I’m finishing 2021 by looking back at my top 10 choices for the best TV of 2021, which has been a surprisingly difficult mission given the sheer volume of television that has raced at us following the ebb and flow of Covid restrictions.
It’s been a fascinating year and, as always, TV choices subjectively differ among many a reviewer. Here were the TV shows that both affected me the most, and seemed to contain the greatest artistic measure, from 10 through to number 1.
Would love to know your thoughts as to your top 10 choices…
We all remember the improbability of Doctor Who’s return in 2005 after sixteen years off screen, barring one semi-canonical TV movie in 1996. It seemed, for fans, an impossibility after years not only in the wilderness but in the perceived rear window of television history. Doctor Who was cheap, cheesy and passe in the post-modern world.
Russell T. Davies entirely reinvented the series and changed that perception from the ground up once he unveiled Christopher Eccleston as a stripped-back, modern Doctor with a jolly northern brogue, dress sense like your semi-trendy uncle, and the brooding angst beneath of a man who was transformed from the eccentric old man with flamboyant costumes into the last of the Time Lords. Taking the stylistic precepts British viewers had grown used to with a decade of American pop cultural imports, ‘RTD’ made Doctor Who relatable, likeable, down to earth and even a bit trendy in a way it probably had never quite been before.
We know this story. Some of us might even know the backstory of how the revival was produced, of how Davies and Bad Wolf productions turned BBC Wales in Cardiff into a 21st century TV producing powerhouse. It is all well documented. Less so is the premise of The Long Game: 1996-2003 – The Inside Story of How the BBC Brought Back Doctor Who, in which Paul Hayes does what the book says on the tin and sketches out a lost chapter in Doctor Who history. One of numerous reasons his book is a resounding success is for just how much he brings to light a story most of us won’t even necessarily know we wanted, yet it turns out to be a compelling, widespread tale not just about Doctor Who, but a much wider television landscape.
After reading The Long Game, you really will never quite look at Doctor Who again in the same way.
There is a debate coming about Spider-Man: No Way Home, set to go down in cinematic lore as both the end and a new beginning for Tom Holland’s Peter Parker. A debate around just how much fan service has now arrested control of popular cinema.
While No Way Home will almost certainly do gigantic box office business, even by the metrics of the hugely successful Marvel Cinematic Universe, not everyone is going to embrace the ambitious steps Jon Watts’ film takes. This isn’t, after all, simply the concluding beat of a three-film trilogy, such as we saw in Sam Raimi’s Spider-Man 3 (and let’s not forget there was talk of a fourth for a time afterward). No Way Home is the conclusion of seven previous Spider-Man adventures, not to mention Holland’s web as a character within the wider MCU itself.
In that sense, Marvel have crafted a sequel quite unlike any other here, by tapping into the burgeoning concept of the ‘multiverse’ in the way audiences have previously understood to be the point of parallel universe stories: to depict alternate versions of the same characters. The MCU has thus far established the concept on more of a conceptual level in outings such as Loki, or even irreverently in the last Spider-Man film Far From Home or in elements of WandaVision. Here, the franchise goes for broke in providing audiences with long-standing closure that, had the MCU not been as rampantly successful, would never have happened.
For some, like this writer, the result is joyful. Others will find it infuriating and strangely reductive. And either way, No Way Home could be a sign of times to come, should it be the huge success people are predicting.