Showing posts with label House of Cards. Show all posts
Showing posts with label House of Cards. Show all posts
Saturday, November 15, 2014
TV: Top Ten TV Dramas
Top Ten TV Dramas
1. Breaking Bad
2. The Wire
3. The Walking Dead
4. Deadwood
5. Mad Men
6. House of Cards
7. Dexter
8. Game of Thrones
9. Sopranos
10. Sons of Anarchy
Each person's Top Ten for any given year for any given entertainment genre is going to be pretty subjective. If you open the discussion up beyond a single year, it is going to get very subjective. Be that as it may, here is my list for Top Ten TV dramas.
As I review the first five in my list above, I feel you could make a very strong case that TV writing and directing is in the middle of a new Golden Age. The acting is not always up to the same very high level as the writing, but it is often of a very high caliber.
I'll start off by grouping Sons of Anarchy at number ten and Sopranos at number nine since to my point of view they are quite nearly the same story: a family of sociopaths running an organized crime organization. Weirdly though, the viewer is drawn into the lives of the characters. Both have very well imaged roles that despite their flaws (and they are legend), you still find yourself rooting for them. I give number nine to the Sopranos for their use of music and the final scene of the series - I get it, that I may be the only person on the planet that liked it.
Game of Thrones captures my number 8 slot. This is a currently running series that comes from a remarkably long series of books still being written. I give the program's creators points for trying to capture such a complicated story (which if you have not yet read all the books, let me tell you, only gets more complicated). But this is the program's flaw too - too many story lines for TV or a movie.
Dexter as my choice for number seven is something of a guilty pleasure. Like with my choice for number one below, my training as a chemist allowed me some special interest in the job done by Dexter as a forensics specialist hiding a secret. Season four was far and away the best season with John Lithgow as Trinity, though season three with Jimmy Smits was good too. The final episode's final scene was simply brilliant writing and directing.
House of Cards is number six: Kevin Spacey and Robin Wright star in this Washington DC political drama about a merciless congressman. It has very entertaining Machiavellian story lines that stretch its attachments to reality. It is worth watching if only to see how DC might actually run.
Mad Men in position number five is just about the only non-violent drama on my list (sorry for my proclivities), but like the following drama this program has some of the best acting: Jon Hamm and Elizabeth Moss are the standouts, but frankly are part of a very talented ensemble. This story about an early sixties ad company and America in the post-Eisenhower era rings particularly true for those of us of a certain age.
David Milch's Deadwood captures position four, and in contrast to most of the others on my list, this three-year long series has the best acting as compared to my other Top Ten. Starring Timothy Olyphant and Ian McShane we watch a very vicious Old West tale. Some top notch writing helped create the characters so well portrayed by Olyphant and McShane.
Position number three is held very firmly by The Walking Dead (currently running in season five). The writing and season-long story arcs can be of varied levels of quality, and the various scenes of violence with or without zombies can definitely be a challenge for the faint of heart. But what makes this program so powerful in my view is the remarkable way the writers (primarily Charlie Adlard) have asked the question: what would any given individual do when faced with overwhelming horror and desperation? One could argue this story line might be a Holocaust parable.
I was torn in deciding between my choices for number 2 and number 1. I have for a long time regarded David Simon's "The Wire" as the best written TV drama. This seven-year series was so tautly written and so clued into the daily tragedies taking place on the streets of Baltimore that I was convinced it could not be upstaged. The series tails off in relevance and impact near it's end, and for that reason, my choice for number one is the following.
My choice for number one is likely on almost everyone's list for Top Ten, if not for the position of number one: Breaking Bad. Vince Gilligan's series of chemistry teacher Walter White gone bad (ok, as a chemist, I'm a little biased here) displays the very best writing and cinematography of all my Top Ten List. And as I note above, the writing bar is set very high (see The Wire). The six year-long series portray's in vivid detail and unsparing grimness how one man's good intentions paved the pathway to Hell for himself, many other criminally-inclined, and a large number of innocent bystanders. Lastly, the closing scene of Walter White laying with his one true love is amazing.
Saturday, February 22, 2014
House of Cards, Season Two
House of Cards
Season two
2014
Drama
4.5 stars out of 5
The second season of “House of Cards” continues the story of
former congressman/now vice-president Frank Underwood (Kevin Spacey) and his
wife Claire (Robin Wright), and of their no holds barred drive to the top of
Washington DC. It is marvelously written, directed, and acted. One of the best
TV shows I have ever seen, nearly as well-done as “Breaking Bad” or “The Wire”.
Like Walter White in “Breaking Bad” the story explores just
how far a writer can go in terms of creating an anti-hero without losing the
interest and sympathy of the viewer. Frank is a non-stop lying, scheming,
back-stabbing Vice President in Season Two, episode One. One continually wonders
why anyone would trust him or believe him on any topic whatsoever. At yet, he
practices his southern charm also on a non-stop basis, and he is able to use
this ability plus his cunning to disassemble one administration while covertly
building the basis for a successive one.
One very clever aspect of season two is the juxtaposition of
Frank with an equally Machiavellian character, billionaire Raymond Tusk (Gerald
McRaney). Both men are vying for the attention of and influence over President
Garret Walker (Michael Gill). It is the season long story arc as Raymond and
Frank contend over the President. Again, it is amazing how this story can
maintain interest and concern over Frank and Clair despite their complete lack
of morality. It is equally amazing in a problematic sense that President Walker
and wife, Trisha (Joanna Going) are so easily influenced by Raymond, Frank and
Claire – how on Earth did Walker ever achieve the White House?
There are other plot problems that are all too common to fiction:
the convenient overhearing of confidential information, the open shades as two
people secretly make love, etc. But really the biggest problem is also
paradoxically the show’s most dominant theme: Frank Underwood’s complete and
total amorality. He will literally do anything (e.g. Peter Russo’s exit in
Season One) to achieve his ends. He will build up and then throw under the bus absolutely
anyone to achieve his ends. Are there really people like that running our
government? The cynic in me says, yes; but the idealist and movie critic says, it
is a little over the top – there appears no law at all that Frank won’t break;
I struggle with this a little.
So, where does this all end up? Is this merely a witty and
clever story about the world’s worst people climbing to the top of the US
government? Is it a Jonathan Swift style parable of how counter-intuitively,
the bad do some times win? Or is it a thinly veiled attack on a certain
southern former president and his now ascendant wife? I think the story can be
viewed and watched, and enjoyed for all of these interpretations; and in my
opinion, despite the various plot holes and occasionally pointless and
gratuitous sex scenes, most adults will enjoy Season Two even more than Season
One.
I’m sitting here wondering where they’ll go in the recently
optioned Season three: Frank’s descent into the lowest levels of Dante’s
Inferno? As my wife, Sandy commented, Frank has few new directions left to
explore.
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