As a seasoned critic with years of watching, analyzing, and passionately arguing about television under my belt, I must say that this summer’s offerings left me yearning for more originality and audacity. It seems like every other show was trying to cash in on brands that had already run their course or were mere shadows of their former selves.
DANIEL FIENBERG (PARAPHRASING): Wow, how did we get to the end of summer already? That’s what it feels like with Matthew McConaughey in True Detective. Time isn’t just a loop; it’s more like a whirlpool, and the summer of 2024 seems to have been pulled right into it.
Over the past few months, politics has delivered some unprecedented events: the most contentious debate ever recorded, an attempted assassination, the introduction of a new Republican vice-presidential nominee (accompanied by numerous memes), a president withdrawing from the race, a fresh Democratic presidential nominee, and the rapid ascent of a little-known running mate who, prior to May, would have been difficult for 95% of Americans to identify in a lineup.
Between two significant political events, the focus changed towards the Olympics in Paris, where we admired the pristine and shark-less Seine River, cheered on Simone Biles, gazed at the French pole vaulters, held our breath for numerous incredible comebacks, and endeavored to grasp the rules of competitive breakdancing – all while enjoying the soothing sounds of Snoop Dogg.
In a world where the unique aspect in scripted TV is often a reimagined version of an existing story, such as “What if ‘Presumed Innocent’ had a ridiculous twist?” or “What if ‘Time Bandits’ was devoid of its eccentricities?”, or even “Dragons? Really?”, it can be hard to find reasons to abandon the raw emotional intensity and unpredictability of real life.
ANGIE HAN: Honestly, it’s been a bit disappointing. As for your observation, it seems that this summer has been dominated by news, sports, and live events, while scripted TV has been rather sluggish, alternating between “quite slow” and “painfully slow.”
Despite the highly expected comebacks of numerous popular series, HBO’s House of the Dragon returned after an almost two-year absence…yet it essentially presented a full season’s worth of background setup instead. The third installment of Hulu’s The Bear sparked such debate that it ignited a round of discussions about whether the show might have been subpar all along. (My opinion: No, and it remains quite good.) Amazon’s The Boys has never shied away from being bold, but its fourth season abandoned any attempt at intelligent commentary, choosing instead to simply amplify our current state of affairs. I’m confident that many people continue to watch these shows, but are viewers as enthusiastic about them as they once were? Because honestly, I’m not.
Despite some top-rated shows hogging the limelight, this past summer offered several standout moments if you cared to look beyond them. For instance, Peacock’s “We Are Lady Parts” made a comeback after almost three years, showcasing an even deeper and more ambitious second season. The series delivered hits like “Malala Made Me Do It” and “Villain Era.” Similarly, HBO’s “Industry” has never been more engrossing as it ventures into its third season, with its blend of humor, drama, and stellar casting (featuring Sarah Goldberg and Kit Harington) at its finest. Lastly, AMC’s “Interview With the Vampire” continues to be one of the most captivating, humorous, ominous, and simply entertaining shows on TV. In its second season, it seems that even the undead theater kids can’t escape the drama.
What’s been your impression of this summer’s returning titles?
PF: I find the over-the-top, dramatic style of “Interview With the Vampire” quite appealing, and it seems to create an environment that suits actors who tend to act too enthusiastically. Eric Bogosian gives a remarkable performance in this series, and Ben Daniels was a fantastic addition during the second season. The show could further explore this unique aspect, transforming into a haven for performers who often overact. I may have a different perspective on the central relationship compared to others; while I appreciate Jacob Anderson’s Louis and Sam Reid’s Lestat individually, especially in the first half of the season, the series becomes overly focused on them when they are together.
Speaking of horror-comedy shows on streaming platforms, Paramount+’s “Evil,” which is concluding its four-season run during our conversation, remains unmatched in its category. Created by Robert and Michelle King, the series found new life after a short stint on CBS, thanks to increased interest from Netflix. As it approaches its apocalyptic finale, the storytelling has been nearly flawless, particularly in its self-reflective approach to dealing with the sudden cancellation of a successful TV show or church-affiliated demon-hunting unit. The makeup and visual effects on “Evil” have never been more chilling, the interplay between the characters, especially the daughters, has never been funnier, and Katja Herbers, Mike Colter, and Aasif Mandvi have a chemistry that many long-running ensembles aspire to.
The terms “Evil” and “Interview” found it challenging to stand out amid the complexity of real-life occurrences. However, unlike them, the third season of “The Bear” was the hot topic for around a week or two, sparking intense discussions among viewers, only to fade away from conversations later on. Was this due to the episodes being more controversial? Perhaps because they were all released simultaneously, or could it be that there’s a limit to how much one can discuss Carmy’s self-centeredness, high-profile chef appearances, and various types of napkins when the state of democracy is in peril on another platform?
I’m choosing option D: all options apply. However, The Bear managed to hold a conversation for at least a couple of weeks, which is more than my favorite new series of the season has achieved so far. HBO’s Fantasmas, conceived by Julio Torres, presents a New York City filled with systemic issues and intricate bureaucracies, but also infused with a whimsical touch, featuring hamster nightclubs, lawsuits from elves, and whatever the inhabitants of Pirulinpinpina’s world might be. While it may not push boundaries significantly compared to his other works, including this year’s film Problemista, its unique and original style is evident.
Fantasmas was a refreshing change from the usually stuffy shows in this season. Many promising productions failed to deliver on their potential. Apple TV+’s Sunny boasted impressive visual design, an intriguing ensemble cast, and bold themes…but lacked depth to make it more than just the sum of its parts. Netflix’s Eric had good intentions, but was wrapped in fancy prestige-like packaging; unfortunately, it lacked compelling characters or a gripping plot for its attempts to succeed. Disney+’s The Acolyte showcased Manny Jacinto’s talent well, but fell short as a family, faith, and betrayal drama, or in broadening our understanding of the light-versus-dark forces in the universe.
There were some positive aspects: Shows like “Presumed Innocent” and “Lady in the Lake,” available on Apple TV+, were engaging and well-acted, with mysteries that kept me hooked. However, they didn’t delve as deeply as I would have liked. The Hulu series “Queenie” and Apple TV+’s “Land of Women” weren’t particularly innovative, but their compelling characters made them captivating. As for “My Lady Jane” on Amazon, it deserves praise for its outrageous, eccentric concept that it executed brilliantly.
Are there any other gems I’m missing?
As a devoted fan, I must admit my disappointment in this summer’s lineup of new shows. It seemed like there was too much emphasis on chasing established brands, some of which were already paper-thin or had lost their essence in the remakes. Was it really necessary to produce an Orphan Black spin-off (like AMC/BBC America’s Echoes) when the main appeal of Orphan Black was, well, Tatiana Maslany herself? And let’s be honest, Jordan Gavaris and Evelyne Brochu in aged makeup just don’t cut it. Was it necessary to create a full series adaptation of Sausage Party? Frankly, I believe that after witnessing one audacious, prolonged adult orgy involving food products, we’ve seen enough. And lastly, is it appropriate, over 40 years since the original movie, to create an adaptation of Time Bandits that smoothed out every single Terry Gilliam quirk and eccentricity? I think not.
Time Bandits really picked up steam in its second act, as it delved into an intriguing and unique narrative. On the other hand, my initial enthusiasm for Presumed Innocent waned over time. Initially hailed as a limited series, it was swiftly renewed within a month, and while David E. Kelley’s return to solid legal thriller terrain made for enjoyable viewing in the first half, the implausibility eventually became too much to overlook.
Of course, that’s what makes Fantasmas stand out: Nothing else quite resembles Julio Torres’ films and TV series except for more works by Julio Torres himself. And even then, Fantasmas isn’t exactly like Los Espookys or Problemista. His unique style is queer, surreal, eerie, and funny. If Fantasmas doesn’t become a blockbuster hit, it still ranks as my top pick for the summer’s dystopian, trans-inclusive sketch show, starring Pirulinpinpina, the tone-policing blue social media manager with a knack for managing the unusual.
Among the summer’s select few series that left an impression on me due to its boldness, the one that stood out was “Lady in the Lake,” which director Alma Har’el reimagined as a much stranger, more dreamlike journey into trauma and self-identity than what was initially marketed as a Natalie Portman mystery.
It’s unfortunate that there wasn’t content that truly captured the intrigue of the real-world summer events we found hard to tear ourselves away from. For instance, Peacock had a two-week captive audience for the Olympics, but they chose to use it as an opportunity to promote shows like “Those About to Die,” filled with tired gladiator tropes, and “Mr. Throwback,” a Steph Curry mockumentary that seems tonally inconsistent (instead of shows like “We Are Lady Parts,” which is excellent and centers around an underdog sports story, but with music). On the other hand, it remains to be seen if the October 31 premiere for the second season of Netflix’s “The Diplomat” will ride the wave of Kamalamania or if viewers might already be suffering from politics fatigue by then.
Fan: The rapid pace of current events these days makes it seem like two months from now is an eternity away. I can’t predict if we as a nation will still be eager to tune in at that point, and honestly, I have no intention of feigning interest, which is one of the reasons why programming television isn’t my role. What I do know is that after weeks of what feels like a dry spell towards the end of summer, I’m more than ready for the torrent of fall TV to return and sweep me off my feet again.
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2024-08-22 16:55