What I'm watching: February Update

Current Shows:

Wanda Vision (Disney Plus)-With such mind-boggling layers of symbolism, this is as if the world's best escape room writers were tasked with writing a sitcom that entrusts viewers to be active rather than passive participants in decryption. The series takes the viewer on a journey through various sitcom tropes on a decade-by-decade journey with underlying storylines dealing with grief, manipulation, and escapism as a form of evil. With all the painstaking detail that the prodution team implants its easter eggs, this is a sure contender for the most intricate show on television if not its most ambitious. I have little familiarity with the MCU but was able to peace most details together.

 

Great North (Fox)-It’s hard to tell much through two episodes, but the show isn’t off to a great start. It seems like it has the same boundless potential that any animated show begins with in the post-MacFarland/Groening era with the added pedigree of the cast (Will Forte, Nick Offerman, Jenny Slate) and the allure of a cool setting. But part of the problem is I’m not a Nick Offerman fan. Different stars have different comedic personas and the effectiveness of those personas is somewhat subjective. To me, he’s generally a manly man with no comment on any modern image of masculinity. When he sings the theme song dedicated to hard work, or espouses the value of waking up ridiculously early, and having birthdays devoid of emotion, there are characters who serve as reluctant foils to those plans but Offerman’s character (much like his trademark P & R character) doesn’t have that much commentary. One nice detail is the interracial marriage between Offerman's adult son (Forte) and an import from California (Dulce Sloane).

Call Your Mother (ABC)-Starring Kyra Sedgwick as Jean, it’s an old-school multi-cam sitcom that strives so hard to squeeze a peg into an outdated sitcom format of a round hole that it‘s almost adorable. The show is about an empty nest mother who moves to LA to be closer to her kids and simultaneously rediscover her identity aside from her kids. If you paid close attention, the two parts of that last sentence were complete opposites and that sort of clash of premises is rearing its ugly head quite haphazardly so far. In one episode daughter Jackie tells her mom Jean she feels neglected, and in every other episode Jackie is trying to get space from Jean like a cloying mother. Anywho, this is like Mary Tyler Moore if Moore found her Mr. Right, had kids, spent 18+ years tending to that whole thing, and came out on the other end looking for her new purpose in a spunky way. Based mostly on Sedgwick's charm, the show is mildly passable on the whole and has the occasional moment for an emotional payoff.

Call Me Kat (Fox)-A successor to "New Girl" in that it's a celebration of a woman owning up to her quirkiness and (by extension) her singleness. The problem is this character (Mayim Bialik) is written as over-the-top quirky for the sake of being quirky and the inauthenticity makes her, for lack of a better word, uncool. The show's breaking of the fourth wall

Mr. Mayor (NBC)-Another entry in the canon of Tina Fey and Robert Carlock that's a little more "30 Rock" than "Unbreakable Kimmy Schmidt." The humor is clever but skin-deep. Don't expect pathos-driven growth with the narrative highs of Kimmy, Titus and Jaqueline. At the same time, the show, set in the Mayor's office of L.A., has much less of an insider vibe. Show biz types celebrating the ordeals of being millionaires and running into network standards has gotten tired. As it's mostly episodic, the show lives or dies by the episode but it's hard to deny that the show hit a lot of home runs in the back half of the season.

Young Rock (NBC)-Dwayne "The Rock" Johnson has cemented his status over the past couple decades as a lovable guy. He's a self-aware hunk of beefcake and he's been relegated to action roles but his public persona has been that of an ideal celebrity. He's often talked about running for president and, while I'm sure his reasons are more noble than Trump, the last thing I want to meditate on is another celebrity president. Unfortunately, the show unironically posits that Johnson (as himself) is the 2032 candidate for president and it reeks of of self-congratulations. There's a difference between most of us liking The Rock and The Rock making a show about how he got to be so likeable. The show is also only slightly self-aware to be effective enough commentary on the relationship between celebrity and cultural/political clout.

Fortunately, that's just the framing device. Through two episodes, it's basically just a typical adolescent comedy that could easily be called "It's not easy being a jock" as the 15-year-old Dwayne Johnson is twice the side of his peers. It's moderately charming.

Top 12 Shows of 2020

(click here for past editions)

1. The Great (Hulu) -Fans of the 2018 film “The Favourite” will appreciate the way writer Tony McNamara portrays idle pleasures and high drama as two sides of the same coin—ultimately a game that the nobility must play to curry favor with those more powerful than them. As in “The Favourite” the hierarchy leads upward to a monarch (Nicholas Hoult) with absolute power. That’s where the show presents a stark contrast between the villain and heroine (Elle Fanning) Catherine the Great who history tells us will come to modernize Russia with her rule. The question is when and finding the answer has been quite a ride so far. 

2. Dead to Me (Netflix)-Newly widowed Jen Hardy (Christina Applegate) attends a grief group where she makes the acquaintance of a strangely eager Judy (Linda Cardinelli). Judy chips away at Jen’s veneer until she forms a makeshift friendship. Or at least that’s how it seems. Within the first few episodes of the inaugural season of “Dead To Me”, it’s revealed that Judy isn’t a fellow griever but someone involved in the death of Judy’s husband and that her guilt is driving her to make it up in some karmic fashion. It’s a premise Hitchcock or Fincher would have killed for, playing out in a slow burning series. The second season expands the scale of twists--the introduction of an identical twin to the deceased is deliciously soapish (a cheap excuse to keep James Marsden employed)--but more importantly, it heightens the emotional stakes.  

 

3. Brockmire (IFC) -A lot of TV in the #metoo era is about men getting consumed by dark pasts and no one seemed more hopeless than the superhumanly aloof baseball broadcaster Jim Brockmire in the first season, but his redemptive arc that gelled in the final season makes such a light out of the tunnel not only seem possible but easy-peasy. That’s really an “It’s a Wonderful Life” scale miracle worth celebrating. In the final season, the show leapt over a decade into the future in the midst of a technocratic dystopia. Our loose-lipped hero is charged not just with personal rehabilitation but saving baseball as we know it. Pretty ambitious for a show that, remember, originated out of a “Funny or Die” sketch.

 

4. Ramy (Hulu)- The titular Ramy (Ramy Yousef) is a Muslim-American who walks the walk, but with his backwards cap and scruffy beard, he might be too far out of place on a season of Jersey Shore. Or at least, that’s the Ramy at the start of season 1. In the show’s second season, Ramy seeks a spiritual mentor (Mahershala Ali) in Sheik Malik and the show’s central relationship maintains an air of enigma. Malik projects nothing but warmth but never gives Ramy easy answers. Whereas most shows about single guys are about wanting to get laid, this is a show about a guy who wants to veer away from sexual temptation to attain spiritual enlightenment. How refreshing is that? The show also has a penchant for experimentation along the lines of “Louie” or “Master of None” (though way better) as it shifts the spotlight around.

5. What We Do in the Shadows (FX) - One of my serendipitous discoveries last year, this adaptation of New Zealand legends Jermaine Clement and Taiki Wahiti shows no signs of losing its edge. With Laszlo assuming the alternate persona of Jackie Daytona just to escape a fight, Colin Robinson becoming omnipotent through an office promotion, and Nadja gaslighting an octogenarian just to get back a necklace, this is one of the most consistently brilliantly plotted out TV shows on a per episode basis. As a quartet of vampires who have lived hundreds of years longer than the average human, they’ve largely been set in their ways like your creaky grandmother who can’t understand e-mail. Which is why the contrasts with Colin Robinson holding an office job work so well on a humor level or why Guillermo’s character development works so well in pathos.

6. The Boys (Amazon) –“The Boys” reached a new level of gripping as the evil guys became eviler, the good guys got their shit together, and everyone in the middle was forced to make a choice. Not only is this show not some hyper-merchandised part of the MCU, it’s technically not a super hero show. In this universe, super heroes are really a façade controlled by an evil company (although an evil façade is probably an accurate description of Marvel Studios, I’m guessing) in which children buy and inject a chemical. The show is allegorical to all a plethora of wrongs stemming from celebrity culture. In the second season, however, the show took on a darker tone which came with its own set of ups and downs but it was never easy to peel your eyes away. “The Boys” also deserves credit in its second season for pushing Hughie to the side and becoming a true ensemble show. 

 

7. Upload (Amazon)-Greg Daniels’ meditation on a class-based afterlife in which only those who pay can get their minds transferred to a lakeside resort after their body gives up on them, is sure to be classified as a comedy based on the pedigree of the creator (Daniels is most famous for “The Office”). But this is inaccurate. I rarely laughed and there’s nothing wrong with that. “Upload” is a thoughtful sci-fi piece that poses harder questions in a light-hearted way about our ideal reality and class. The show also has parallel mystery and romance story lines that pace along well under the main arc.

8. The Circle (Netflix)-Before the virus caused such massive shifts to our world, the American version of this show was already among the buzziest on television. The central gimmick-- isolated strangers tasked with growing bonds over social media and sussing out each other’s authenticity — surreptitiously became one of the most prescient mirrors of our era is we were forced to quarantine in pretty much the same way. But while the contestants were quarantined, that didn’t get them down. They danced for no one but themselves (in one of the most bizarre and best sequences of the show), kept themselves happy and busy, made incredible friendships, and occasionally fell for one another. Through four different countries, the show endured as a fascinating social experiment, because it reflected how online spaces allow us the freedom to present ourselves in a society with challenges therein. 

9. AP Bio (Peacock)-From outré comedy writer Mike Patrick O’Brien (responsible for some of SNL’s weirder sketches of the decade), “A.P. Bio” was miraculously rescued from cancellation-land in its third season by NBC’s spin-off paywall network. The show’s anti-hero, Jack Griffin, started out as a take on the bad teacher trope, ratcheted up to absurdium: He wasn’t just apathetic about not teaching biology, he actively avoided it to the point of logistical inefficiency. After a few episodes the show found a strange groove and morphed into an anti-sitcom sitcom in which Jack does indeed bond with his students (partially through guilt) while retaining his bitter apathetic ways. The ending of the second season promised an escalation as Helen DeMarco (Paula Pell) was enrolled in Jack’s class which meant an end to his charade. Unfortunately, the show reneged on this direction in the first episode which meant more predictable shenanigans. Fortunately, the show’s shenanigans are still sublime with one of the best ensembles on TV.

10. Fargo (FX)-Told in exquisite visual detail, this crime saga of two competing factions -- the Italians and African-American mob families in the 1950s— is one of the best educations for how and why mobs are formed that this reviewer has seen (and, mind you, this is a pretty saturated genre). “Fargo” postulates that mobs are disenfranchised groups shut out of the mainstream economy who must combine a hierarchy with muscle to claim their space among rival disenfranchised herds. The more you know, kids! In its fourth season, the series is an anthology that’s spiritually tied to the Coens 1996 film and nothing is more Coenesque than rich, eccentric characters. On both sides of the Fatta/Cannon feud, there was an ample amount of iconic larger-than-life figures (congrats Chris Rock on finding a role) and eccentric scatterbrains to make Joel and Ethan would be proud. 

11. Star Trek: Lower Decks (CBS All-Access)-Until this year, Star Trek had aired a combined 732 episodes and (as far as I know) only two have ever focused exclusively on the lower ranks of the ship. While TNG’s “Lower Decks” and Voyager’s “The Good Shephard” were a start, there are still so many holes in Star Trek's supposed post-capitalist society:  Wouldn’t there be any slackers or rebels? Fortunately, Beckett Mariner (Tawny Newsome) has traits of both. This is a show that is deeply in tune with the subject that it’s parodying. If you’ve ever wanted the “Next Generation” characters to loosen up beyond a boring jazz trombone open mic or a poker game that no one mysteriously goes all in on (both tropes that “Lower Decks” lampshades with glee), this is the show for you.  

12. Bless the Harts (Fox)- The endearing portrait of small-town Carolina life is rarely condescending and when it is, it comes from the perspective of a native daughter (“Up All Night” show runner Emily Spivey) poking fun at her own friends. Each of the four main characters is extremely endearing and there’s been a lot of world building towards some of the lesser characters (including the high-pitched Randy and the cheery news lady whose mouth is glued into a smile ala the Jack Nicholson Batman film). The show centers around a lower class North Carolina family and a waitress with modest aspirations to rise above her station; her sly mother (whose primary motivations in life are besting her rival Crystal Lynn, feeling young enough that she can flirt with construction workers, and pulling off semi-fraudulent schemes), her boyfriend (a trucker persona who’s openly a teddy bear underneath), and her dead-panning daughter.

Ten Runners-Up (very close call):

Cobra Kai (YouTube/Netflix), Middleditch and Schwartz (Netflix), Miracle Workers: Dark Ages (TBS), Never Have I Ever (Netflix), Nora from Queens (Comedy Central), Solar Opposites (Hulu), Space Force (Netflix), Teenage Bounty Hunters (Netflix), Unorthodox (Netflix), We Are the Champions (Netflix)

 

Everything else I watched:

American Dad (TBS)*, Archer (FX), Animaniacs (Hulu), Black Monday (Showtime), BoJack Horseman (Netflix), Broke (CBS), Carnival Row (Amazon), Comedy IQ (BYU TV), Connected (Netflix)*. Crossing Swords (Hulu), Everything’s Gonna be OK (Freeform), Explained (Netflix), Five Apartments (Peacock), Fresh off the Boat (ABC), Duncanville (Fox)*, Good Girls (NBC), Good Place (NBC), Joe Pera Talks to You (Adult Swim), Holey Moley (ABC), Hollywood (Netflix), Hoops (Netflix), Intelligence (Peacock), Kidding (Showtime), Last Week Tonight with John Oliver (HBO), Loafy (Comedy Central), Medical Police (Netflix), New Pope (HBO)*, Ozark (Netflix)*, Pen15 (Hulu), Politician (Netflix), Queen’s Gambit (Netflix), Quiz (AMC) , Saved by the Bell (Peacock), Sex Education (Netflix), Schooled (ABC), Schitt’s Creek (Pop TV), Simpsons (Fox)*, Solar Opposites (Hulu), Some Good News (Youtube), Space Force (Netflix), Stumptown (ABC), Studio C (BYU TV), Tales from the Loop (Amazon), A Teacher (FX), Tiger King* (Netflix), Transplant (NBC), Twilight Zone (CBS All Access), Unbreakable Kimmy Schmidt (Netflix), Umbrella Academy (Netflix), Unorthodox (Netfflix), Upload (Amazon), Utopia (Amazon), Waco (Netflix), Where’s Waldo (Peacock), White Lines (Netflix), Zoey’s Infinite Playlist (NBC)

*=Very limited capacity

Quiz: Most Movie Golden Globe Nominations for Actresses

Best TV of 2020: 10 Honorable Mentions

Cobra Kai (YouTube Red/Netflix)-The catharsis of landing a devastating flying kick at your bully is at the core of the Cobra Kai experience. The bully-bullied relationship took on added complexity in the show’s second season as it seemed like everyone had an axe to grind based on their socio-economic status or lack of a father figure or the classic “you kissed my boyfriend, prepare to die” scenario. Yes, it was a soapish season but it was one that built the world and developed a lot of solid supporting characters

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Miracle Workers: The Dark Ages (TBS)-This would likely be my tenth pick and I was prepared to write it off, but upon rewatch, however, this show is too darn clever. Show runner Simon Rich wrote the show “Man Seeking Woman” and the short story “What in God’s Name”, upon which the first season is based on, and he is a comic genius. His story of extremely unlikely upward mobility in an era where doing anything other than dying of the plague is virtually impossible.

Middleditch and Schwartz (Netflix)-A live special of Thomas Middleditch ("Silicon Valley") and Ben Schwartz ("Sonic the Hedgehog") are geniuses at this art form. They effortlessly switch characters; incorporate comic tics very early on so you're laughing sooner than later; and think several steps ahead to where the story should go. It's not too far-fetched to think that they could write a sitcom pilot on the spot. Jesse David Fox wrote an excellent article about how this could resurrect the often maligned form of improv, but the problem is that most improv shows you see don't feature people with these abilities. The only problem is that Middleditch and Schwartz only have three episodes. 

Never Have I Ever (Netflix)-Co-created by Mindy Kaling, this teen comedy centers on an American-Indian teenager and gleefully subverts the stereotype that a South Asian teenager is obedient and primarily focused on academics. Sure, Dev is smart but she uses her good grades to shove it in her frenemy’s face and begins her sophomore year making a beeline straight for Boyfriend City (or at least sloppily attempting to land there). “Never Have I Ever” dramatizes the dichotomy between immigrant norms and assimilation in a very funny package and won me over quite a bit by zigging where I expected it to zag. The first season closed on one hell of a rewarding tear-jerker.

Nora from Queens (Comedy Central)-Awkwafina broke out in “Crazy Rich Asians” and has had a number of notable roles on screen in an astonishingly short time but nothing is as pure a form of her comic gifts as this show. Awkwafina is a developmentally stunted late twenty-something with minimal job credentials who lives at home and completely owns her mediocrity in all its glory.

Solar Opposites (Hulu)-The sophomore effort behind the team that bought us “Rick and Morty” (Mike McMahon and Justin Roliand) brings us a similar playground of extreme high-tech humor without the nihilism or needlessly complex mythology that the former has. The concept of the show—aliens have to present some semblance of normalcy--has been done many times ranging from “Mork and Mindy” to “Third Rock from the sun”, but the jokes fly at a faster pace than even by 21^st century standards. The show casually throws out a very wide range of concepts

Space Force (Netflix)-I get the backlash about how lazy it is to rip a show premise from the most bizarre thing in the news. At the same time, both TV insiders and critics know the premise of a TV show is often what gets the show greenlit and is a very incomplete measure of a show’s worth. Yes, the show has plot holes the size of swiss cheese but the solid writing of sitcom pros is on display. Like “The Office” (of which Greg Daniels, Brent Forrester and Paul Lieberstein are also writers here), the characters all have strong comic foundations and there are some very intriguing character pairings. Humorwise, the show splits the balance between poignant satire and throw-away absurdity.

Teenage Bounty Hunters (Netflix)-Call it the “13 Reasons Why” effect. Netflix has developed a wide ilk of teenage shows and this one hits the mark really well. Bounty Hunters hones in on the hypocrisies and occasionally progressive homely vibes in the culture of Christian boarding schools. Pre-marital sex is the opposite of brag-worthy here and group prayer is in. Our heroes are twins Sterling and Blair and they’re juggling a little bit of everything:  juicy sex triangles, a secret side gig as bounty hunters (think Nancy Drew, but a bit more hard-core), family troubles, and a refreshingly honest look at navigating religious ethics.

Unorthodox (Netflix)-As someone who has spent time on the fringes of an Orthodox community in Richmond, Virginia, I have seen modern Orthodox Judaism up close, and have often heard horror stories about some communities in the Northeast and this is what this show is about: The entrapment that countless individuals face growing up in such a religious state of insularity where they’re kept from even knowing there’s any other way of life. The magnitude of this knowledge differential is ripe for drama and this miniseries goes a long way to telling that story from a well-researched perspective. 

We Are the Champions (Netflix)-As someone who’s been fascinated with some of the world’s most bizarre sports (Bog snorkeling, chess boxing, canal jumping are a few of my favorites), this is my bread and butter. At its height, Rainn Wilson’s narration and Nature-Channel-style storytelling captures the glorious spectacle of something I was already enthusiastic like cheese rolling. Things like hair styling or dog dancing weren’t things I ever felt I’d be caught up in, but the format of the show with its the gradual balancing of storylines and exposition made pretty much any absurd competition watchable. 

TV has had an amazing year which has been a blessing during the quarantine. There are a number of shows that would have made honorable mention status in most other years: Animaniacs (Hulu), Archer (FX), Five Apartments (Peacock), Medical Police (Netflix), Studio C (BYU TV), Twilight Zone (CBS All Access), White Lines (Netflix)

Stay tuned for the top 10...

Lois and Clark: The Adventures of Superman, Kryptonie, Screwball Comedies, and Old-Timey Newspaper Tropes

 How can you make an invincible character work dramatically? A walking dues-ex-machina like Superman is much less dynamic then, say, the X-Men who have various strengths and weaknesses.

Ahh, but kryptonite, there’s the rub. So if correctly employed in a script, Superman would either be completely on or completely off. Still kind of clunky, no?

That concern was on my mind when I decided to revisit Lois and Clark. The 1990s Superman reboot that focused on the budding romance between Superman and reporter Lois Lane was notable for one of my first celebrity crushes in Teri Hatcher and, I can’t remember much else, unfortunately.

What I found was a show in the very conscious mold of a screwball comedy. The genre solidified on stage and on screen during the Great Depression with a society reeling from the loss in wealth and class status. Status is key to the genre as both parts of the romantic coupling have a mix of higher and lower social statuses in relation to the other that must be bridged to make a more perfect union. For instance, in Bringing Up Baby, Katherine Hepburn’s character has the assets of having more inner confidence and being more fun than Cary Grant’s character while having the disadvantage of being a woman and having less of an actual job (she appears idle rich). In Ball of Fire, Barbara Stanwyck’s character has the assets of confidence, sexual experience, street smarts and quite possibly greater material wealth (she’s the sweetheart of a mobster), while her counterpart (Gary Cooper) has the assets of stability (he has a house which she needs), and a different sort of cultural status as a member of an academic aristocracy of sorts.

In Lois and Clark, Lois Lane is a whip-smart and well-connected reporter thriving in a man’s world. She’s literally the boss of Clark which is the clearest difference of status attainable. So what does Clark bring in return? Secret super powers! It also helps that their career as muckraking reporters (which almost involves more muckraking than would be permissible by modern standards) get them into a lot of trouble so that Clark can come in handy. Thus, Clark’s struggles as a man trying to create a life for himself often comes down to the decision over whether to use his super powers and how to do it subtly.

Like the most famous screwball comedy about reporters, His Girl Friday (or the play The Front Page from which it drew its inspiration), Lois and Clark also harkens to an earlier era of the newspaper industry.

Let’s talk about how Lois and Clark treats newspapers:

In this version of the Daily Herald newsroom, the boss, Perry White, has a hard-nosed management style might come across as cruel by modern day standards. His biggest concern is getting the scoop and he fosters a hyper-competitive environment dedicated to that aim. Reporters seem to be demotes or promotes reporters based on their ability to get him juicy information.

In a modern day newsroom, an editor would assign beats to reporters and work on building an audience across multiple platforms. He or she would have a team dedicated to what’s known as long-form journalism to take on big-issue stories such as government corruption or (in this universe) the dastardly deeds of super-villains. They wouldn’t switch reporters to whatever story is hot at the moment, because the editor would want to build brands. This would involve building a following among the the community for their crime reporter or reporter for the mayor’s office.

The function is different here for obvious logistical reasons. Lois Lane needs to be in every story, so she has to be covering every beat and be at the center or else the episodes are 1% as interesting. Additionally, Lane needs to have powers that are comparable to super powers in her ability to scoop out a story.

But more importantly, in the days of Hecht and MacArthur, scooping was everything. Rival newspapers in most major cities were fighting enormous circulation wars and newspapers would print two editions a day so that readers could be apprised of the latest news immediately. Think of it as the twelve-hour news cycle. In other words, customers made their choice between competing products twice a day and a big pay day could await if one newspaper if they could feature details about a story that another paper didn’t have.

Despite what this show wants you to think, life or death doesn’t depend on a news story being released so waiting on a story long enough to ensure accuracy or quality is generally a better thing.

25 Best Characters on TV in 2020

1. Linda Cardinelli as Judy Hale, Dead to Me-A wet ball of emotion caught in the center of an accidental murder in this dark comedy, Judy is magnetic in her endless positivity, empathy, and hope. She deservedly wins over the cynic Jen Harding and her family and when the two break down crying, it’s worth all the feels. The character is also cleverly dressed in bright colors and cute outfits to radiate her persona and even in times of distress, she remains resolved to make lemonade out of lemons.

2. Mahershala Ali as Sheikh Malik, Ramy- Ali is the first Muslim to win an Academy Award in acting and he reportedly jumped at the chance to be in the most mainstream piece of pop culture portraying American Muslims to date. His character oozes wisdom and authority and there’s a lot to be said about the way Ali pauses in conversations to show that he doesn’t take even basic human interaction lightly.

3. Awkwafina as Nora, Awkwafina is Nora from Queens-Awkwafina broke out in Crazy Rich Asians and has had a number of notable roles on screen in an astonishingly short time but if you want to see her unleashed in her full comic glory, you have to watch Nora from Queens. The character is a developmentally stunted late twenty-something with minimal job credentials who lives at home and completely owns her mediocrity in all its glory. Awkwafina works the character’s baseless positivity through physical comedy, voice inflections, and facial tics and it’s a master class.

4. Jack Quaid as Hughie, The Boys-The closest equivalent modern television has to a Hitchcockian hero a la North by Northwest or The 39 Steps. Jack is constantly over his head and never asked to be on the wrong end of a global conspiracy but he has gradually grown into the role and is a great one to root for.

5. Belinda Bromilow as Auntie Elizabeth, The Great-Cautious enablers of autocrats might not necessarily be in vogue right now, but the beauty of a period piece is it enables us to look at characters from a distance. Rather than looking at Elizabeth as a proverbial Ivanka to an 18th century Donald Trump, we can simply take her as an interesting character on her own merits and that she is. She’s firmly old money but is quite sharp for a woman in a pre-feminist era and is never out of the loop of court intrigue.

6. Chris Rock as Loy Cannon, Fargo-Rock has been ill-served by a filmography that couldn’t successfully harness his comic gifts or speech cadences. If Chris Rock were to ever fit into a dramatic role, this would be it. It channels his observational prowess, punctuated line delivery and adds a hint of world weariness.

7. Hank Azaria as Jim Brockmire, Brockmire-Alcoholic characters are a dime a dozen but Brockmire is a truly unique brand of mess. Predicated on a Funny-or-Die sketch in which a baseball broadcaster can’t stop tourets-ing about his personal demons on air, Brockmire has been a hilarious character for four seasons whether he’s winning or losing at life. The show’s final season saw the character closing out his own life out on a win. Considering how impossible this seemed from the outset, it was nothing short of inspiring.

8. Jo Firestone as Sarah, Joe Pera Talks to You-In this sweet subplot of two oddballs connecting romantically, Sarah has some lovely quirks. She compliments Joe nicely through her social awkwardness as she is afraid of crowds and has moments of frustration that hint at something deeper. She’s never not animated whereas he is more reserved. The biggest bombshell about Sarah, however, is that she casually believes in an imminent apocalypse like it ain’t no thing. Bring on the brimstone.

9. Ramy Yousef as Ramy, Ramy-How refreshing is it that a male TV show protagonist isn’t about trying to get laid but trying to avoid the perils of sexual temptation? Whatever your thoughts are about religion or Ramy’s particular religion, watching Ramy struggle on his journey is rarely devoid of insight.

10. Wynn Everett as Ellen Johnson, Teenage Bounty Hunters-The guidance counselor every high schooler wish they had. She’s the kind of side character that hints at a richer back story you’d want to see more episodes of.

11. Jessie Buckley as Oraetta Maylower, Fargo-Every season of Fargo has an off-beat character who treats murder with the same gravity as watering their hydrangeas and that’s Oraetta Mayflower in a nutshell. Only this time, it’s baking pies.

12. Bette Middler as Haddasah Gold, The Politician-Hadassah manages to remain endearing (to the audience, at least) while remaining brash, unfiltered, and ruthless.

13. Laura Haddock as Zoe, White Lines-The psychotropic paradise-set noir had a lead protagonist that was pushy, and sometimes foolish but never devoid of passion or charisma.

14. Jillian Bell voicing Violet Heart, Bless the Hearts-The deadpan goth daughter (think a more thoughtful version of Aubrey Plaza navigating high school) stepped into the spotlight quite a bit this season with episodes showing her having a wide range of emotions and puncturing a couple of holes through her veneer.

15. Matthew Berry as Jackie Daytona (AKA Laszlo Cravenworth), What We Do in the Shadows-The alter ego created by Laszlo in order to flee a duel is a high school volleyball coach and bartender who can hide his true form with a simple tooth pick. Few guises could be more ridiculous and few random character traits put together could be as surreptitiously funny.

16. Kayla Cromer as Mathilda, Everything’s Gonna Be Ok-For the show’s tonally jarring mixture of serious and frivolous, it at least gets one thing right: The autistic character of Mathilda, who is far more vibrant than the typical mold of the disabled character we ordinarily get. Like any ambitious person, Mathilda wants to be more than what her condition defined her as: Sexual, popular, independent.

17. Dawnn Lewis voicing Becket Mariner, Star Trek: Lower Decks-The Star Trek canon would forever be incomplete if a character like Mariner didn’t eventually surface. It wouldn’t make sense that in this massive space fleet, a few iconoclasts or slackers wouldn’t pop up among the lower ranks. Luckily, Mariner is an apt mixture of both.

18. Ben Whishaw as Rabbi Milligan, Fargo-For those who found the season’s opening montage confusing (though undeniably visually fantastic), Milligan was the son of an Irish mob boss who was forced as a pawn between the Irish and Jewish mobs to be raised by a Rabbi’s family. As a kid, he abetted his father in a slaughter of Kansas City’s Jewish mafia, then turned on his Irish family years later to secure a top lieutenantship in the incoming Italian mob. In the present, the Rabbi isn’t to be trusted but his instincts aren’t violent or malicious. He simply laments the imperfect hand of cards he’s been dealt with and tries to make do.

19. Aya Cash as Stormfront (Kiara Risinger), The Boys-Every good superhero series needs a villain and while an argument can be made for putting a moratorium on the Nazis, I’m willing to excuse it with Stormfront for the shock value of the reveal alone. Raise your hand if you saw her origin story coming.

20. Rob Riggle as himself, Holey Moley-This wacky sports competition that would be at home on the fictional TV station, “The Ocho”, as presented by the movie Dodgeball. Helping keep the surreal vibe alive of treating mini-golf as if it’s the world’s most intense sport is comedy vet Rob Riggle who commits fully to the bit while riffing so hard that his broadcasting partner, Joe Tessatore, can barely keep from breaking most of the time.

21. Natasa Demetriu as Nadja, What We Do in the Shadows-Like her fellow vampires, Nadja has about as much empathy to humans as we mortals have towards farm hens that will eventually end up in a McDonald’s Happy Meal. Occasionally, she’ll humor them or entertain a centuries-long romantic fling, but don’t mess with her jewelery. With Demetriu’s vocal inflections, she really sells the “oh, what an adorable human” angle.

22. Justin Kirk as Peter, Kidding-A very rich and nuanced portrayal of a step dad awkwardly trying to fit into a new family. A considerate guy, Peter treads the line in a rough relationship of exes. He tries to be both a supportive husband to a woman who wants space from her ex, and a genuine pillar of support to the severely scarred ex himself. And don’t forget his killer musical number.

23. Geraldine Viswanathan as Alexandra Shitshoveler, Miracle Workers-Imagine being the only sane man (or woman) in the Dark Ages of Europe capable of making the observation, “hey, maybe we’re not living in a good era of history.” Alexandra has ambitions in a time when the concept of ambition doesn’t exist and that’s a pretty solid character to base an ambitious comedy around.

24. Kate Mara as Claire Wilson in A Teacher-Judging by the reviews and internet comments, not everyone was able to move past Claire’s sins to appreciate the complexity of the story being told about her situation. That’s a shame because if you make that leap of empathy, there’s an interesting portrait about the why and the how of someone who falls into a situation which would brand her with quite the scarlet letter.

25. Jennifer Esposito as Brenda, Awkwafina is Nora From Queens-For a socially awkward single dad who’s best dating days are behind him, Brenda is the best you can hope for. She ricochets your lame dad jokes with some old spinster humor and accommodates your mid-life paralysis to see the prince within. Sweet, artsy, and eccentric, Brenda made a big impression with a small amount of screen time.

Honorable Mentions:

Amanda Peete as Jules James, Brockmire; Bowen Yang as Bao, the Chinese Trade Minister, SNL; Catherine Keener as Diedre Pickles, Kidding; Daniel Radcliffe as Prince Frederick, Unbreakable Kimmy Schmidt; Elizabeth Berkley, Saved by the Bell; Hamza Haq as Bashir Hamed, Transplant; Heidi Gardner as Bailey Gismert, SNL; Jessica Rothe as Samantha, Utopia; Jessica St. Clair as Kelly, Space Force; Jessica Walters voicing Mallory Archer, Archer; Jimmy O Yang as Dr. Chan Keifang, Space Force; Julie Garner as Ruth Langamore in Ozark; Kate Mara as Claire Wilson in A Teacher; Lisa Kudrow as Hypathia, The Good Place; Maddie Phillips as Sterling Weasley, Teenage Bounty Counters; Mary Mack voicing Jesse, Solar Opposites; Mary Mouser as Sam LaRusso, Cobra Kai; Maya Rudolph voicing Betty Hart, Bless the Harts; Nicole Law as May, Tales from the Loop; Nuno Lopez as Boxer, White Lines; Patton Oswalt as Principal Durbin, AP Bio; Peyton List as Tori, Cobra Kai; Poorna Jagannathan as Nalini Vishwakumar, Never Have I Ever