#like it's so ridiculous and sisyphean at this point that it's just comical it's some gift of the magi shit

[aliciaofchitaqua]

[myhahnestopinion]

THE AARONS 2017 - Best TV Show

2017 was the year that Peak TV broke me. There was so many shows I wanted to watch (Star Trek: Discovery, American Gods, The Handmaid’s Tale and especially the new Twin Peaks) but they were spread too thin across various subscriptions (CBS All Access, Starz, Hulu, and Showtime respectively) for my even thinner wallet to handle. However, even without the shiniest new toys, I still found an overwhelming amount of quality TV to watch this year. Here are The Aarons for Best TV Show:

#10. You’re the Worst (Season 4) – FXX

The show’s fall from my number two entry last year to number ten this year may initially appear worrisome, but, while the scattered focus made it feel like a less comprehensive experience than prior years, You’re the Worst’s fourth season was perhaps the most important piece of the show’s overall story. Splitting up the four main characters into different storylines was a bold choice, but allowed the show to reveal just how much each one has personally grown since the show began. The gang may have been no less funny this year, but perhaps they can no longer be considered “the worst.”

#9. Rick and Morty (Season 3) – Adult Swim

While the Szechaun sauce fiasco may have shown just how poisonous some of its fanbase has gotten, that doesn’t discredit that Rick and Morty was once again in top form for its long delayed third season. In fact, in stark contrast to the fanaticism on display in its real-world fans, Season 3 was the show’s most emphatic rebuttal yet of Rick’s arrogant nihilism as something worthy of emulation, instead finding strong emotion in exploring Rick’s failures in his various familial relationships. As always, Rick and Morty’s clever genre takedowns, including a superb Mad Max-parody and a ridiculous superhero episode, make for one of the smartest and funniest shows on TV, but it’s this perceptive deconstruction of its own nature that really earned the third season a spot on this list.

#8. Riverdale (Season 1-2a) – The CW

When word of a dark-and-gritty reboot of Archie Comics was first released, I was ready to hate-watch this sure-to-be bastardization of a favorite brand in the same way I put myself through all those agonizing episodes of Scream: The TV Series. However, Riverdale’s dark noir-influenced spin on its beloved characters turned into this year’s most pleasant surprise, and one hell of an addictive TV show. While the second season may raise questions about the show’s long-term sustainability, its pitch-perfect cast of young stars and its gleefully twisted blend of camp and carnage for its previously wholesome material makes it the kind of show you’re glad is “ruining your childhood.”

#7. BoJack Horseman (Season 4) - Netflix

In consideration with You’re the Worst and Rick and Morty, “personal growth” must have been the theme of TV this year, as BoJack Horseman’s fourth season was imbued with unexpected hopefulness for a series known for its emotional gut-punches. That doesn’t mean this season didn’t contain the now-expected-but-no-less-devastating penultimate episode kicker, as a delve into BoJack’s past once again brought the tears flowing, but Season 4 was a welcome suggestion that these characters can get on a better path. It makes for another powerful season, but, you know, the show could have once again claimed a spot on this list for having Jessica Biel’s definitive best role ever and for its abundance of top-notch animal wordplay.

#6. Mr. Robot (Season 3) - USA

Each year, I feel less compelled to insist Mr. Robot is much more than the sophomoric anti-capitalist screed that it may have initially appeared to be, because, each year, the show’s clear-sighted intelligence becomes more and more unmistakable. Season 3’s dissection of its own revolutionary ambitions was its most culturally-relevant entry yet. While occasionally dispiriting in its despotic depictions, it was another show to find surprisingly emotional resonance this year, taking a Camusian approach to its Sisyphean conflicts. Season 3 may have toned down the experimental inclinations of last year’s ALF-cameoing season, but it was no less thrilling, thanks to its heightened struggle for control between Mr. Robot and Elliot, and particularly through its anxiety-inducing one-take middle installment.  

#5. Better Call Saul (Season 3) - AMC

While Season 3’s (re-)introduction of Giancarlo Esposito’s Gus Fring may have brought the world of Better Call Saul much closer to its parent show, Breaking Bad, the show has been at the former’s level of quality for years. Season 3 appears poised to be the show’s dark middle chapter, the major turning point in its heart-breaking presentation of Jimmy McGill’s inevitable tragic downfall. Knowing Jimmy’s eventual transformation into Saul Goodman, and dreading what fate may await the rest of the cast, may make Better Call Saul hard to watch from an emotional-investment standpoint, but the show is endlessly compelling thanks to its fantastic performances and its impeccable plotting.      

#4 Legion (Season 1) – FX

Fox has been taking some significant risks lately with the X-Men franchise, including the hard-R Deadpool and Logan, but their most ambitious production was actually on the small screen this year. Legion is the very definition of a mind trip, a psychedelic adventure that breaks all the rules of conventional narrative and visual storytelling. The show is perhaps best enjoyed as a quick binge, but the intrigue of its unreliable narrator, the awe-inspiring special effects, and its blood-curdling, existentially-terrifying villain means the show is guaranteed to linger in one’s brain for a long time. Legion’s creative-daring, an embrace of absurdity that gave us Jemaine Clement as an extra-dimensional scuba diver, is hopefully something that can endure Fox’s potential buyout from Disney.

#3 The Good Place (Season 2) – NBC

The Good Place is an oddity among the current dystopian state of network TV, not just for its high-end quality and bingeable format, but for its willingness to challenge its own status quo. Season 2, building off last season’s daring cliffhanger, brought this risk-taking to new heights, making each episode more unpredictable and exhilarating than the last. Ted Danson is clearly having a blast unveiling more layers of his afterlife-architect character, as are the writers working with the seemingly endless possibilities of the world they’ve created. One wonders how long this boldness can persist, but with a talented cast and a confident, experienced showrunner at the helm, The Good Place looks to be in a… well, you know.

#2. Crazy Ex-Girlfriend (Season 2b-3a) – The CW

If “personal growth” is indeed the theme of 2017 in TV, then no show did it better than Crazy Ex-Girlfriend. The already-magical show became an absolute masterpiece this year, with a back-half of Season 2 that energetically reinvented the dynamic proclaimed by the show’s title, and a front-half of Season 3 that quickly subverted that new direction for something even more enjoyable and profound. Digging even deeper into the show’s realistic depiction of the hardship of suffering from mental illness made for several difficult episodes, but the talent both on-camera and off handled it with graceful ease that didn’t lose any of the show’s comedic brilliance. Crazy Ex-Girlfriend earns a top spot for its willingness to bravely push past oft-considered uncomfortable boundaries. In its representation of mental illness, certainly, but also in its network-standards-challenging and always hilarious songs.

AND THE BEST TV SHOW OF 2017 IS...

#1. Fargo (Season 3) – FX

It took until the very last minute of Fargo’s third season for me to realize that it was the best television show of the year. The show’s continued ability to collect an all-star cast (including Ewan McGregor playing both twins), the franchise’s trademark dark humor, and its layered, poetic writing kept me engaged through the season’s early episodes, but it was only in those closing moment that all the pieces fell into place, and Noah Hawley’s genius vision for this entry in the show was revealed. In those last few seconds, as Carrie Coon’s determined cop character faces down with David Thwelis’ boorish criminal mastermind, the show left us to wrestle with the defining question of a tumultuous 2017: do we believe that there is an objective truth, a right and a wrong, and that justice will be served? Or, is it all a farce, a game to be exploited, a universe that bends to the will of those who contort it to fit their desires? Taking advantage of the show’s anthology format, the season ends in ambiguity. It’s not a question for the show to answer. It’s a question that every one of us must wrestle with, whether just for the immediate future in a dangerous political climate of “alternative facts,” or for a long time coming. It is a question that defines one’s philosophical, social, and moral being, a question distinguished by a season of fascinating characters, thrilling adversity, and audacious storytelling. It’s this lingering question, contextualized by perhaps the best Fargo season yet, that makes the show the best TV of the year.

NEXT UP: THE 2017 AARONS FOR BEST TV EPISODE!

[aion-rsa]

The Buy Pile: Brains Over Bluster

WHAT IS THE BUY PILE?

Every week Hannibal Tabu (winner of the 2012 Top Cow Talent Hunt/blogger/novelist/poet/jackass on Twitter/head honcho of Komplicated) grabs a whole lotta comics. These periodicals are quickly sorted (how) into two piles — the “buy” pile (a small pile most weeks, comprised of planned purchases) and the “read” pile (often huge, often including comics that are really crappy but have some value to stay abreast of). Thursday afternoons you’ll be able to get his thoughts (and they’re just the opinions of one guy, so calm down, and here’s some common definitions used in the column) about all of that … which goes something like this …

THE BUY PILE FOR JANUARY 4, 2017

Unstoppable Wasp #1 (Marvel Comics) — Jump from the Read Pile.

Nadia Pym is indefatigable. Like a super powered Energizer Bunny, she makes Kimmy Schmidt look like Debbie Downer and laps Squirrel Girl like she was Eeyore. She dives into heroism with a lust for life that’d have Iggy Pop giving a slow clap and her infectious enthusiasm and brilliance bursts out of every panel here. “Princeless” writer Jeremy Whitley has bottled lightning with this wonderfully balanced script that does great explanations (only once going a bit heavy handed, and even there in character), has solid action based on real world science and hits Bobbi Morse in a place she thought she couldn’t be touched. The visual presentation by Elsa Charretier, Megan Wilson and Joe Caramagna is vibrant in places, intimate in others and perfect all around. This, finally, is a hero we deserve.

What does the night hold for Bruce Wayne in “Batman” #14?

Batman #14 (DC Comics) — Jump from the Read Pile.

This issue made the jump by honing in on what the Bat really does and has Catwoman both marveling at it and mocking it while a clock ticks. You see the craft Tom King puts into this work, and while from a conception standpoint the Sisyphean futility and ridiculous nature of many of these conflicts (Condiment King? Film Freak?) takes away some significance here, the craft stands up to scrutiny. Let’s also note the amazing visuals from Mitch Gerads and Clayton Cowles, which brought the Gotham City night alive.

WHAT’S THE PROGNOSIS?

With two endlessly re-readable jumps to start us off, that’s a rock solid start.

THIS WEEK’S READ PILE

Honorable Mentions: Stuff worth noting, even if it’s not good enough to buy

In this episode of “Making A Murderer,” er, “Justice League” #12 Amanda Waller uses several buckets full of exposition to give us the new, much more morally flexible, bwa-ha-ha free Maxwell Lord, outlining his rise to power and rationales behind it. Not bad as a Wiki entry, or something for one of those sourcebooks everybody refers to, but not exactly prime time viewing.

“Hawkeye” #2 is closing in on being good with fantastic characterization but can’t connect on its plot. Fun art, some fun moments (extra points if you catch the meme reference) but still falling short.

“Autumnlands” #14 had some quality moments as creations defied the goddess they credit with their making. The splash page may overly titilate some more prudish readers, but this book has the vocabulary of myth down pat. It could use a little more context for its impossible characters, but it’s not bad at all.

The “Meh” Pile Not good enough to praise, not bad enough to insult, they just kind of happened … “Scarlet Witch” #14, “Aquaman” #14, “Star Trek Boldly Go” #4, “U.S.Avengers” #1, “Cyborg” #8, “Black Science” #27, “Death Of Hawkman” #4, “Optimus Prime” #2, “Moon Knight” #10, “Everafter From The Pages Of Fables” #5, “Nailbiter” #28, “Flintstones” #7, “Avengers” #3, “G.I. JOE A Real American Hero” #235, “Unfollow” #15, “Saga” #41, “Green Arrow” #14, “Champions” #4, “Big Trouble In Little China Escape From New York” #4, “Unworthy Thor” #3, “Green Lanterns” #14, “Walking Dead” #162, “Spider-Man 2099” #19, “Harley Quinn” #11, “Box Office Poison Color Comics” #1, “Squarriors Volume 2 Summer” #2, “Wicked + The Divine” #25, “Justice League Of America The Atom Rebirth” #1, “Jem And The Holograms” #22, “Justice League Vs Suicide Squad” #3, “A&A The Adventures Of Archer And Armstrong” #11, “Nova” #2, “Midnighter And Apollo” #4, “Ragnarok” #11, “Nightwing” #12, “Deadpool The Duck” #1, “Faith” #7, “Shade The Changing Girl” #4, “Wynonna Earp Legends Doc Holliday” #2, “Superman” #14, “Old Man Logan” #16.

No, just … no … These comics? Not so much …

“Captain America Sam Wilson” #17 was insulting in its ham-fisted fumbling around social justice buzzwords and complex issues of racial identity, micro-agresssions and the experiences of marginalized people in the country. Also, again, most of the book had the titular character not actually doing anything or having any effect on what happened. Give Misty the shield. Let’s stop this tedious exercise.

SO, HOW BAD WAS IT?

One bad apple can’t throw off the whole bunch.

WINNERS AND LOSERS

Two jumps make the first week of 2017 a certified winner and well worth it for fans of the art form.

THE BUSINESS

Did you get the first official newsletter from the Operative Network? There was a free comic book (written by the maker of this column) offered from the newsletter and a chance to win a custom sketch worth $45 as well as the “Soulfire Definitive Edition” volume one hardcover. If you subscribe now, you can get in on what’s coming in the January edition.

The writer of this column isn’t just a jerk who spews his opinions — he writes stuff too. A lot. Like what? You can get “The Crown: Ascension” and “Faraway,” five bucks a piece, or spend a few more dollars and get “New Money” #1 from Canon Comics, the rambunctious tale of four multimillionaires running wild in Los Angeles, a story in “Watson and Holmes Volume 2” co-plotted by “2 Guns” creator Steven Grant, two books from Stranger Comics — “Waso: Will To Power” and the sequel “Waso: Gathering Wind” (the tale of a young man who had leadership thrust upon him after a tragedy), or “Fathom Sourcebook” #1, “Soulfire Sourcebook” #1, “Executive Assistant Iris Sourcebook” #1 and “Aspen Universe Sourcebook,” the official guides to those Aspen Comics franchises. Love these reviews? It’d be great if you picked up a copy. Hate these reviews? Find out what this guy thinks is so freakin’ great. There’s free sample chapters too, and all proceeds to towards the care and maintenance of his kids … oh, and to buy comic books, of course. There’s also a bunch of great stuff — fantasy, superhero stuff, magical realism and more — available from this writer on Amazon. What are you waiting for? Go buy a freakin’ book already!

Got a comic you think should be reviewed in The Buy Pile? If we get a PDF of a fairly normal length comic (i.e. “less than 64 pages”) by no later than 24 hours before the actual issue arrives in stores (and sorry, we can only review comics people can go to stores and buy), we guarantee the work will get reviewed, if remembered. Physical comics? Geddouttahere. Too much drama to store with diminishing resources. If you send it in more than two days before comics come out, the possibility of it being forgotten increases exponentially. Oh, you should use the contact form as the CBR email address hasn’t been regularly checked since George W. Bush was in office. Sorry!

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