#theaarons2017

2017 was the year that Peak TV broke me. There was so many shows I wanted to watch (Star Trek: Discovery, American Gods, The Handmaid’s Tale and especially the new Twin Peaks) but they were spread too thin across various subscriptions (CBS All Access, Starz, Hulu, and Showtime respectively) for my even thinner wallet to handle. However, even without the shiniest new toys, I still found an overwhelming amount of quality TV to watch this year. Here are The Aarons for Best TV Show:

#10. You’re the Worst (Season 4) – FXX

The show’s fall from my number two entry last year to number ten this year may initially appear worrisome, but, while the scattered focus made it feel like a less comprehensive experience than prior years, You’re the Worst’s fourth season was perhaps the most important piece of the show’s overall story. Splitting up the four main characters into different storylines was a bold choice, but allowed the show to reveal just how much each one has personally grown since the show began. The gang may have been no less funny this year, but perhaps they can no longer be considered “the worst.”

#9. Rick and Morty (Season 3) – Adult Swim

While the Szechaun sauce fiasco may have shown just how poisonous some of its fanbase has gotten, that doesn’t discredit that Rick and Morty was once again in top form for its long delayed third season. In fact, in stark contrast to the fanaticism on display in its real-world fans, Season 3 was the show’s most emphatic rebuttal yet of Rick’s arrogant nihilism as something worthy of emulation, instead finding strong emotion in exploring Rick’s failures in his various familial relationships. As always, Rick and Morty’s clever genre takedowns, including a superb Mad Max-parody and a ridiculous superhero episode, make for one of the smartest and funniest shows on TV, but it’s this perceptive deconstruction of its own nature that really earned the third season a spot on this list.

#8. Riverdale (Season 1-2a) – The CW

When word of a dark-and-gritty reboot of Archie Comics was first released, I was ready to hate-watch this sure-to-be bastardization of a favorite brand in the same way I put myself through all those agonizing episodes of Scream: The TV Series. However, Riverdale’s dark noir-influenced spin on its beloved characters turned into this year’s most pleasant surprise, and one hell of an addictive TV show. While the second season may raise questions about the show’s long-term sustainability, its pitch-perfect cast of young stars and its gleefully twisted blend of camp and carnage for its previously wholesome material makes it the kind of show you’re glad is “ruining your childhood.”

#7. BoJack Horseman (Season 4) - Netflix

In consideration with You’re the Worst and Rick and Morty, “personal growth” must have been the theme of TV this year, as BoJack Horseman’s fourth season was imbued with unexpected hopefulness for a series known for its emotional gut-punches. That doesn’t mean this season didn’t contain the now-expected-but-no-less-devastating penultimate episode kicker, as a delve into BoJack’s past once again brought the tears flowing, but Season 4 was a welcome suggestion that these characters can get on a better path. It makes for another powerful season, but, you know, the show could have once again claimed a spot on this list for having Jessica Biel’s definitive best role ever and for its abundance of top-notch animal wordplay.

#6. Mr. Robot (Season 3) - USA

Each year, I feel less compelled to insist Mr. Robot is much more than the sophomoric anti-capitalist screed that it may have initially appeared to be, because, each year, the show’s clear-sighted intelligence becomes more and more unmistakable. Season 3’s dissection of its own revolutionary ambitions was its most culturally-relevant entry yet. While occasionally dispiriting in its despotic depictions, it was another show to find surprisingly emotional resonance this year, taking a Camusian approach to its Sisyphean conflicts. Season 3 may have toned down the experimental inclinations of last year’s ALF-cameoing season, but it was no less thrilling, thanks to its heightened struggle for control between Mr. Robot and Elliot, and particularly through its anxiety-inducing one-take middle installment.  

#5. Better Call Saul (Season 3) - AMC

While Season 3’s (re-)introduction of Giancarlo Esposito’s Gus Fring may have brought the world of Better Call Saul much closer to its parent show, Breaking Bad, the show has been at the former’s level of quality for years. Season 3 appears poised to be the show’s dark middle chapter, the major turning point in its heart-breaking presentation of Jimmy McGill’s inevitable tragic downfall. Knowing Jimmy’s eventual transformation into Saul Goodman, and dreading what fate may await the rest of the cast, may make Better Call Saul hard to watch from an emotional-investment standpoint, but the show is endlessly compelling thanks to its fantastic performances and its impeccable plotting.      

#4 Legion (Season 1) – FX

Fox has been taking some significant risks lately with the X-Men franchise, including the hard-R Deadpool and Logan, but their most ambitious production was actually on the small screen this year. Legion is the very definition of a mind trip, a psychedelic adventure that breaks all the rules of conventional narrative and visual storytelling. The show is perhaps best enjoyed as a quick binge, but the intrigue of its unreliable narrator, the awe-inspiring special effects, and its blood-curdling, existentially-terrifying villain means the show is guaranteed to linger in one’s brain for a long time. Legion’s creative-daring, an embrace of absurdity that gave us Jemaine Clement as an extra-dimensional scuba diver, is hopefully something that can endure Fox’s potential buyout from Disney.

#3 The Good Place (Season 2) – NBC

The Good Place is an oddity among the current dystopian state of network TV, not just for its high-end quality and bingeable format, but for its willingness to challenge its own status quo. Season 2, building off last season’s daring cliffhanger, brought this risk-taking to new heights, making each episode more unpredictable and exhilarating than the last. Ted Danson is clearly having a blast unveiling more layers of his afterlife-architect character, as are the writers working with the seemingly endless possibilities of the world they’ve created. One wonders how long this boldness can persist, but with a talented cast and a confident, experienced showrunner at the helm, The Good Place looks to be in a… well, you know.

#2. Crazy Ex-Girlfriend (Season 2b-3a) – The CW

If “personal growth” is indeed the theme of 2017 in TV, then no show did it better than Crazy Ex-Girlfriend. The already-magical show became an absolute masterpiece this year, with a back-half of Season 2 that energetically reinvented the dynamic proclaimed by the show’s title, and a front-half of Season 3 that quickly subverted that new direction for something even more enjoyable and profound. Digging even deeper into the show’s realistic depiction of the hardship of suffering from mental illness made for several difficult episodes, but the talent both on-camera and off handled it with graceful ease that didn’t lose any of the show’s comedic brilliance. Crazy Ex-Girlfriend earns a top spot for its willingness to bravely push past oft-considered uncomfortable boundaries. In its representation of mental illness, certainly, but also in its network-standards-challenging and always hilarious songs.

AND THE BEST TV SHOW OF 2017 IS...

#1. Fargo (Season 3) – FX

It took until the very last minute of Fargo’s third season for me to realize that it was the best television show of the year. The show’s continued ability to collect an all-star cast (including Ewan McGregor playing both twins), the franchise’s trademark dark humor, and its layered, poetic writing kept me engaged through the season’s early episodes, but it was only in those closing moment that all the pieces fell into place, and Noah Hawley’s genius vision for this entry in the show was revealed. In those last few seconds, as Carrie Coon’s determined cop character faces down with David Thwelis’ boorish criminal mastermind, the show left us to wrestle with the defining question of a tumultuous 2017: do we believe that there is an objective truth, a right and a wrong, and that justice will be served? Or, is it all a farce, a game to be exploited, a universe that bends to the will of those who contort it to fit their desires? Taking advantage of the show’s anthology format, the season ends in ambiguity. It’s not a question for the show to answer. It’s a question that every one of us must wrestle with, whether just for the immediate future in a dangerous political climate of “alternative facts,” or for a long time coming. It is a question that defines one’s philosophical, social, and moral being, a question distinguished by a season of fascinating characters, thrilling adversity, and audacious storytelling. It’s this lingering question, contextualized by perhaps the best Fargo season yet, that makes the show the best TV of the year.

After a more heated competition with my friend, I ended up watching 91 films from 2017, which is more than the 87 I watched in the same period for last year’s Aarons, but not quite a record for most films I’ve seen from any year ever. However, those 91 films certainly gave me a good understanding of what stands out as the best and worst films the year had to offer. So, without further ado, such as a tedious, indulgent televised party that you must suffer through first, here are The Aarons for Best Film:

#10. A Ghost Story

The truly haunting part of A Ghost Story is trying to figure out how the film can elicit such strong emotional resonance from just a classic bedsheet ghost and a vegan chocolate pie. A poignant portrayal of grief that slowly evolves into an existential exploration of finality within the grandeur of time, A Ghost Story blends universal ideas and collective archetypes into something profoundly intimate.  While its unconventional style may not be to every viewer’s taste, the film’s deliberate pace and technical inventiveness make it a deeply involving cinematic experience. While time continues to pass by unabated, A Ghost Story stands out as one of the most memorable and affecting movies of 2017.

#9. Blade Runner 2049

The least I hoped for from this belated sequel to one of my all-time favorite films is that it wouldn’t tarnish the legacy of the original. The most I hoped for was a film that would have as much of an impact on me philosophically and creatively as the first one did. Denis Villeneuve, coming off directing one of last year’s winners for Best Film, Arrival, managed to deliver both. With a story that preserves the intrigue of the original Blade Runner while creating new context for the series’ ruminations on humanity and truth, and visuals that upgrades the first film’s neon-noir look with Roger Deakins’ stunning cinematography, Blade Runner 2049 is an essential companion piece for fans of the first, and still a visually stunning and thought-provoking piece of mature sci-fi for everyone else.

#8. It

Considering the book consumed the entirety of my summer reading in 2017, I had a lot of investment in It being able to capture the same wicked creativity and pulpy dread of Stephen King’s expansive 1000+ page novel, and it all paid off. With the help of its talented young cast and Bill Skarsgard’s petrifying performance as Pennywise the Dancing Clown, It became a harrowing coming-of-age tale and an excellent crowd-pleaser, which catapulted it to being the highest grossing horror film of all time. Director Andy Muschietti infuses the film with the same intensity and emotion that he brought to Mama, but enhances it with a level of creativity not seen in horror since the Nightmare on Elm Street franchise. While the film may only cover half of the novel’s decades-spanning story, It has already left a huge mark on the world of horror. 

#7. Baby Driver

Blowing way past the already-high expectations set for him by the Cornetto Trilogy and Scott Pilgrim vs. The World, Edgar Wright delivered his best film yet, and one of the best films of the year, in Baby Driver. Syncing tense car chases with a toe-tapping soundtrack of classic rock through masterful editing, Baby Driver is a sublime celebration of music and movies, and an all-around fun time at the cinema. Playing off familiar character archetypes, Wright composed a charming and exhilarating thrill-ride, bolstered by star-making performances from Ansel Elgort and Lily James, that proved infinitely rewatchable, and reiterated that well-crafted original ideas can steal the summer movie season. And, of course, the “Mike Myers mask mix-up” is quite possibly the funniest movie moment of the year.

#6. The Shape of Water

Returning to his roots of blending dangerous political eras with tender fairy tales, The Shape of Water is another spectacular and delightfully off-beat movie from director Guillermo del Toro. A love letter to not just Cold War-era science-fiction films, but all of classic cinema, The Shape of Water oozes with creativity and care, layered with symbolism and rich thematic content that is sure to make all movie-lovers absolutely giddy. The film is certainly an odd contender for best romance of the year, but, between the passionate touch of its director and fantastic performances from Sally Hawkins and the underappreciated Doug Jones, The Shape of Water is an unforgettable love story and a moving plead for empathy for all those who feel like outsiders, the kind of film that 2017 certainly needed.                

#5. Lady Bird

Presented as if a series of ethereal, half-remembered memories, Lady Bird is a beautiful, poetic coming-of-age film that deserves all its high praise. Using naturalistic performances from Saoirse Ronan, Laurie Metcalf, and Timothée Chalamet, among others, Lady Bird’s quick-witted script gracefully entwines an exploration of the conflicts of youthful rebellion with family, friends, religion, and social status into a hilarious and highly-relatable cinematic journey. An intimate yet universal tale, Lady Bird’s insight and compassion allows for even its relatively minor characters to deliver some of the most heart-breaking or heart-warming film moments in 2017. Smart, soulful, and spotless, Lady Bird raises the question of how writer and director Greta Gerwig can possibly go on to top her directorial debut.

#4. Star Wars: The Last Jedi

The Last Jedi was probably not what anyone expected from the follow-up to The Force Awakens, but Rian Johnson’s bold deconstruction of the epic Star Wars mythology resulted in one of the best of the series (after only New Hope and Empire). From its smorgasbord of bizarre new aliens and apparently-edible planets, to its willingness to honor both the existence of the prequels and the intentions of the series’ poetic structure, Johnson’s vision holds a clear and endearing exuberance for the franchise, but also goes on to enhance its power by being unafraid to subvert expectations and challenge the fanaticism often found in its fanbase. With great new additions, such as Laura Dern and Kellie Marie Tran, to an already phenomenal cast, sensational space battles and expertly choreographed lightsaber fights, and a euphonious score from John Williams, The Last Jedi is everything one could want from a Star Wars film, and so much more. Honestly though, The Last Jedi could have gotten a spot on this list from the Porgs alone.   

#3. Logan

Even as a superhero blockbuster, Logan was an unexpected event film, building on both the entire 16-year history of Fox’s X-Men franchise and the rich cinematic legacy of the Western genre, specifically 1953’s Shane. Director James Mangold completes the vision he started for the character in The Wolverine, but now without the unnecessary overblown CGI climax, presenting a stripped-down superhero film that favors characterization, emotional stakes, and thematic substance more than any in the genre since The Dark Knight Trilogy. The film’s reinvention of Western archetypes and its questions of the role of violent men in society, as well as its deconstruction of what superhero stories mean to society, played perfectly to my particular fascinations, leaving me enthusiastically analyzing the film for all those around me all year round. Patrick Stewart as an erratic Professor X and Daphne Keen as a young mutant clone are a delight, but the film is really a showcase, and surprisingly emotional send-off, for Hugh Jackman’s Wolverine. There are now no more guns in the valley

#2. Dunkirk

As far as theater-going experiences this year, seeing Dunkirk in 70mm would definitely be number one. Christopher Nolan’s latest is a film that demanded to be seen on the big screen, with a sweeping scope, that included the employment of thousands of extras, and a disconcerting sound design that created a harrowing, immersive experience for the film’s escape sequences. More thriller than war film, Dunkirk’s is pure, unyielding intensity that grips the audience and never lets go throughout the entirety of its varied, well-crafted sequences of the horrors of war. Despite the terrifying hardship throughout, the film is never a grueling watch, instead finding the humanity within its epic scale, and leaving viewers with a newfound appreciation for their own place in the relentless march of history. Beyond the technical mastery of the filmmaking, Dunkirk stands out as one of the best films of 2017 for its ability to find hope in existentially-terrifying times and its narratively, but not morally, daring choice to never show its enemy on-screen, stripping them of a voice far too often granted in recent politics.

AND THE BEST FILM OF 2017 IS...

#1. Get Out

In the three years of doing The Aarons, this was my hardest time picking just which film I wanted to give the number one entry. Most of this list could easily deserve the honor, and in any other year, they might have gotten it, but, like 2016’s winner, The Witch, Jordan Peele’s brilliant horror-comedy social satire claims the top spot because it has been seared into my brain since watching it early last year. It’s perhaps not all that surprising that Peele was able to deftly make the transition from his amusing sketch show to delivering one of the most stimulating horror films in recent memory, but that doesn’t make it any less impressive. With a fantastic cast (including Black Mirror’s Daniel Kaluyaa and Atlanta’s Lakeith Stanfield), witty and quotable dialogue, a genre-savvy script, and plenty of cathartic moments, it’s clear why Get Out became such a crowd-pleaser and massive box-office success. More significant to this particular list than this skillful ability to achieve wide appeal, though, is Get Out’s status as a film unafraid to be challenging. Get Out is a movie that spurred great self-reflection on both an artistic level, challenging ideas of what exactly the horror genre can be, and on a personal level, forcing contemplation on the lecherous and malleable nature of racism in society and one’s self, which is what makes it my number one film of the year.

Directors are responsible for making sure all the artists working on a film are working together towards a singular vision. At The Aarons, we don’t have any oversight or even a “we” to keep in line, allowing us to bend the rules a little bit when so desired, such as, say, expanding the arbitrary number of nominees for an award show when we just can’t decide who to cut. Here is The Aaron for Best Director:

WINNER: Christopher Nolan - Dunkirk

Dunkirk is the cinematic masterpiece that Nolan’s entire career of cinematic masterpieces has been building towards, at least from a technical standpoint. Nolan’s affinity for practical effects and attention to detail turns the film into a fully immersive experience for his pulse-pounding sequences of expertly staged set pieces. From the carefully constructed timeline, to the awe-inspiring cinematography, to the heart-stopping employment of sound, Dunkirk proves Nolan to be an all-around master at his craft, which is but one reason why he is not only the best director of the year, but remains my favorite director of all-time.

HONORABLE MENTIONS:

Jordan Peele - Get Out

The success of Get Out’s delicate balance between laugh-out-loud moments and unbridled terror must be attributed to Peele’s expert directing. The stylish and evocative visuals are all the more impressive considering its Peele’s directorial debut.

Rian Johnson - Star Wars: The Last Jedi

Johnson impressively managed to take one of the biggest film franchises in the world and make it all his own, with his bold mixture of imaginative creature-design, visual gags, subversion of expectations, and snazzy action.

Greta Gerwig - Lady Bird

With wonderful performances, sharp timing, warm visuals, and a pitch-perfect presentation of youthful rebellion and class conflict, it’s hard to believe that Lady Bird was Gerwig’s directorial debut, and I definitely look forward to seeing where she goes next.

Guillermo del Toro - The Shape of Water

One of my favorite directors, del Toro pours his heart and soul into every film he makes, and this passion is on full display in his intricately-crafted, beautifully-askew love letter to classic cinema.

Patty Jenkins - Wonder Woman

Patty Jenkins showed up all of the universe’s other directors and almost single handedly salvaged the otherwise dreadful DCEU with her thrilling, optimistic vision for the iconic superhero. Of course she’s going to get a mention!

Have you heard the one about the guy who didn’t always know how to introduce his award show categories? . . . There’s no one else here to complete any stilted awards-show banter so, uh, here is The Aaron for Best Film Performance:

WINNER: Hugh Jackman as Wolverine - Logan

Sure, he never worse the iconic, yet silly, yellow-and-blue spandex, but Hugh Jackman completely inhabited the role of Wolverine over the course of his 16 years as the character. In the same manner, the Wolverine role completely defined Jackman’s career, no matter how many times he breaks out in song and dance. Rather than let aging out of the physically-demanding role get the best of him though, Jackman leaves on a high note, carrying the same ferocity as always, but finding newfound pathos within Logan’s conflicting status as the lone gunslinger archetype and part of the film’s ersatz family unit. Logan’s intimate scale is a rousing way to say Jackman riding off into the sunset.

HONORABLE MENTIONS:

Bill Skarsgård as Pennywise the Dancing Clown - It

Skarsgård is a horror icon in the making, thanks to his ability to quickly transform Pennywise’s innocent demeanor into a gleefully sadistic nightmare.

Gal Gadot as Wonder Woman - Wonder Woman

Gadot’s charismatic and compassionate Wonder Woman was exactly the hero that the DCEU, and the world, needed in 2017.

Saoirse Ronan as Christine “Lady Bird” McPherson - Lady Bird

A lot of Lady Bird’s charm and accessibility comes from Ronan’s grounded, spirited portrayal of the titular character.

Daniel Kaluuya as Chris Washington - Get Out

Kaluuya brings the same frantic intensity that he brought to his episode of Black Mirror, but mixes it with a marvelous sense of amused disbelief when he first tries to navigate his girlfriend’s family.

Expanding The Aarons to including supporting acting categories proved to be a good call, as it ended up being the side characters that endeared themselves to me much more this year than the main stars. Here is The Aaron for Best Supporting Film Performance:

WINNER: Rooney Mara as The Woman, A Ghost Story

But seriously, Rooney Mara just sits down and eats a pie for four-and-a-half minutes, and it’s the most heart-wrenching movie scene of the year. I don’t know what else needs to be said.

HONORABLE MENTIONS:

Patrick Stewart as Charles Xavier, Logan

While Logan was mainly a goodbye to Jackman, Patrick Stewart got a proper send-off as well with a heart-breaking, yet often humorous, turn as a dispirited, elderly Professor X.

Bradley Whitford as Dean Armitage, Get Out

Whitford is a reliable comedic bit player, and nails the balance for the film’s laughable yet deeply unsettling villain, delivering some of the film’s most iconic lines.

Kelly Marie Tran as Rose Tico, Star Wars: The Last Jedi

In a film full of returning characters that had already garnered my affection, Marie Tran’s lovably earnest and inspiringly brave Rose managed to stand-out as my favorite.

Ray Romano as Terry Gardner, The Big Sick

Romano gets a mention for perfectly capturing the small-town, conservative dad personality and delivering some of the biggest laughs of the film.

As I become more experienced at writing my own screenplays, I pay closer attention to the scripts I really enjoy, even if they don’t always correlate to what I think makes the best overall film. Here is The Aaron for Best Screenplay:

WINNER: Get Out by Jordan Peele

Playing off the expectations of past horror films while understanding the post-modern deconstruction of them, Get Out’s script is delightfully smart and breathes new life into the genre. Equal parts hysterical comedy, biting satire, and unsettling terror, Jordan Peele’s script keeps the suspense thick while supplying just the right amount of comedic relief. The satire, thematic content, and astute metaphors gives viewers plenty to unpack, though most will probably just enjoy the cutting quotes the film provides. “I would have voted for Obama for a third time, if I could” is just delightful to reapply as a mocking retort in select frustrating political conversations.

HONORABLE MENTIONS:

Lady Bird by Greta Gerwig

Lady Bird’s script manages to feel completely organic while not sacrificing any of Gerwig’s sharp wit, and efficiently tackles a variety of ideas and relationships.

The Big Sick by Emily V. Gordon and Kumail Nanjiani

Drawing from the true story of their romance, Gordon and Nanjiani’s heartfelt script about culture conflict is chock full of laugh-out-loud moments and deep emotion.

The Lego Batman Movie by Seth Grahame-Smith, Chris McKenna, Erik Sommers, Jared Stern and John Whittington

That’s certainly a lot of credited writers, but it pays off, because The Lego Batman Movie’s script is a cavalcade of clever exchanges, quotable bits, and acute references to the Dark Knight’s storied history.

Colossal by Nacho Vigalondo

Colossal’s deconstruction of toxic masculinity by way of psychically-controlled kaiju is one of the most fascinating and original scripts in a long while.

Original scores are what fostered my deep love for movies, so they are routinely one of the elements that stands out the most to me. Here is The Aaron for Best Original Score.

WINNER: Hans Zimmer, Dunkirk

While Dunkirk is a technical masterpiece, it’s really Hans Zimmer’s score that turns the film into such an anxiety-inducing experience. Even detached from the film’s harrowing events, the score is a heart-racing listen, uncompromising in its intensity, delivering no reprieve until the last few minutes. The droning use of bass and the screeching cellos is uncomfortable without ever being unlistenable. It may not be a score that one can hum coming out of the theaters, but the violent chills it induces in listeners means it’s no less memorable.  

HONORABLE MENTIONS:

John Williams, Star Wars: The Last Jedi

Williams’ decision to draw from all the themes he has composed throughout the entire saga, interwoven into one epic, empowering score, perfectly complements Johnson’s celebration and deconstruction of the franchise’s mythos.

Alexandre Desplat, The Shape of Water

Guillermo del Toro’s fairy tale is made all the more majestic by Desplat’s whimsical, inviting melodies, which fill out the musical inclinations of the film’s many cinematic inspirations.

Hans Zimmer and Benjamin Wallfisch, Blade Runner 2049

Zimmer and Wallfisch had a difficult task ahead of them trying to live up to the original’s iconic Vangelis score, but they succeeded with their hypnotic atmospheric score, and a proper utilization of the first film’s “Tears in Rain” track.

Mark Mothersbaugh, Thor: Ragnarok

Mothersbaugh’s synthesizer score is one of the most memorable to come out of the Marvel machine in years, creating the perfect musical backdrop for the film’s colorful retro Viking-rock vibe.

My consumption of serialized TV seems to be inversely correlated to the amount of bing-watching I do. I love the more complex storylines and engaging characters of serialized TV, but I also like having time to reflect on how each episode works as a piece of the whole. That’s why I designed this award to look at the exemplary singular efforts in TV this year. Here are The Aarons for Best TV Episode:

#10. “The Ricklantis Mix-Up” (Rick and Morty, Season 3, Episode 7)

The promise of Rick and Morty taking their absurd antics to the realm of Atlantis was enticing… but it was not meant to be. Instead, the show flipped the script, transporting us into a trio of trope-blasting adventures with some unexpected, but amazing, dark social satire. In a miniscule fraction of the time and budget, Rick and Morty create a high-concept buddy cop examination of systemic racism far more enjoyable and insightful than Netflix’s Bright could ever have hoped to be, along with a surprisingly affecting coming-of-age tale, and a sublime political thriller. A lot of Rick and Morty episodes had a chance at making this list, but “The Ricklantis Mix-Up” ultimately got it for delivering a holy trinity of the show’s brilliant meta-narratives.

#9. “Stupid Piece of Sh*t” (BoJack Horseman, Season 4, Episode 6)

Since its inception, BoJack Horseman has been a blistering portrayal of the depths of depression, but “Stupid Piece of Sh*t” (Netflix’s censorship there) found a way to be even more cutting than usual by finally giving us a glimpse inside BoJack’s head, narrated by Will Arnet’s haunting voice work. Taking advantage of the cartoon format, the episode’s innovative departure from the show’s traditional animation style brought mental illness to life in painfully real fashion, and made it clear that the show’s honest look at these struggles is indeed a story best told through the animated format. Well, that, and because the episode also delivered plenty of wonderful animal puns and sight gags, as always.

#8. “New York, I Love You” (Master of None, Season 2, Episode 6)

Similar to “The Ricklantis Mix-Up,” a large number of Master of None’s second season could have made this list, including its wonderful send-up of Bicycle Thieves and the touching “Thanksgiving” episode, but “New York, I Love You” stood out for its narrative swerve and its triad of empathetic stories. Departing from our regular cast to follow the stories of unique New Yorkers by way of camera pan, the episode showcased Master of None’s knack for finding compelling stories and wise commentary in the simplest of stories. Stories about the characters that make up the character of New York City may be rote material for TV, but Master of None’s unique viewpoints and celebration of diversity, from a Burundian cab driver to a deaf couple, made it one of 2017’s most powerful and important stories to watch.

#7. “Duet” (The Flash, Season 3, Episode 3)

Like Barry Allen with Singin’ in the Rain, I’m a sucker for a good musical, and The Flash’s celebration of the talented cast of Broadway stars and Glee-alumni amassed by it and its crossover show Supergirl was just way too much fun to not include on this list, despite a confusing direction for the episode’s central villain. The stars were all clearly having a grand time getting to put a superhero spin on a classical musical style, and while the show’s covers of existing song were stirring enough, it’s really the two original numbers that made this episode such a delight, including the tender “Running Home to You” from La La Land’s songwriters, and the clever wit of “Superfriends” from Rachel Bloom of Crazy Ex-Girlfriend fame.

#6. “Chicanery” (Better Call Saul, Season 3, Episode 5)

If Better Call Saul indeed ends up lasting as long as its predecessor, than “Chicanery” will sit as the exact middle of the show, and is appropriately a game-changing episode and the height of emotional drama thus far. The entire show has been building towards watching Jimmy McGill and his estranged brother Chuck going head-to-head in the courtroom, and the resulting conflict was one of the most intense watches of the year. The sharp plotting and rich characterization provided the perfect framework for a show-stopping performance by Michael McKean, whose vitriolic courtroom meltdown was absolutely shattering for viewers. Honestly though, the real reason this episode was guaranteed a spot on this list is because, of course, it also marked the return of Huell to the Breaking Bad world.

#5. “The Law of Non-Contradictions” (Fargo, Season 3, Episode 3)

“The Law of Non-Contradictions” was an outlier in the already peculiar early episodes of Fargo’s third season, moving the location of the show outside of frozen Minnesota for the first time, and transplanting Carrie Coon’s Officer Burgle to sunny California. While the pieces all falling into place in its final moments made Fargo my favorite show of the year, “The Law of Non-Contradictions” is one of my favorite episodes precisely because it doesn’t fit into the show’s larger narrative. Burgle’s investigation of her murdered stepfather’s past as a pulp science-fiction novelist ended up irrelevant to the case at hand, but its examination of the role of stories in our lives and the frequent failures of good intentions, themes that are enhanced by a beautiful animated story within its story, made the episode a key piece of the lingering power of Season 3.  

#4. “USS Callister” (Black Mirror, Season 4, Episode 1)

While Black Mirror’s terrifying Twilight Zone-like looks at technological trepidation made it into such an addictive show, it’s the episodes that break this mold that become some of my favorite episodes of television ever. “USS Callister” is the most visual effects heavy episode of the show ever, and, given it also runs at a full 80 minutes, could very well be considered a movie, but, like “San Junipero” before it, the true power of the episode comes from its place within the show’s loose anthology structure. The episode certainly gives a haunting look at the dangers of potential technology through its scathing indictment of the toxic masculinity festering in certain sects of fandoms, given form in Jesse Plemons’ perfect parody of William Shatner’s Kirk. However, what makes it one of 2017’s best episodes is its fulfillment of the intentions of its parody subject, Star Trek, with its thrilling adventure of a diverse crew working in harmony to overcome insurmountable odds. 

#3. “Hero or Hate Crime” (Always Sunny, Season 12, Episode 6)

It’s Always Sunny in Philadelphia continues to show it deserves to become television’s longest running live-action sitcom, because every year it manages to put out at least a handful of great new episodes. Season 12 had a couple highlights, including a wickedly fun Always Sunny take on The Wiz, but “Hero or Hate Crime” understands that the greatest moments of the show come from just letting the cast bounce off one another. The gang’s debate over whether Frank’s use of a slur to warn Mac of a danger to his life constitutes as a hate crime is a fantastic source for the show’s riotous and outlandish, though never truly offensive, brand of dark humor. It’s all great fun, but it’s the episode’s unexpectedly moving ending, perhaps the first time Always Sunny can be considered an emotional experience, that cements “Hero or Hate Crime” as one of the finest episodes of the long-running series.

#2. “Dance, Dance, Resolution” (The Good Place, Season 2, Episode 3)

In what I like to consider the unofficial spiritual mascot of the Reboot Already Underway podcast, “Dance, Dance, Resolution” was the most madcap episode of a very madcap sitcom, an episode so intent on tearing down its status quo that watching it made one extremely nervous that the show had pulled yet another bait-and-switch and its finale was going to come unexpectedly in only the third episode of the season. Thankfully, the show didn’t end, finding a way to subvert all expectations yet again at the end of this extraordinary, joke-a-millisecond entry directed by Cabin in the Woods’ Drew Goddard. “Dance, Dance, Resolution” suggested that The Good Place truly does have an eternal source of cleverness to draw from for its twisted afterlife, made even clearer by the lengthy list of unused punny restaurant names that episode writer Megan Amram released on Twitter the following day.

AND THE BEST TV EPISODE OF 2017 IS....

#1. “Cryogenics, Lightning, Last Review” (Review, Season 3, Episode 3)

“Dance, Dance, Resolution” may have been such a clever deconstruction of its show’s premise that it seemed like The Good Place’s finale would come in just the season’s third episode, but Review actually did it. Review is perhaps the most underappreciated show of the decade, and, had the viewership justified it, I’m sure it would have never stopped being entertaining to watch Forrest McNeil’s absurd quest to review everything in life, no matter the cost to his health or personal relationships. While it’s sad to see such an ingenious show end, I couldn’t imagine a more perfect note for Review to go out on, an episode that saw the show’s cringe-inducing absurdism and glorious dark comedy in peak form. The tragedy of Forrest McNeil truly deserves a place alongside the great works of the Greek poets and Shakespeare, a downfall that simply must be experienced in its entirety for yourself. So, I’ll say no more than: I give this episode… all the stars.