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The second season of Lisa Kudrow and Michael Patrick King’s subversive comedy came back from a nine-year “hiatus” with even more to say about the current state of television, and the way ambition and fame can corrupt and destroy. It’s not a show for everyone — the humor moves erratically from pitch black to scatological to just plain mean — but for those who get invested in the world of the show, especially the fate of Valerie Cherish (Kudrow), Season 2 escalated and elevated the show’s premise to new heights of comedy and poignancy.
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We’ve written a lot about how much “BoJack” improved over its first season, something that’s a true credit to its writing, which let the show become a real character study. So let’s take this moment to acknowledge that it also has may be one of the best animated voice casts working today. Yes, Will Arnett, Alison Brie, Amy Poehler, Paul F. Tompkins, Aaron Paul, Stanley Tucci, Angelica Huston, Kristen Schaal, Patton Oswalt and Character Actress Margo Martindale — as herself — are more than well-known for their on-screen acting. But by and large they proved capable of finding the humanity of their characters with voice work alone (an accomplishment, given many of them weren’t playing humans).
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What began as a grounded portrayal of a happy (if sedated) marriage slowly morphed into a warning sign for couples who could be taking each other for granted. Yet “Togetherness” never lost its connection with a reality made up of equal parts high and low along the way, making the HBO comedy a true joy to watch from beginning to end. Handled with care and commitment by two modern day master storytellers, Mark and Jay Duplass created a show built around love in its ever-changing forms. From early flutters of the heart to its fading desire with time, “Togetherness” never offered a conventional take; just a real one.
There’s little left to be said about the significance of John Oliver’s foray into entertaining news. It’s as vital as it is fun; as accustomed as its groundbreaking; as casually watchable as it is a call to action. Oliver has created the next level of news, grabbing the best elements from its predecessor, “The Daily Show,” and incorporating new aspects that make “Last Week” feel as fresh as anything on television. Between the HBO show’s social media campaigns to its online presence in general, John Oliver’s baby is growing up quickly. We can only expect more, even if we can’t imagine what he’ll do next.
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After a devastating Season 3 — in more ways than one — “Homeland” followed the actions of its leading lady and fought back to prominence in Season 4. Basically starting over as a one-woman show, the Emmy-winning Showtime drama refocused its priorities and started asking the hard questions about a damaged but resilient Carrie Mathison. Can she be a good mother? Does she have a moral limit? Is her job worth the toll it takes on her life? Is her profession actually a positive for America? As the questions got more difficult, “Homeland” only got better, rewarding fans who stuck with the series, even after its darkest hour.
A) That’s the street address for the White House.
B) Wasn’t that a TV show a couple of years ago?
C) Oh, sure, “1600 Penn”! Bill Pullman, Jenna Elfman, Josh Gad. NBC, 2012. Wow, that show bombed.
If your answer was “C,” then the occasionally savage, occasionally honest and oftentimes meta “The Comedians” was definitely right up your alley. Playing perhaps best for those who had intimate familiarity with the work of at least one of the show’s stars, “The Comedians” was one of many comedies revolving around the entertainment industry, but was also one of the most hilarious and exciting.
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Is this finally the year “The Americans” scores a major Primetime Emmys nod? Clearly, quality has never been the issue before, because lack of quality certainly isn’t an issue that affects the FX drama, long-regarded as one of the best shows on television. Season 3 saw the Jennings family facing challenges like never before, as Philip had to choose between family and country, Elizabeth made an one-sided decision about her daughter, and Paige grew up in a major way. Oh, and they shoved a body inside of a suitcase and lit a dude on fire with a rubber tire. “The Americans” has always been a show about family, though, and hopefully Emmys voters will see that more clearly after a deeply personal third season.
Disruption. If I had to use one word to sum up the brilliance behind “Better Call Saul’s” first season, it would just that. In a brave decision to dissuade audiences from expecting a “Breaking Bad” clone out of its prequel series, Vince Gilligan and Peter Gould used grounded cinematography and a slow burn storyline to introduce their latest project. Much of the humor and character development remained, but the DNA was altered to fit the new central figure. And what a figure he was. As played by Bob Odenkirk, Jimmy McGill became an obvious choice to headline a series, oozing desperate charm through the mind of a man always looking for his next con. He could have been tailored to fit a thriller rather than a drama, but that wouldn’t have fit Jimmy’s four-button suits or the creators’ intricate plans. Thanks for that, guys. Truly.
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As television attracts an ever-widening array of stories, it’s important to honor the ones that strive for and achieve the lofty goal of being truly original; the ones that don’t fit into a preconceived mold or attempt to regulate themselves according to old standards. “The Leftovers,” with its big ideas, alt-universe setting, and heartbreakingly grounded characters, is the new standard for TV’s new era. Season 1 was unafraid to alienate some of its viewers as it dug into the repercussions of national crisis on both spiritual and practical levels. Damon Lindelof even incorporated pace-breaking standalone episodes for two characters, utilizing a cast immediately in touch with the goal of the series: to find the meaning in this messy world of ours, as individuals and families.
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The billboards asked us to “Consider the End of An Era,” and that’s not really understating the case. Even if you leave “Mad Men’s” legacy out of this and just focus on the last seven episodes to be aired in 2015, they remain a pretty remarkable creative achievement. Building to a finale that somehow managed to find a way to be satisfying and sweet without over-explaining anything, each episode of Season 7b maintained the show’s excellent standards of quality. Individual creative decisions could be debated (for example, I would have liked seeing Don and Peggy have one more face-to-face scene together in the finale), but there’s a reason why it keeps reaching the top of our list. “Mad Men’s” pursuit of happiness wasn’t just great TV. It also, ultimately, made us happy.
[Editor’s Note: In a mistaken attempt to logically draw more attention to the recently-canceled “Hannibal,” its second season was included in the initial publishing of this list. Neither Season 2 or 3 are eligible for this year’s Emmys, as Season 3 started too late to qualify and Season 2 aired in the spring — not the summer — of 2014. We apologize for the error, but remain committed to guiding as many people as possible to an exquisite program like “Hannibal.”]
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