2019 Top 10: TV Shows

As we close out 2019, it’s time to put together a few Top 10 lists based on my key entertainment passions – film, TV and film scores.

I’ve gone back and forth on decade lists but I suspect I’m just going to keep to 2019 releases on the blog, and maybe do something more with the decade on my Twitter or FB, so stay tuned in that regard.

Next up – TV shows. I’ve watched *loads* of TV this year, perhaps more than any other year I can remember, so I have plenty of series I can rifle through to decide what constitutes the best of the bunch. It’s been a cracking year for telly, all told, so this wasn’t the easiest list to compile, but here we go…

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A Slayer Reborn: Buffy and the Reboot Question

Every July weekend at San Diego Comic Con, the biggest geek showcase on the planet where all the major studios and productions roll up to drop exclusives and surprises, you always get one announcement which courts a level of controversy and/or deep analysis. This year it wasn’t even the debut of a trailer for the Jodie Whittaker-fronted, Chris Chibnall-era new series of Doctor Who—which is going to almost certainly lead to a Star Wars-esque online tirade from grown man children at the idea of a woman playing the Doctor. 2018 had another major female figure from popular culture waiting in the wings get people talking: Buffy, she of the vampire slaying.

More specifically, the fact that Joss Whedon is overseeing, though likely not directly show running, a modern reboot of his legendary 20th Century Fox series which remains one of the bastions of 90’s pop culture, female empowerment, and genre storytelling. Note the word here that is crucial: reboot. Not revival. Not continuation. A reboot.

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Marvel, Gatekeeping and the ‘Problem’ with Avengers: Infinity War

There has been an interesting response to the dominant Avengers: Infinity War this weekend as it romped home to a record-beating opening weekend in the States, and a remarkable $600 million plus global take home. Aside from the legion of critics, professional and amateur, who have all lined up on either side of whether the film is good or bad (and most reactions seem positive), the issue again seems to concern fandom. In this instance, whether Infinity War is for anyone who isn’t already a fan of the Marvel Cinematic Universe.

A piece in The New Yorker has been widely circulated, with people criticising and defending an article which suggests Infinity War suffers for the fact it does nothing to ‘introduce’ the myriad amount of Marvel players to new audiences. Some are suggesting that it doesn’t have to, given its place as the first part of a finale to an ongoing saga—which I discuss more in my review—but some have on the other side of the fence suggested this kind of storytelling by Marvel Studios, and how the fandom have responded to it, is yet another form of ‘gatekeeping’.

That fandom are, once again, erecting a big ‘KEEP OUT’ sign and planting it firmly in the entrance of every cinema from Middlesbrough to Manhattan.

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Funny Cow (2018)

Funny Cow isn’t really about comedy. Laughter is the prism through which this bleak fable spins a tale of escape and identity. To make the story of the titular, unnamed ‘Funny Cow’, about the rise of a comedy superstar would be to miss the point. Adrian Shergold’s movie is a strangely oblique, fourth wall breaking self-biography, dominated by the immense talent of Maxine Peake.

I won’t be the first person to say this, but I would go on record to suggest Peake might well be the finest British actress of her generation working today. It is rare to find an actress with the kind of extraordinary range she employs as Funny Cow, an incredibly scattershot and difficult to pin down role as written by Tony Pitts (who also plays her vile, abusive husband Bob). By turns, Peake has to be downtrodden, attractive, quirky, demure, flirtatious and more than a little mentally scarred by decades of abuse, and she manages it with aplomb. Shergold understands the picture lives and dies on the actress in every frame, who holds the central role, and you genuinely cannot imagine anyone embodying Funny Cow as well as Peake. She is magnetic, as she almost always is.

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Doctor Who Christmas Special 2017 – ‘Twice Upon a Time’

Bidding goodbye to another incarnation of the Doctor has now become as much a staple of Christmas Day every few years as Del & Rodders or Morecambe & Wise used to be in the days classic comedy dominated the British television landscape. Doctor Who over the last decade has cemented itself as *the* storytelling event in the UK on Christmas Day, after Russell T. Davies revived the series with a new, modern, American ‘showrunner’ style of production in 2005. We have in twelve short years got through four Doctors (five if you count John Hurt) and their life-cycle has become a repeating standard – barring Christopher Eccleston, every successive Doctor has roughly been around for three seasons over a three to four year period. Peter Capaldi has been no exception but this regeneration, in ‘Twice Upon a Time’, is different. We’re not just getting a new Doctor. We’re about to get an entirely new Who.

The last time this happened was 2009, at the very end of David Tennant’s hugely successful run as the Doctor. ‘The End of Time’ saw an emotional goodbye for Tennant, which perhaps reflected outgoing showrunner Davies—the man who had revived this entire world. “I don’t want to go!” the Doctor admitted before regenerating into Matt Smith, who sailed into a new era in 2010 with Steven Moffat at the helm. Moffat had already been well-regarded during RTD’s reign, writing some of the cleverest and more memorable stories over the first four seasons such as ‘The Empty Child/’The Doctor Dances’ (“are you my Mummy?”), ‘Blink’ which introduced the terrifying Weeping Angels, and ‘Silence in the Library’/‘Forest of the Dead’ where he introduced Alex Kingston’s River Song and her unique, complicated relationship with the Doctor. Moffat was the natural choice to take over.

Arguably, Moffat changed the very texture of Doctor Who. His term as show runner coincided with a move to HD and a ramped up budget, allowing for numerous filming excursions abroad to places such as Spain or New York. Davies’ style of storytelling had been earthy, grounded and accessible; his Doctors were broad-accented Northerners or charming, swaggering men. Their companions were council estate girls or traditional British working class, strong women who were swept away into a world of adventure, carried off from their humdrum lives. Davies’ stories centred heavily around Earth or the defence of Earth from alien invaders, introducing classic monsters from the Original Series of Who, tapping into B-movie concepts, and generally having a similar arc each season, building to an apocalyptic battle to save humanity and the planet Earth.

Moffat immediately changed that paradigm when Smith’s Doctor was born. His Doctor was famously an old man in a young man’s body, far less aware of his own charm and sexiness than Tennant’s incarnation, and stripped of Eccleston’s severe angst. Moffat’s companions were far more caustic, sarcastic and in many respects middle-class professional; women who were embroiled very much in the dark, strange fairytale Moffat converted the style of the show into. Smith’s Doctor was presented as ‘a mad man in a box’, a modern-day wizard entrenched in a level of myth and legend; indeed Smith’s entire run was characterised by how the Doctor was viewed by the rest of the universe, how he tried to reinvent himself as a different man, before facing his ultimate, unspoken sins at the end of Smith’s run. To time with the series fiftieth anniversary, Moffat literally asked, in dialogue and subtext: Doctor… Who?

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