” (Legends of Tomorrow, Season 5, Episode 14)

With back-to-back shows on this list, it’s clear The CW’s sweeping interconnected universe is still going strong, but they’re not done conquering the airwaves yet. In their latest bit of meta-mischief, the crew behind the show Legends of Tomorrow flexed their creative freedom and trapped the on-screen crew of Legends of Tomorrow within various television parodies, including Friends, Downton Abbey, and Star Trek. Each is brought to life with expert lived-in details by long-term producer and first-time director Marc Guggenheim. The cast gamely tunes in to the needs of each as well, hamming it up with Shatner-impressions and droll sitcom style. It’s all held together by the show’s lovable mush; if you’re looking for unique, heartfelt television, the Legends are on it. 

#8. “Zoey’s Extraordinary Glitch” (Zoey’s Extraordinary Playlist, Season 1, Episode 8)

Despite her being the star of the show, Playlist kept skipping over Jane Levy for its big musical numbers, a consequence of its concept that Zoey is the one hearing other people’s thoughts expressed in song. That oversight was paused in the show’s eighth production, which gave her a show-stopping spotlight all her own. It wasn’t just Levy’s rendition of pop songs that were a hit, but how reality hit for the character after signing her heart out. The playful subversion of Playlist’s formula dialed cringe-comedy to the max, while shattering the limitations of its unusual premise. If the show keeps shuffling itself around like it did here, it won’t be played out anytime soon.

#7. “Sundown” (Lovecraft Country, Season 1, Episode 1)

The unknown is an alluring yet dangerous place. That’s the concept at the heart of infamous horror author H.P. Lovecraft’s work, and the principle carries over to J.J. Abrams and Jordan Peele’s inspired TV show. Atticus Freeman can’t resist that unknown when he receives a mysterious letter from his missing father, and sets off on a road trip beset by monsters to find him. The episode is a wicked homage to the petrifying creatures of Lovecraft lore, but its true horror lies in its subversion of those stories. Lovecraft, an unapologetic racist, founded his fears in that bigotry; Lovecraft Country centers people of color in its narrative, contending with those racist fears within monsters that walk among us. This balance of reverence and rejection is never better than in this first episode; “Sundown” is the highest point in the unearthly Lovecraft Country.

#6. “The Curse” (What We Do in the Shadows, Season 2, Episode 4)

STOP! If you are reading this, you have been cursed! You will be visited by Bloody Mary tonight if you do not forward The Aarons to ten other people.

 ...It was a familiar hoax to earlier adopters of the internet, a bit of viral villany that used the anonymous and unfathomable nature of the world wide web to spook even the most shrewd of children. To a clan of vampires though, incredulity is already out the window. That’s the clever catch of this episode, in which the long-undead crew scramble to get a crash-course in the technological age to avoid such a prophesied ghostly encounter.  It’s a devilishly funny dance of dramatic irony… or is it? I can say with certainty that “The Curse” is a real one, so best get forwarding, readers.

#5. “Ego Death” (I May Destroy You, Season 1, Episode 12)

There was always an inevitability to I May Destroy You: a miniseries needs a denouement. That’s a greater dilemma when your subject is recovering in the wake of sexual assault, a situation that’s rarely cleanly resolved. “Ego Death,” the final installment in the resolutely honest show, doesn’t shy away from that difficulty. Creator and star Michaela Cola’s Arabella has a chance recognition of her assailant, and the episode runs through several possible reactions for her to that encounter. It’s as furious and yet funny as the show consistently was, while always holding firm to the promise of its title: assault need not define you, destruction is not inevitable.

#4. “Bagman” (Better Call Saul, Season 5, Episode 8)

Vince Gilligan built his empire on exploring what will make a person reach their breaking point; after five seasons of build up, he burdened Saul Goodman with as much as the man can bear. Taking cues from a classic episode of the original series, “4 Days Out,” Saul Goodman is stranded in the desert, forced to degradingly drink his own urine while lugging around duffle bags of cash, after a trepidatious handoff is ambushed by a rival drug cartel. Worse, he’s being chased by a surviving shooter. Gilligan loads the episode up with the distinctive visual flourish, attention to detail, and gripping tension that are the hallmarks of his work; when it comes to making standout television, Gilligan’s got it in the bag, man. 

#3. “The Phantom Apprentice” (Star Wars: The Clone Wars, Season 7, Episode 10)

There was a clear force pushing Disney to revive The Clone Wars after seven years off the air: bringing balance to the franchise. The last third of the season finally fulfilled the show’s destiny, running parallel to the events of Revenge of the Sith from the perspective of its original creation, Ahsoka Tano. The entire operatic arc rivaled the power of its cinematic counterparts, but my chosen one is its second part, in which Ahsoka and a revived Darth Maul duel above an under-siege Mandalore. The dazzling lightsaber fight was rendered using motion capture technology, providing viewers with another dizzying high ground from which to watch the fall of the Republic. 

#2. “The View from Halfway Down” (BoJack Horseman, Season 6, Episode 15)

The long-standing question of viewers of BoJack was whether it would result in tragedy or recovery; in the end, the show had its horse and ate it too. The series finale, in which BoJack makes peace in his ruined friendships, could have easily grazed this list, but I gave the edge to the penultimate episode in the horse race. “The View from Halfway Down” is a fake out, a fever dream of finality as BoJack lays drowning in his pool, but it’s no half-measure. It’s a merciless manifestation of fears and regrets, forcing BoJack to confront all the darkness he’s been running from, with the haunting sensation that, this time, he might be in too deep. It’s a brutal piece of TV viewing, but the glass is halfway full: BoJack’s at his lowest point, but the episode is Bojack at its highest. 

AND THE BEST TV EPISODE OF 2020 IS...

#1. “A Dark, Quiet Death” (Mythic Quest: Raven’s Banquet, Season 1, Episode 5)

Mythic Quest took an unexpected detour early on in its debut season, chronicling the personal and professional growth and decay of couple Doc and Bean, video game designers who originally occupied the current headquarters of the show’s regular cast. Guest stars Jake Johnson and Cristin Milioti give life to “Death,” charming viewers and each other from their meet-cute to their late-in-life reunion. It’s a surprisingly surefooted key stroke for a first season sitcom, developing the entire show’s central thesis on the strength of this standalone episode. Bean and Doc act as a cautionary tale for both the destructive power of ego and the corrosive nature of capitalism; a carved heart from the two adorns the office as an omen while the modern day characters lock horns with the same beasts. Now that’s a scrumptious bit of mythmaking.