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satellitesoundwave · 2 years

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Long ask Jazzwave anon here and you articulated my thoughts on inter-Spec Ops dynamics to a tee. In general, I think they’re a bit closer than the other autobots due to the shared nature of their experiences/skill sets, but let’s not forget who they are. It’s a group of individuals whose job is to lie, manipulate, and betray and asking them to trust each other and be vulnerable seems almost counterintuitive to their nature. That being said, they are on the same “side” and I think the reasons you brought up to why Jazz specifically can’t be more vulnerable with them are very apt. As TIC, he knows feeding into a separatist notions would cause a fractions to the movement and he’s well aware of what his team is capable of. As command, he’s truly isolated like OP, but not in the same sense. OP is the figurehead and arguably garners equal fervor/following from the autobots as the cause, where as that respect/trust isn’t at the same level with Jazz. OP is infallible, but Jazz makes himself “trustworthy”/friendly to the extent he keeps up his facade. But in all honesty, I do enjoy the camaraderie and bits of fondness/respect Jazz has for his team. Like I feel like there’s real opportunity for him to build long lasting relationships with them but only truly in a post-war context. From DwtD, I can’t imagine them ribbing Jazz the same way the cassettes rip on SW for their mutual crushes, but I can see a bit of teasing, especially from Mirage. Jazz is so uncool regarding SW that he certainly couldn’t hide it from his team lmao. Which is always fun, especially bc you get them vibe from Jazz from the opening of the fic :P Us vibing on the wavelengths makes me feel like your Jazzwave fic will hit all the cravings I have for these two! I have constant thoughts about them, but rare pairs are hell for the slim pickings of people equally obsessed about them. Also the word building and premise have me drooling (Swindle is also one of my fav characters by the sheer ridiculousness of The Hustle).

I can see a bit of teasing, especially from Mirage

i had to jump straight on this bc lmao yeah, and also i have been turning over thoughts about this a bunch recently for Networking. i wanted to keep the scope of Deal with the Devil focused down on that one location and set of events so there wasn’t room to include it, but boy i very much did think about Mirage ribbing Jazz over his crush (while also quietly being a bit concerned, bc yes Jazz makes sport of dangerous games but this one is particularly perilous). Networking is going to have the space for me to indulge in having lots of Jazz & Mirage friendship focus (act 2 especially, which’ll be from Jazz’s pov). i’m not sure i want to reveal too much about the angle i’ll be taking on it yet, but i think there’s a lot of interesting room to play around with Jazz, Mr Popular himself, being close friends with Mirage, who’s defining traitTM is him being such a social outsider people will readily jump on the suggestion of him being a traitor at the drop of a hat

i mean i do hope it’ll satisfy your cravings! Networking is the next instalment of Fics Powered Entirely By Self-Indulgence, but what i’ve been learning from putting (Re)Experience and Deal with the Devil where other people can see them is that self-indulgence often scratches an itch for a lot more people than i initially expected, so there is hope :3

also i never know what to count as rairpairs in tf fandom lol. Like jazzwave’s got nothing on the juggernaut ships, but i’ve also seen ships with just like a single person doing the lords work of dedicatedly creating content for them, the spectrum is vast.

(Swindle is great isn’t he. He won me over with the “The name’s Swindle, I’m what you might call an intergalactic arms dealer” bit in tfa. A real 'oh, this guy’s fun' moment)

#satellite speaks

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andersfels · 3 years

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i feel like half the time ppl on this site have discourse arguments bc ppl have entirely different understandings of what the subjects are. every time i see someone talk about gendered "socialization" they have a different description of what it is and what it implies.

so throwing that terminology away while discussing the same issue....there are 2 factors at play, imo. gender and sexuality. ppl tend to focus only on gender, but i think sexuality has a lot to do with it also.

the phrase "female socialization" or "male socialization" are particularly bad, not bc they aren't trying to convey real experiences, but bc they create a false dichotomy and fail to communicate properly what those experiences are by forcing a gender label onto people who don't always match it.

the problem isn't so much that society forces a gendered "socialization" on groups of people, but rather that socialization teaches groups of people it assumes to be binary that they must be appealing to men, and how to. this applies to both "male" and "female" socialization.

what we dub as "male socialization" is more commonly referred to as toxic masculinity. it's the pressure to adhere to standards of "manliness" that only other men care about.

what we dub "female socialization" is the pressure for women to appear attractive to men, and the oppression that comes from failing to do so.

this is why sexuality plays a role, and why there is a false dichotomy and equivalence made between the two ideas.

i think it's very common for transmasc people to relate to the idea of "female socialization," because even understanding their gender, if they still like men, the pressure to appeal to men's attraction is still the same, as is the oppression for not holding the feminine standard that straight men hold for them; the same as many gnc cis women might experience, because society only teaches how to appeal to straight men, not how to appeal to men as an otherwise queer person.

and this does NOT mean that "logically, transfem people must experience male socialization then!" because what is referred to as "male socialization" is not equivalent to the experiences referred to as "female socialization." a transfem child who doesn't relate to being a man is not going to feel the pressured drive to uphold standards of masculinity. in fact, they are far more likely to absorb "female socialization" and internalize the expectations put on women to appeal to men if they're also attracted to them, and sometimes even if not, because femininity is most often defined by heterosexuallity.

the "socialization" concepts are real things, but because they're essentially the same phrase with binary genders swapped out, it creates this false idea that they're the same thing but for afab and amab people. that's so completely not true.

and they're not inherent either, which is also where i think sexuality comes into play.

i, personally as a person who was afab, did not suffer so called "female socialization" the same way other people did. this is because I'm lesbian, and I've never particularly cared about how men find me appealing. even under comphet, i really never felt that as a motivating pressure. the social repercussions for not adhereing to that standard of femininity have never felt as scary or harsh, because i simply do not care what men think of me.

it's not an inherent thing. it's a COMMON experience, but it's very specific, too. and we need to ditch the shitty, binary phrasing, because it really has nothing to do with agab, and everything to do with your relation to men and how you want them to view you.

"female socialization" as a concept honestly covers anyone who wanted to be seen as attractive by men and/or suffered the repercussions of not being so, (and more complicatedly, wanted to be seen as feminine and suffered the social understanding of femininity through the lens of the straight male gaze, regardless of sexuality.) this can include transmasc AND transfem people, and it can include many afab people, but not necessarily all, and certainly not to the same extent for all.

"male socialization" as a concept covers people who wanted to be seen on an equal, masculine level as other men, even to an unhealthy point. this can, in fact, cover transmasc people as well as cis men, but generally tends to exclude transfem people.

and there is the false dichotomy, and why the terms are so incredibly bad - they're not exclusive. someone can experience both of them at once. someone can experience neither. and the "male" and "female" split in the concepts is not only binary, it's based on heteronormativity as well.

the "socialization" queer and trans people experience is not as simply categorized as it is for cishet people, who no doubt created these terms. what we get told growing up is aimed at cishet children, and not being cishet ourselves, we internalize their messages entirely differently, even when we don't fully understand ourselves yet, even when society makes false assumptions about us.

and i think we would be 10x more productive having these discussions on "socialization" if we understood that the terms are really not useful, and that people who use them largely don't always mean to communicate the same ideas.

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thevagueambition · 4 years

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I was tagged by @antirococoreaction to talk about five male characters I love

(God, only five? However will I choose between my boys >_< ?!)

This is most certainly not going to be a literary as your offerings, lmao. When it comes to literary fiction I mostly like Kafka and Kafka, by the nature of his writing, writes thoroughly unlikable characters.

This got way too long bc I’m incapable of not gushing about my faves when given the chance lol

Zuko from Avatar: The Last Airbender

It is my enduring opinion that if you want to see a redemption arc done right, look at Zuko’s arc in The Last Airbender. He’s a scared, abused kid who managed to build up personal morals in a system that discouraged them, and was harshly punished for daring to voice them. He’s someone who always wanted to be good, but struggles with defining what good is, given that his culture and upbringing has taught him one thing, but his heart (and his uncle) tells him another, and his new experiences reinforces that. After he figures out what “good” looks like, he’s always held accountable for his past actions. He makes amends, and he accepts it, for the most part, when people aren’t ready to receive them. His anger issues, as well as how he sees himself as someone who had to be hardworking because he isn’t talented (however far from the truth that may or may not be in reality) are also aspects of him that appeal to me and indeed that I relate to.

Anakin Skywalker from Star Wars

My love for Anakin is not dissimilar to my love for Zuko, though the quality of the writing in question certainly is. I love an edgy boy, is what I’m getting at, I guess :’D More seriously, Anakin’s story is ultimately one about control, which is a subject that interests me quite a bit. Anakin is never, at any point, really in control of his own life. He’s never really truly free. He’s born a slave, he joins the Jedi Order and he becomes Palpatine’s apprentice. He always exists within rigid systems of control, until his very lasts moments with Luke before he dies. With how Palpatine essentially groomed him, thinking of Anakin as equally a victim of Palpatine and a perpetuator of his (metaphorically speaking) abuse is also interesting to me. Certainly his clearly distorted thinking (eg convincing himself he can’t trust Obi-Wan, for instance) is also hugely important to his appeal to me. Also? He’s SO EXTRA I can’t with him lol

(That’s your LIFE SUPPORT SYSTEM you turned off, Anakin!!! I know you’re depressed and dissociated and also The Drama but damn!!!!!!)

Nicodemus Ravens from The Shamer Chronicles (Skammerens børn)

The Shamer Chronicles is a series of Danish fantasy books for kids, and probably the most popular books of that type (particularly the first book, The Shamer’s Daughter). Nico is a major character, though never a POV one.

Nico was, essentially, abused by his father for not living up to the male gender role. He didn’t want to learn to use a sword, he didn’t want to kill, and his father hated him for it. As a result, he’s a teenage alcoholic and profoundly at war with himself. He constantly have other people telling him narratives about who he is/should be: first, he’s the younger son who should bring his father glory, then he’s the heir unfit for the throne, then he’s, depending on the political position of the character in question, either a monstrous murderer who must be killed by the glorious leader or the rightful heir to throne, a hero ready to bring war to his enemy and liberate his people, then rule them in benevolence.

Nico doesn’t want to be any of those things. He knows who he is, is stubborn about it, but also can’t shake the belief that his relative pacifism is really just cowardice. I’m just going to quote one of my favourite scenes here (forgive the translation, it’s my own, I don’t have the official one at hand):

“[...] They want a hero, I think.”

“Is that so bad? It’s better than being a monster, at any rate.”

“You think? Have you noticed how often heroes die in battle? Of course everyone mourns them afterwards and write beautiful ballads about them, but the heroes remain dead. Stone-dead. And I’m in no hurry to get on my white steed and start slaughtering people until someone better or luckier than I sticks a sword in me. No, thank you.”

He looked both obstinate and shameful, as if he thought he really should get on his white steed and all of that. I could understand why he didn’t want to die, and yet… Well, I think I’d always expected him to return to the Lowlands to fight Drakan at some point.

“What do you want, then?” [...]

“I just want to be me,” he whispered. “Is that so terrible? I just want to be Nico and not a lot of other people’s hero or monster.”

Anyway there are Two Crimes when it comes to Nico: the fact he isn’t gay in canon and how so many adaptations turns him into the Generic Fantasy Hero he’s a very conscious subversion of in the books (the other principle male character is essentially someone who’s hurt by toxic masculinity as someone who buys into it, while Nico ofc is hurt by it because he doesn’t/can’t, so the series certainly had an opinion about it).

Albus Dumbledore from Harry Potter

Dumbledore is, to me, someone who chose what was good for the world over his own happiness. He chose to be the one to dirty his hands, the one two make the terrible decisions, do the terrible things, that were necessary in the battle against facism. There is something very brave and admirable about that to me. It’s not that he never did anything wrong, he certainly did, but again, I think he was very aware of the terrible things he was doing, and part of the reason he keeps everything so close to his chest is because he doesn’t want anyone else to have to make those decisions, to have to feel that blood stain their hands. Dumbledore loves the people in his care profoundly, he loves Harry profoundly. And it kills him to have, as Snape puts it, “brought him up like a pig for slaughter”.

Whether something is morally justified and whether it’s necessary to prevent evil are two different questions, and I don’t think Dumbledore feels particularly justified, but I do think he does what he perceives to be necessary to prevent facism. And hates himself for the decisions he takes along the way. And all of that comes back to, to some extent, his survivor’s guilt over the death of Arianna and the profound wake up call that was Grindelwald 1) turning on his family 2) being a very violent fascist, rather than just a theoretical one like teenage!Dumbledore was. In his mind, Dumbledore is already condemned for what happened when he was 18, so it’s better that it be he who takes the terrible things upon himself than an “innocent.” It’s better that he try to atone. Dumbledore is working towards a redemption he never (to his mind) arrives at.

In regards to his sexuality, Dumbledore was certainly written with the trope of a “tragic old closeted gay” in mind, but of course JKR never made anything much canon aside from his “flamboyant” sense of style (that the movies have ROBBED us of >:( ) and hobbies, so to a certain extent, I get to ignore that homophobic intent. In the books themselves, the only thing you can really read between the lines is that Dumbledore was in love with Grindelwald, not whether it was 1) reciprocated 2) acted upon, so with only the canon, we also get to mitigate some of the Implications of “Dumbledore dated Wizard Hitler for a while”....

I mean I do Love Mess(tm) so Dumbledore having that terrible wake up call is certainly also part of the appeal for me. Personally I enjoy the interpretation that Grindelwald deliberately manipulated Dumbledore’s feelings.

Captain Flint/James McGraw from Black Sails

BE GAY DO CRIME BE GAY DO CRIME BE GAY DO CRIME BE-- *coughs*

As you might guess from my description of Dumbledore, a lot of the reasons I love Flint are similar to why I love Dumbledore (and Solas, but we won’t go in to Solas rn lol). Flint is also someone who chooses to do the terrible, necessary things, who chooses the fight over his personal moral cleanliness. In a more obvious and extreme way than Dumbledore, certainly, but the principle is essentially the same. Of course, Flint’s fight is personal in a completely different way from how Dumbledore’s is. Flint’s fight is simoultaneously his revenge, a fight against the corrupt system that ruined his life and a fight for something better. Dumbledore is defensive, Flint is offensive.

The self-integrity he has is truly amazing. He’s cast aside by everyone but Miranda, and yet he never starts thinking he has anything to apologise for. To ask for a pardon would be to ask for forgiveness, and he doesn’t think he needs to be forgiven. Not for loving Thomas, not for anything he did while he was still English. He perceives the reality of the situation, he sees what is right and what is wrong, and he knows that he is the wronged party. He stares at the behemoth of the entire social structure of his world and says: No. You move. I am not in the wrong. England should apologise to me.

Flint is my angry gay dad and I love him.

I tag (as always, completely optional ^^ ): @teddy-stonehill @thebearmuse @andvaka @solitarelee @gallifreyanathearts @sinni-ok-sessi @melle93 @papanden @seimsisk

I feel a bit dishonest leaving Grantaire off of this list, lmao, but I talk about him enough as it is.

Other honorables mentions go to: Enjolras (Les Mis), Captain Jack Harkness (Doctor Who/Torchwood), Solas (Dragon Age), Fitzwilliam Darcy (Pride and Prejudice), Kim Kitsuragi (Disco Elysium), Harry Potter, Remus Lupin (Harry Potter) and my soap boys Robert Sugden (Emmerdale), Richard “Ringo” Beckmann (Unter Uns) and Ben Mitchell (Eastenders).

#someone: like a none edgy boy me: a what now #not that nico is that edgy #btw if i had been the type to name myself after fictional characters it would have 100% been nico #the movie adaptation does not deserve rights #also re dumbledore jkr is like ''he turned into a bit of a celibate after grindelwald'' and i'm like nah NAH fuck off #siggi rambles #tag meme #my meta

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donheisenberg · 6 years

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Top 20 TV Shows of 2017:

So this is the bit where I talk about how difficult it is to write a top 20 list because of peak TV, yada, yada, yada. If you are into TV criticism you have read it all before several over the last few years, the thing is while it might feel like a cliche it is totally true and with every year it become more true. Trying to watch everything out there is impossible and trying to then narrow down what you have watched to a list of 20 is almost as difficult. Every show on this list had an outstanding year as shown by some of the shows I left off of the list. In any other year the likes of Curb Your Enthusiasm and The Americans would be givens even if they just had middling seasons but not this year. It was truly a great year for TV and here are my top 20 shows of 2017.

Shows I Did Not Get Around to Watching/Completing That May Have Made My List: The Deuce The Handmaid’s Tail (to watch) Legion (to watch) Better Things Search Party Difficult People

Honorable Mention: Rick and Morty (season 3): Shout out to Review as well, which was excellent but just had to few episodes for me to really count it. In terms of Rick and Morty it was often in the news (or at least the twitter news) for the wrong reasons this year as a group of its fans decided to act like complete dickheads for a period of time. All of which deflected from the fact it had its best season ever. I’ve always had issues with the show and basically how pro-Rick and his asshole behavior Harmon and co seem to be and this year didn’t necessarily dissuade me of that but on a week to week basis it was crafting, ambitious and well thought out stories, at a rate the show had never before.

No 20: Fargo (season 3): As many observed this was not Fargo’s finest year and it maybe took a while to get going. It is also the case that 3 seasons in it is tougher for a show as idiosyncratic as this one to surprise us. When a seemingly major character dies in episode 1 it is less of a shock than it should be because that is what happened in season 1. Yet at the same time I so enjoyed this season and the performances by the likes of Carrie Coon (more on her later), Ewan MacGregor and David Thewlis and you still had episodes as excellent as The Law of Non-Contradiction.

No 19) Veep (season 6): Similar to Fargo this was a just slightly below average year for Veep, but even then the quality of the ensemble is so far above any other comedy out there and the quality of the writing/jokes/insults is again just of the highest order. There are few shows I enjoy more than Veep.

No 18) Master of None (Season 2): In my review I did write about how aspects of MON did frustrate me. For it’s social awareness, it is a show that wants me to desperately feel sorry for the man with seemingly the nicest/most privileged life in the world. The extent to which the show is essentially lifestyle porn at times can be a problem and the extent to which the show never questions Dev’s actions can also be a little off-putting. Yet having said that the good outweighs the bad and then some. The show crafts so many beautiful fully realized episodes and months after watching it is episodes like Thanksgiving that stick with me, more than the show’s flaws.

No 17) The Young Pope (Season 1): I’m not sure I get The Young Pope. I love it but I’m not sure I get it. Even in this age of weird TV there is something truly odd about this show. So difficult to write about because it does not conform to any conventions or labels and that’s why it makes this list. Having said all of this I’m not quite sure the show ever hit the heights of its pilot (even if it remained excellent throughout) and that’s why it is not a little bit higher.

No 16) Brockmire (Season 1): Brockmire is exactly the sort of gem that can get lost in this golden age, but for those few of us who did see it we know that it was one of the most raucous, hilarious and endearing comedies out there. I don’t know or care about baseball at all but I do love Brockmire and can’t wait til it comes back.

No 15) Brooklyn Nine Nine (season 4/5): Just as Brockmire can get lost in a sea of amazing shows, B99 is the sort of show that you can take for granted so easily but 5 seasons in and it is still full of heart and brilliant gags. More than that though this year on a couple of occasions we saw the show break-out of its comfort zone with episodes about Terry being racially profiled and more recently Rosa coming out to her less than progressive parents. Those episodes showcased a different side of the show and demonstrated how B99 is not just a great sitcom but an important one. Nine Nine!

No 14) Preacher (Season 2): Parts of season 2 of Preacher were as good as anything on TV. The opening scenes of the first two episodes, as well as standout episode Sokosha plus a whole host of other moments, showed how Preacher could execute some of the most ambitious TV out there to near perfection. It was not all perfect and the season might have benefited from being 10 episode long rather than 12 but nonetheless I love this show and it seems to only go in one direction. Bring on season 3.

No 13) GLOW (Season 1): GLOW was sort of the perfect summer show. It was funny and likable and so binge-able. Netflix makes a lot of deeply serialized shows, designed to be consumed in one sitting so as you find out what happens next. Glow was not that. What GLOW was, was a show that quickly established an ensemble of distinct and interesting characters who you wanted to spend time with and for that it was a standout show.

No 12) Better Call Saul (Season 3): It pains me to put BCS at number 12, in any other year this could be a contender for my number 1 spot but here it does quite make the top ten. Part of the reason why it is a little lower than you might have excepted is that at this stage I don’t have to tell anyone how good this show is. Into it’s third season and BCS was possibly better than ever. Certainly episodes like the chilling Lantern and in particular Chicanery mark series high points and some of the finest TV I’ve seen all year.

No 11) American Vandal (Season 1): American Vandal is a curious show. It is ostensibly a parody, yet by the time you finish it you look back and think that was funny but not funny enough to be making this list necessarily. What it was though was the most engrossing show of the year. And it all centred on the question “who drew the dicks?” Yet for the silliness of the premise I could not have been more intrigued. AV found new ground for the most tired of sub-genres, the mockumentary and in the process delivered an absurd but in many ways tragic story of a stupid but well meaning kid in high school whose life goes array for reasons that have little to do with him. Defining the pleasures of the show may not be straight, but boy was it insanely watchable-the Netflix model at its best.

No 10 )Unbreakable Kimmy Schmidt (Season 3): Similar to B99, UKS is the sort of consistent joke machine that you can take for granted, and that many have, but for me this year there were few shows enjoyed nearly as much as it. I thought the show delivered its best season. The work of Ellie Kemper and in particular Titus Burgess can match any comedic performers on TV. Again though amidst all the laughs is a very human character study piece of an abuse victim and maybe where the show’s genius thoroughly lies is in the way the show balances these two sides of itself.

No 9) Crazy Ex-Girlfriend (Seasons 2/3): Rachel Bloom’s musical comedy/drama goes from strength to strength. Like many shows of this list it perfectly balances cartoonish sensibilities with discussions on mental health and never more so than in the first half of season 3. In addition to that though are the musical numbers. At times I’m just in awe of how spot on and clever their parodies, my favorite this year being “Let’s Generalize About Men” and for that it had to make my top ten.

No 8) Bojack Horseman (Season 4): In its 2nd and particularly 3rd seasons Bojack became a show that delivered some of the most outstanding individual episodes of television, possibly ever. Escape From LA, Fish Under Water and That’s Too Much Man are just incomparable half hours of TV. Season 4 did not deliver a single episode of quite that standard. What season 4 did do though is deliver quite possibly the show’s most consistent, revealing and hopefully season. Something we all needed at the end of the show’s previous season.

No 7) Catastrophe (Season 3): Okay it was only 6 episodes along, but I ask this question every year, is there a better written show on TV? There might be snappier dialogue out there, there might be more profound existential musings on some other show, but there is no show with more wonderfully naturalistic dialogue on now or possibly ever. Also there is not really a couple of TV I root for quite as much as Sharon and Rob and I really just want to watch the two of them on screen together as much as possible.Plus the final episode of season 3 was just the perfect send-off for Carrie Fisher and for that alone it deserves it place on my list.

No 6) Jane The Virgin (Season 3/4): Now four seasons in Jane the Virgin still has the power to surprise and hit me emotionally as much as just about any show on this list. I would go as far as to stay no episode of television this year hit me as hard as (spoilers) Michael’s death which was absolutely devestating. But when it comes to Jane the Virgin it is not just the big gut-punches that count, it is the smaller moments as well. The other scene that sticks with me most from its episodes this year is when Rogelio (often the show’s most comic presence) opens up to Xo about how he hasn’t been able to grieve properly for Michael, who was his best friend, because he knew he had to be strong for Jane while she was grieving. It is a comparatively small moment but every bit as resonant. I can take or leave all the intrigue concerning the Marbella but week after week the show delivers moments that really effect me, which even in this golden age can’t be said of too many show.

No 5) Twin Peaks (Season 3): It seems to me that Twin Peaks has either been number 1 or completely absent from every critics list. And I can understand both positions. Twin Peaks was fascinating in a way that television and art more generally rarely is. It was also incredibly and deliberately frustrating at times. I’m almost reluctant to point out how obviously frustrating parts of the revival were because I feel like I might be missing something. On the other hand because its Lynch and because he is a widely and rightly acknowledge genius I think some critics have been too forgiving of some pretty blatant narrative issues, that on another show they would have lambasted. Ultimately though it was the TV event of the year and nothing quite engaged me on a week to week basis like it did. More than anything though there were certain moments, particularly toward the end of the season, that were greater than anything else on TV this year. Moments I completely lost myself in, in ways that are quite difficult to explain and for that I won’t be forgetting the revival for a very long time.

No 4) Mr Robot (Season 3): If season 1 was clinically perfect, in a way no show since Breaking Bad has been, season 2 was an over-ambitious, definitely fascinating, mess. I was a bit of an apologist for the largely disliked second season-but even I was somewhat disappointed after the heights of season 1. Season 3 not only got the show back on track but it found a balance in the ensemble that neither season 1 (which was almost all Elliot) or season 2 (which felt like very little Elliot) had. It also starting making sense again and the show successfully battled the urge to be overly opaque or to have unnecessary twists. All of which meant that we got some of the show’s finest hours yet specifically the thrilling fifth and sixth episodes as well as the surprising and heart-warming eight hour, not to mention the finale which had a bit of everything. And for all its pessimism few shows made me happier this year, because I was so delighted to see this great show prove all the doubters wrong.

No 3) The Good Place (season 1/2): Michael Schur has secured himself a place in TV history with The Office, B99 and in particular Parks and Rec, already but with The Good Place he has gone one further. We all knew he could craft wonderfully funny and likable sitcoms, but here he has delivered a show as twisty and as engaged in huge philosophical issues as any prestige serialized drama. The Good Place is not necessarily a sad-com like many of the show’s on this list but it is possibly the most plot driven network sitcom ever. The thing is the plot has real stakes and is completely unpredictable as well. The huge twist at the end of season 1 showed that even in the age of Reddit you could pull out the rug from underneath your audience and I did not think that was possible. I don’t know how much longer they can continue it but as of now The Good Place is just about a perfect piece of television.

No 2) Halt and Catch Fire (Season 4): Without spoiling what is number 1 on my list, when it aired I thought nothing would come near it but Halt and Catch Fire came very very close. Back in its much derided first season Halt was a jukebox spitting one antihero cliche after another. In some ways it never strayed too far from the conventions of the antihero drama but what made it different was that at a certain point it just wasn’t about antiheroes. Sure all the characters were deeply flawed, none more so than Joe, but their constant strive for something more, for some kind of connection felt so human you could not help but love them. The final four episodes were TV drama at its best and when it ended I really struggled with the notion that I would not be spending more time with these characters, but if anything made it okay it was how well they stuck the landing. Speaking of which..

No 1) The Leftovers (Season 3): No show has ever made quite the impact in such a short space of time. The Leftovers conclude its mere 28 episode run this year, just 28 episodes yet about half of them are nothing short of masterpieces. That includes just about every episode in this final run. It’s tough in just a paragraph to breakdown what made The Leftovers such a transcendent piece of television-so to be glib I’ll say it took the ambition and phantasmagoria of Twin Peaks and combined it with the heart and focus on character of Halt and Catch Fire. LOST-one of my absolute favorite shows of all time-will define Lindelof’s career but The Leftovers is ultimately a more complete and mature piece of work. The writing, performances and direction coalesced to give us something often hilarious and surprising and always deeply powerful. There may never be a show like The Leftovers again and for those reasons it was always going to be my number 1.

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