One of the things I’m doing in the first weeks of my MFA program is a top ten list of TV shows, based pretty much on whatever criteria I want, with notes on what makes them interesting. Here’s what I came up with.
W1A –This comedy about the bureaucratic workings of the BBC is something I return to again and again because the dialog has so much verisimilitude and I kept seeing new things within the characters until maybe the 5th or 6th viewing.
Shetland—the vast majority of my current TV viewing originates in the UK and this show, based on a series of Anne Cleeves novels, is my front-running fave. This is the one that would change as soon as I developed a new obsession, but right now Doug Henshall’s Inspector Jimmy Perez and the Shetland Islands settings loom large. The construction of the second season was brilliant.
Quantum Leap—I love time travel. Loooooove it! I came to this years after it aired, when it was in rerun on the Space Channel. Many things about it do not hold up, but Scott Bakula’s performance as Sam Beckett and the compassion he brought to every leap still get me. What’s more, I’ve seen shows that try to copy this format time and time again, only to, in my opinion, fail: Tru Calling and Journeyman are two examples that come to mind.
Farscape–What fascinates me most about Farscape (Boomtown has this too) is that even from the second episode, the characters and situations were established with a confidence and depth that made it seem like they were already in their third season.
Hannibal—There was a time when this would have been too gory and graphic for me, and I realized afterward that my bar had shifted. I like the dark humor in this, the fact that the first season in particular is a meditation on the nature of art and art criticism, as mediated through serial killers creating installations using murdered human bodies. Grim, yes, but effective. Also, as others will no doubt note, Hannibal is slashy AF.
Parks and Recreation– I am not much for sitcoms, but numerous people insisted that if I held on through S1, I’d love this, and they were right. Brilliant casting, good ensemble storytelling, and what I liked most was the attempt to create romantic relationships that lasted rather than building unresolved sexual tension indefinitely, paying off with sex, and then staging a spurious break-up.
Battlestar Galactica—the original. Cheesy and dumb, and doesn’t hold up, but I cannot pretend this was not formative for me: I still write a lot of fiction about genocide and fleets of ships on the move.
Veronica Mars– witty, good mystery construction, compelling characters, and I liked the Nancy Drew + noir mash-up. Most high school based shows falter when their MC goes to college but some interesting things happened in Veronica’s freshman year on this series.
Boomtown– non-linear storytelling, reasonably diverse cast, play with POV, great s1 arc.
Buffy the Vampire Slayer —I caught up with this a few seasons after it initially started airing, and rewatched it all again for Tor.com a couple years ago. It was one of the first shows that had online discussion groups breaking down every episode as soon as it aired, and I had to quit one such group to avoid spoilers. Because I did my rewatch in a fairly public way, it spawned after-the-fact discussion and analysis from many fans. As a side show to the actual show, there’s the ever-fascinating and still current public discussion of Joss Whedon himself. Is he a great writer or a hack? Is he a feminist or not? It’s all interesting.
A Daughter of No Nation is on the Shelfie Top 10 list for Most Anticipated SF and Fantasy books, in great company, with novels by Charlie Jane Anders, Kameron Hurley and Catherynne M. Valente. Review copies of the book are percolating out to the usual (and hopefully a few unusual) suspects. Soon we’ll be hearing what people think of the second installment of Sophie Hansa’s adventures.
I’m finding the prospect a little nerve-wracking. I don’t think there was anyone who absolutely hated Blue Magic. There were a few people whose response came down to “Holy gosh, this book sure do have a lotta queer people in it!” but there’s not much you can do about that except go, “Yep.”
Child of a Hidden Sea, on the other hand, and Sophie in particular got under a few readers’ skins, and not always in a way that led to true and enduring love. I decided to take this as a sign that I’d become better at characterization, especially since most of the reviews were, in fact, raves. Anyway, it might simply be the effect of a lingering head cold, or the fallout from a rather unusual week, but right now I’m thinking my only sane response is to go “La la la, can’t hear you!” and think of something else until my head clears.
Having been to Stratford for the first time this past weekend, and having seen three shows – Carousel, The Alchemist, and She Stoops to Conquer, Kelly and I are finally embarking on watching Slings and Arrows. We’ve had so many chances to do so over the years–I think people have lent us the DVDs on three separate occasions, and we never quite managed to pop one into the gadget before sheepishly returning the disks. It’s been one of those gaps that was almost embarrassing to admit to, what with me being such a raging Paul Gross fan. But it never happened, until now, and it’s almost–but not quite–too dated. It’ll be good prep for seeing His Almighty Grossness and Martha Burns in Domesticated next month.
Yesterday I threw together a quick post about how things have been filled with what we around here, semi-ironically, call virtue: writing, teaching, flossing, hard work, tax accounting, healthy food, yoga, and sincere attempts to get 7-8 hours of sleep a night. I wanted to let you all know I hadn’t died or forgotten how to blog, more than anything.
Now I want to just as quickly throw together a note about a few attempts, made recently, to tarnish up that hardworkin’ halo. Because what that kind of behavior gets you, eventually, is burned the fuck out. I know it, you know it. (The cats, they don’t know it. This is because they get halo points from activities like stealing lettuce, one leaf at a time, out of the salad bowl and licking it to death in various corners of the apartment.)
Fun things! I bought us tickets to see Second City’s How to Kill a Comedian. We went on the Thursday before the long weekend; it was like a sketch comedy version of all the political things that sift up in my Facebook feed. Laughs were had. Also bellinis.
Kelly and I also went to a very convivial gathering of writers and book lovers on Good Friday,in a part of town we hadn’t seen.
Marine disasters! I am reading Eric Larson’s Dead Wake: The Last Crossing of the Lusitania aloud to Kelly in some of our downtime. The kittens join us on the bed and roll around looking adorable while we learn about people getting torpedoed, sunk, and drowned.
Lakefront birding! Part of my necessary mental process for writing requires a certain amount of walking around outside, staring blankly at things like the lake. To that end, I finally made it to Humber Bay Park East a couple weekends ago, and shot many icicles as well as this red-necked grebe and some other birds.
It turns out this is the park I’ve been looking for since I got here: big, easy to get to, bird-infested, open seven days a week, and with deliciously varied terrain. Barb and I used to go to Jericho Beach every couple of months to chase bunnies, raptors, warblers and hummingbirds. This has a very different look, of course, but there’s a similar feeling and I am excited about exploring it more.
Marital Disasters! A Masterpiece adaptation of Hilary Mantel’s Wolf Hall is on. It has Damian Lewis as Henry VIII. If this is news to you, I totally understand if you need to go hyperventilate into a brown paper bag now. OMG, OMG, OMG.
Season Two of Hannibal has begun and I am so happy to have it back. It’s stylish, gory, well-cast, and, as a weird bonus, filmed around here. Kelly walks past the building that plays Hannibal’s home and office on her way to work–it tickles us every time we see it on screen.
But geography aside, the show is about things that are dear to my heart: art, arts communities, and artistic critique.
The always-interesting serial killers in Hannibal are demented and horrifying artists. Or possibly, artistes. Hannibal is, of course, making food of his victims. In S1, we see killers making use out of human remains, over and over again, either sculpting the corpses directly or staging crime scenes around them. One makes throw pillows out of leather and hair; another prepares strings for musical instruments using his victim’s guts. There are body collages and mushroom farms.
Will Graham’s oft-repeated line as he assumes their point of view: this is my design.
There is an intense aesthetic sensibility to this show that pervades Hannibal the character and spreads outward, from him, to every element of the show.
Other crime dramas, of course, have put significant effort into creating disturbingly pretty crime scenes. Even some murder-of-the-week shows, like Life, did this. But Life would have been the same show, more or less, if the set dressers hadn’t bothered to take the occasional pre-Raphaelite extra, dress her in angel wings and crumple her beautifully all over the hood of a car. In Hannibal, this improbable design sensibility is integral to nearly every murder.
There is a degree to which these people are scrapbookers on a homicidal materials-collecting spree.
Within this entirely bent community, this fantasy circle of destructive creative spirits, artistic dialogs take place. Will Graham functions as a sort of critic, trying to understand what the killers are working to achieve and communicate. Interestingly, he’s an instructor when we first see him. It’s an interesting riff on that old saw: “Those who can’t do, teach.”
Killers imitate each other on this show, sometimes successfully and sometimes not. They embroider on each other’s themes. When they get called out for plagiarism, heads can literally roll.
The process begins in the very first episode of S1. When Hannibal takes on the role of copycat killer to the Minnesota Shrike, he stages a crime scene whose explicit intent is to show Will the Shrike… by demonstrating all the things he isn’t. He creates a corpse-sculpture that is a reverse image of the Shrike’s work.
It is the beginning of Hannibal’s obsessive fascination with Will Graham. As the person who is both an expert in the field and who stands apart from its practitioners, it is Will whose understanding Hannibal craves. He wants to hear what Will thinks about his “work.” He wants to draw him into participating more actively. He wants to be seen, even though courting Will’s comprehension is an immense risk.
It is a strange and compelling portrayal of monster as aesthete, demon as artist. It’s gruesome and scary and weird, and I don’t know, yet, what the show will ultimately say about the practice of art. I am incredibly excited, though, to see where they go next.
Somehow I didn’t mind all that much that the first two seasons of The Killing were slow-moving and, in their way, low on plot. I find Mirielle Enos fascinating and once he finally won me over, I became inexplicably charmed by Joel Kinnamon too. Plus, Michelle Forbes! She was incredible. As a bonus, Michelle was screen-married to Brent Sexton, who was awesome on Life and who deserved a meaty role, despite his total lack of what are sometimes called leading man looks.
Kelly was not so engaged, and so S3 has been quietly piling, like snow drifting up, in our DVR queue. Then, Thursday, she had to go to a work retreat. So I watched it. I watched four episodes. And Holy Carp.
Okay. First, the casting mancakes. Hugh Dillon will always be Joe Dick to me, and well-beloved at that. I heart him. So–Joe Dick as, well, a dickly prison warden. He is still a thoroughly charismatic gargoyle.
And as his minion? The Chief from Battlestar Galactica, otherwise known as Aaron Douglas.
But wait! Buy now and instead of a set of steak knives you get Elias Koteas! (Of TMNT, and The Prophecy, that Elias Koteas. Many of the actors I love are undeserving, or at least hard done by in terms of the roles they get offered.) As this season’s love interest for Linden, if the foreshadowing hasn’t misled me.
And as a special extra bonus, they’ve thrown in the current reigning Olympic Gold Medalist in Scenery Chewing (Team USA), Gregg Henry. So far he’s kept his teeth off the desks at Seattle Homicide, but he’s eyeing those desk chairs hungrily.
What about women? Yes, it has some. They are far less recognizable to me, since most of them are teens. But I have been amazed by Bex Taylor Klaus, who plays the butch street kid Bullet.
And that’s the other thing: street kid. The Killing has a big ‘examining the family torn apart by homicide’ schtick going, and this year, having wrung Forbes and Sexton dry, they are doing a microscopic examination of a chosen family of street kids, some of whom are in the sex trade. This pairs well with the kind of angsty human drama the series tends to inflict on its crime victims. They’re young, vulnerable, constantly at risk and often their only–very frail–safety net is each other.
Finally, in The Killing, Seattle is played by my former stomping ground, Vancouver. The kid gang spends major time in a walkway I call The Cage, in old Strathcona. The Cage turns up on TV almost as often as Aaron Douglas–it’s that striking, visually. I used to walk through it every Tuesday on my way downtown. I know I have a photo of it, but I’m having trouble finding it, sorry.
So. Anyway. I inhaled those four episodes on Thursday and I’m hungry for more.