Last year’s TV meme was all about the rebirth of quality on the small screen. Lavish budgets, a near-obsession with long form narrative and some genuinely bold programming decisions made it obvious that creative talent was being sucked away from the multiplexes towards the idiot box. We suddenly loved TV, became instant experts, and started using phrases like show-runner as if we always had. This year it’s all about the anti-hero, or more specifically the glut of characters we should hate for their actions but instead oddly admire and side with despite everything telling us we shouldn’t.
It started years ago with Tony Soprano, then The Shield’s Vic Mackey, and Deadwood’s Al Swearingen near perfected it – and now we have Breaking Bad’s Walt White, Weeds’ Nancy Botwin, Dexter, Nurse Jackie, Madmen’s Don Draper and even Louis CK to some extent in the field of comedy. It’s beyond saturation point and becoming too easy. We have no qualm with moral ambiguity and still like these shows – but are becoming mightily sick of another troubled protagonist fighting inner demons to somehow survive in a society where the odds are heavily stacked against them. It’s become the safe option; the conservative approach to scripted television. What started as nuance is now pro-forma. Walt White can’t be killed soon enough, like everything he represents.
Downton Abbey [Universal]
It’s a rare beast that marries strong scripting, measured pacing, sharp performances, lush production design, critical acclaim and broad commercial appeal – but that’s exactly what Abbey did this year. Rescuing period drama from the stuffy confines of endless hours of elaborately costumed ladies-in-waiting staring wistfully through sitting room windows contemplating Algernon’s latest peccadillo, this immaculately conceived British series (scripted by the exquisitely well connected Julian Fellowes) was 2011’s only genuine crossover hit. It proved – amazingly and especially so in this country – that there is a still an audience for intelligent long form drama on free-to-air. Bravo, chaps – long may your tea cups clink. JUSTIN HOOK
Raising Hope [Fox]
Maybe it’s because there’s been a tiny monster in our house spending his first year slobbering over my design books, ripping out my first pressing collectible vinyls, depriving us of all sleep and being an adorable gummy champ, but Raising Hope really hits a nerve at my place. When 23-year-old James Chance knocks up a soon-to-be-captured-then-executed serial killer he finds himself an unwilling and unprepared father. Unfortunately for James his family of misfits and agitated ingrates are not much better. Greg Garcia’s follow-up to My Name Is Earl might raise a knowing smirk in this first time father, but it’s also bloody funny. Indie-darling Martha Plimpton and Garret Dillahunt (Deadwood!) slouch through each episode in insouciant charm and wayward moralising. JUSTIN HOOK
The Slap [ABC/Hopscotch]
The Slap rose to the top of a pretty slim year of local content (Paper Giants was also a fun and mercifully brief diversion). Christos Tsolakis’ multi award winning book made the leap to the small screen with considerable fanfare. In this respect it’s gratifying that a local non-crime production could engender such genuine anticipation. But there was lag and stretch, and I couldn’t help but feel that at eight episodes it was at least a third too long. Even though it follows the novel’s format, I question this need to be so interpretively strict. The acting (especially Alex Dimitriades) lifted The Slap above trendy suburban soap opera though. JUSTIN HOOK
The Walking Dead [AMC]
AMC’s ratings darling continued to disappoint in its second season despite a promising early start. Budget restraints at AMC caused after Madmen creator Matthew Weiner scored a hefty new payload to continue his series resulted in Frank Darabont (he of The Shawshank Redemption fame) being booted from TWD and a revolving door policy of writers brought in. The result is a few episodes of solid drama (the season opener, the barn-confronting mid-season finale), a few that meander without driving plot or character, and one straight out painful episode concerning a well where logic is cast asunder. The quick change of locations in the first series was replaced by a long, overly drawn out premise (a person goes missing at the start; six episodes later they’re still searching). It’s disappointing that they turned Robert Kirkman’s complex and often horrifying comic into a Spanish soap opera, although as a zombie tragic I still find the show strangely enjoyable to watch. ALLAN SKO
Boardwalk Empire [HBO]
A brilliant article written by Emily Nussbaum for New York Magazine called this show “a beautifully tailored empty suit”. I couldn’t agree more. Everything about BE reeks of professionalism; a stoic writer/creator in The Sopranos’ revered Terence Winter; a stellar cast including Steve Buscemi (finally in a lead role), Michael Pitt, Kelly MacDonald and even Omar from The Wire; arresting action set pieces; and of course lush, gaudy, expensive sets and costumes. And yet the series fails to fasten its hooks in the same way The Sopranos did. It seems to rely a little too heavily on historical fact, neglecting themes and episodes with a central purpose. Having said this, it is still good in the aforementioned ways, so worth viewing. ALLAN SKO
Game of Thrones [HBO]
Hands down the best series of 2011. Touted by many critics as “The Sopranos of the fantasy medieval era”, the series, based on the hugely popular books by George R R Martin are set in fantastical surrounds but focus keenly on family and political drama. For all its heaviness and threat, the writing is sharp and extremely funny; the story is epic in scope yet personal, and the show is responsible for delivering two truly wonderful TV moments - one of the best characters in the wisecracking Tyrion Lannister played by the marvellous Peter Dinklage (“I’m not a cripple!” one character pleads. “Well I mustn’t be a dwarf then; I must tell my father he will be pleased.”); and the most shocking never-done-before moment I’ve seen in TV that completely changes the direction of the action. Utterly brilliant in every department. ALLAN SKO
Weeds [Showtime]
Weeds continued its descent into the weird. Whilst not being terrible, the increasing obscurity (the series starts with Nancy Botwin as a jailbound lesbian, and the rest are in Denmark) suggests the premise has been ragged for all its worth and should probably have been retired a few years ago. The dialogue between the characters is still feisty and some brave and bold decisions are made with the storyline but they are only so because it’s becoming soap opera silly. The character of Nancy Botwin becomes increasingly unsympathetic and thus hard to watch. There is one wonderful episode where two characters from the past are brought back, but this merely serves to briefly remind us of the sparkling show this once was. Surely next year’s Season 8 will be the last, which will allow us to remember the truly good times we used to have with Weeds. ALLAN SKO
Bored To Death [HBO]
In the year of the murky anti-hero a gentle show about a writer-come-detective protagonist and his ragtag friends shone like an ebullient beacon. Yes, the third series lost a bit of momentum and charm, and it gets a bit New York cliquey twee, but dammit it was one of the only series that did away with the anti-hero premise, instead charming and delighting with friendly characters that looked out for each other. Initial TV ratings have been poor, but the rapport between the three leads – Jason Schwartzman, Ted Danson and Zach Galifianakis – and the relentless backing by HBO (reportedly they don’t even look at the ratings... As Butch Cassidy might say, who are those guys?) should ensure the show finds the niche/cult following it deserves. The fact that Zach Galifianakis sticks around despite his rocketing success suggests the labour of love it is for all involved. ALLAN SKO
30 Rock [NBC]
This year 30 Rock broke 100 episodes and cemented the show as – and I’m putting this on record – the Seinfeld of our generation. To maintain a comedy series for so long is impressive. To make stand alone episodes that also carry an over-arching storyline is astounding. The staggering array of gueststars doing hilarious turns (Robert DeNiro, Kelsey Grammar... The list goes on) is testament both to the show’s popularity and its beloved stature. Tina Fey once again cements her reputation as the funniest/smartest woman on the planet. ALLAN SKO
Breaking Bad [AMC]
While my beloved TV crit counterpart Justin Hook has given up on this series, I still find BB an arresting piece of well-crafted, sharply-scripted and sublimely-plotted TV drama. Yes, the anti-hero thing has been done to death, but BB does it well and, as its title suggests, is the entire point of the show. Season 4 further turned the audience against the increasingly scheming Walter White, again played expertly by Bryan Cranston, who deserves all the TV awards bestowed upon him. Towards the end, the series makes a plot jump that doesn’t sit well with the rest of the series, but the show’s conclusion (which the sharp-eyed will see coming) was nevertheless equal parts satisfying, shocking, and fitting to the show’s main theme of “Mr Smith Goes to Washington turns Scarface”. Season 5 will be the last, which is for the best, and intrigue abounds as to what fate creator Vince Gilligan will bestow upon Walter White and Jesse Pinkman. ALLAN SKO
Dexter [Showtime]
I don’t understand what it is with you people and this show. It’s terrible. That bloody, insistent, constant, fucking voiceover is the clunkiest storytelling device I’ve seen... “I reach for the milk. The bottle is cold; cold like my heart. Because I’m a killer.” O FOR GOD’S SAKE WE GET IT ALREADY! John Lithgow managed to breathe some life back in with his terrifying measured turn as the Trinity Killer in Season 4, but now it’s back to the motions. The wonderful Michael C Hall was spellbinding in Six Feet Under. He’s an utter bore here. ALLAN SKO
Ugly Americans [Comedy Central]
While long term animated shows are largely losing their lustre (The Simpsons, Futurama, to a lesser extent South Park, to a greater extent Family Guy) there are a slew of brilliant new ones, thanks largely to Comedy Central and Adult Swim. Along with the always fantastic Archer, the pick of the bunch was the uniquely brilliant Ugly Americans. Its premise is bizarre and brilliant, following Mark Lilly, a social worker employed by the Department of Integration, in an alternate reality version of New York City inhabited by monsters and other creatures. Vast in scope and, most importantly, piss-bollock funny, UA made me slap my thigh and shit my britches more than any other show this year. ALLAN SKO
Honourable mentions and shows to look out for in 2012
Friday Night Lights (Universal) started airing on ABC2 this year but for the full effect watch S1-3 Box Set in one sitting and tear hair out in anticipation of S4 mid 2012. We said it was the best drama on teev – and we (well, Justin at least) stands by this position. With each year, It’s Always Sunny In Philadelphia (Fox) gets more manic, more insane, louder, and funnier; the “Mac Gets Fat” season can’t come quick enough. Parks and Recreation (Universal) and the addition of Adam Scott and Rob Lowe as regulars has made this already fantastic show one of the most enjoyable snark-free comedies going around. Fringe (Warner Home Video) S2 finished firing on all cylinders to finally deliver on the premise at the core of the show – brilliant, dependable and captivating viewing. Archer (Fox) is the best animated show on TV. In fact it’s arguably the best comedy on TV, full stop. Homeland starring Claire Danes and Damian Lewis is the most promising new show for the coming year – hopefully it gets the full support of a network that doesn’t shaft it to 11pm Tuesday night. JUSTIN HOOK
There are only six shows I’m looking forward to next year – Arrested Development, Arrested Development, Arrested Development (if you hadn’t already heard, it’s coming back) and Game of Thrones times three. ALLAN SKO
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