#the worst of the comedy central era was the beginning when they immediately hit you with the iphone parodies and stuff

[realian]

the Hulurama episodes suck so bad holy shit.

[myhahnestopinion]

THE AARONS 2019 - Best TV Show

Last year, I said that I had become content with knowing that there are far too many streaming service with far too many great TV shows for me to ever watch everything worthwhile. This year, I signed up for a bunch of free trials and canceled immediately before they billed me. I’m not sure where the contentment went, but I do know that I found a bunch of great contenders. Here are the Aarons for Best TV Show:

#10. Evil (Season 1) - CBS

Why, yes, Evil is good. The rare CBS show able to make such a list, the procedural hailing from The Good Wife creators Robert and Michelle King twists the languishing network-TV formula into the devil’s playthings. A spiritual spiritual-successor to The X-Files, Evil blurs the lines between skepticism and belief as its trio of investigators unravel a series of uncanny phenomenon, while asking the viewer if supernatural malice looks any different from human cruelty. The show’s attempts to incorporate modern technology can sometimes be a bit clueless, but overall the show is sold by its ambition. The devil’s not in the details. 

#9. The Good Place (Season 4) - NBC

Why, yes, Good is good as well. The NBC comedy had questionable long-term sustainability when it first premiered, but thanks to nimble inventiveness, it’s tough to imagine saying farewell four seasons later. The Good Place has been a safe haven during uncertain times as an exaltation of the virtues of forgiveness, kindness, and self-improvement. While less structurally ambitious than past seasons, the fourth season was the show’s most thematically ambitious as the creators played god by crafting a whole new afterlife. In this philosophical debate over the concept of justice, the show more than justified its long-term existence.

#8. Arrow (Season 8) - CW

Arrow truly became something else over the course of its run, growing from a gritty Batman Begins-inspired melodrama into a network-dominating superhero universe that just powered-through its most ambitious crossover yet. With a shortened season order and an ominous prophecy of death hanging over its hooded head, Arrow pulled out all the greatest hits from its quiver in a rapid-fire revisitation of settings and reunion of cast members. Bringing Oliver Queen face-to-face with his adult children from the future, the show finally made its litigating of legacy literal. The Green Arrow is gone, but the hero left quite a mark.

#7. When They See Us (Limited Series) - Netflix

Representation matters. The stories we choose to tell and the stories we choose to listen to make a powerful impact on the betterment, or worsening, of equality and justice. When They See Us shows us a failure, and hopes for an uplifting. Director Ava DuVernay’s intimate, authentic recreation of the tragedy of the Exonerated Five, boys wrongfully imprisoned for a violent assault in Central Park, unravels the prejudice, malice, and laziness that upend our justice system and destroy lives. The story’s true-to-life intersection with the currently-in-power, forever impeached President is all the more reason that now is the time to see When They See Us. 

#6. Mr. Robot (Season 4) - USA

The early episodes of Mr. Robot were met with trepidation that it would be little more than an infantile Fight Club rip-off. In its final episodes, creator Sam Esmail codifies that he is no hack. The show’s well-researched technological thievery is as thrilling as ever (Experimental episode formats this season include an entirely dialogue-free heist), but its real endgame boils the conflict down to one of mind and soul. With its final season, the ever-elusive show finally brings all its various string-pullers into the light in gut-wrenching yet deeply-empathetic reveals. Who could have guessed Mr. Robot possessed such humanity? 

#5. Dickinson (Season 1) - Apple TV+

I would not have stopped for Apple TV, but I would gladly stop for thee, Dickinson. Though inspired by the life and poetry of Emily Dickinson, Alena Smith’s comedy mixes the artist’s love of the macabre with a sense of millennial malaise. Throughout its 19th Century-set trials, tribulations, and guest spots from John Mulaney as Henry David Thoreau, the cast behave as modern teenagers and are backed by a contemporary soundtrack. The approach laces the sitcom’s situations with a delightful ironic wit, but, more preciously, forges a sense of camaraderie across eras. In the relatable burdens of past lovers, we find ourselves, and Dickinson find immortality.

#4. Tuca & Bertie (Season 1) - Netflix

While its shared style caused many comparisons to a certain other Netflix series, Tuca & Bertie was in fact a horse of another color. Confident in its voice, and the voices of its stars Tiffany Haddish and Ali Wong, from the get-go, the show stretched the wings of its animation with more substantial surrealism than its sister show. While a scintillating showcase of cartoon buffoonery, the series’ content is not just for the birds; Tuca & Bertie find courage in the face of addiction, power in the face of trauma, and persistence in the face of sexist power structures. Coupled with Bertie’s boyfriend Speckle, perhaps my favorite character from all of TV, these birds of a feather have impeccable chemistry and insight. Who knows what heights it could have soared to had it not been cancelled after one season?

#3. Green Eggs and Ham (Season 1) - Netflix

With unusual grandeur for a project its size, Green Eggs is a show that’s one of a kind. It’s hand-drawn animation (Expensive, I’m sure) gives this adaptation a can’t-miss allure. With an all-star cast, cute jokes, and surprising twists too, you’ll want to follow the Chickeraffe’s road-trip escape from the zoo. And don’t forget the very best part! This TV serves up a whole lot of heart! If you want a show whose theme song is a jam, you surely will love Green Eggs and Ham.

#2. Watchmen (Season 1) - HBO

The original graphic novel has long been an essential read for the genre; the new sequel TV show is now a must-watch, man. Respectful of its source material but not beholden to its ideas, Lost co-creator Damon Lindelof’s ‘remix’ revitalized Watchmen’s power by substituting Cold-War nuclear anxiety for the insidious threat of entrenched white supremacy. With a harrowing recreation of the Tulsa Massacre and ingenious retcons to a few comic characters, Watchmen provoked complicated questions on race relations. In true Lindelof fashion, it also wisely left many things unanswered. The quality is good enough that the comic’s writer might just have to rethink his stance on adaptations of his work, and good enough that the viewer might want HBO to rethink their decision to end the show after one year. Yet the retroactively limited series ends on a perfect note, and there is no more.

AND THE BEST TV SHOW OF 2019 IS...

#1. You’re the Worst (Season 5) - FXX

Evil is good, and The Worst is the best (What a list I have this year!). Of all the series on this list that capped their run in 2019, You’re the Worst has always had the lowest stakes, but its ending by far hit the hardest. In season five, the whirlwind will-they/won’t-they resistant romance between narcissistic writer Jimmy Shive-Overly and self-destructive PR executive Gretchen Cutler reached its decisive culmination. To suggest the show reached an ending, though, would be a disservice to the beautiful decisions made. Such decisions were a perfectly imperfect solution for two imperfect people, striving each day to be better and do well by one another, meeting each other where they are. In the end, the show’s initial billing as an “anti-rom-com” was proven a mismarriage; the laugh-out-loud show had a profound outlook on what it means to love another person. Hilarious and heartful from beginning to end, You’re the Worst will go down in history as one of TV’s greatest.

NEXT UP: THE 2019 AARON FOR BEST TV EPISODE!

[wazafam]

Now that Netflix has completed three adaptations of Jenny Han's To All the Boys book series, it's possible to rank them to determine the best of the trilogy. In 2018, the original film established the overall tone and premise for the series while introducing the world to up-and-coming stars Lana Condor and Noah Centineo. For the second and third installments, cinematographer Michael Fimognari took over the directorial duties from Susan Johnson and added his own unique touch as a filmmaker. All three movies have been well-received by critics and will resonate with Netflix audiences for different reasons. However, one particular installment stands out above the others.

When To All the Boys I've Loved Before released in 2018, it became a cultural phenomenon with Condor starring as the 16-year old Korean-American protagonist, Lara Jean Song Covey. The Netflix movie appealed to audiences with its endearing love story, fresh character dialogue, and dream pop music. In 2020, the sequel To All the Boys: P.S. I Still Love You arguably lost some cultural momentum, if only because the narrative complicated the central love story between Lara Jean and Peter Kavinsky (Centineo) by introducing a new suitor, John Ambrose (Jordan Fisher). Then, in 2021, To All the Boys: Always and Forever fully locked into the focal romance, and added a clever twist by having Lara Jean fall in love not with another man, but with the city of New York.

Related: To All The Boys: Always & Forever Cast & Character Guide

Each one of the franchise films adheres to romantic comedy tropes, and perhaps too much at times. Depending on one's perspective, the meta-references may add to the experience or possibly interrupt the narrative flow. There's also the question of whether or not the Lara Jean & Peter romance feels natural and timely, and whether the focal performances stand up to classics of the past. Overall, critics and general streamers alike seem to agree that To All the Boys is a special movie franchise, yet it's still worth identifying what differentiates each production in terms of filmmaking. Here's a ranking of each movie in the To All the Boys trilogy on Netflix.

Written by Sofia Alvarez and J. Mills Goodloe, To All the Boys 2 ends with a romantic resolution for Lara Jean and Peter but gets lost along the way. Early on, the film hits all the right story beats as the main protagonist experiences her first date and gets swept away in emotions. But rather than focusing on the dynamic between the two focal leads, the sequel immediately incorporates conflict involving John Ambrose, one of the recipients of Lara Jean's love letters. The character initially appears at the tail end of the original film, but then has an entirely different appearance in the sequel with the casting of Fisher. So, that filmmaking decision alone is perplexing and stands out as an immediate red flag.

Unfortunately, Fisher's performance as Ambrose doesn't add much value in To All the Boys 2. The character is indeed kind-hearted and charming, but he seems to represent nostalgia for the past more than anything else. Ambrose doesn't really fight for Lana's heart but rather seems to enjoy her company as a friend. Meanwhile, side-conflict involving Peter and his ex-girlfriend Genevieve (Emilija Baranac) makes the story more interesting/dramatic, but the film also loses some of the rom-com magic that makes the original production so captivating.

Even though a rom-com sequel like The Kissing Booth 2 may not necessarily be objectively better than To All the Boys 2, it does introduce a strong character in Marco Peña (Taylor Zakhar Perez), who seems like he could steal away Elle Evans (Joey King) from Noah Flynn (Jacob Elordi). Overall, Fimognari's sequel does its best to set up the third franchise installment yet shows little imagination in terms of character conflict. Lara Jean does indeed grow as a character, but she's hampered by the presence of John, a character who seems stuck in 6th grade, and thus makes the film feel somewhat cutesy rather than progressive.

Related: Every Song In To All The Boys: Always & Forever

To All the Boys 3 succeeds by re-focusing on the romance between Lara Jean and Peter. The third franchise movie feels much more mature than the previous two, as there's less attention paid to the main protagonist's naivete. Now, Lara Jean comes across as a confident young woman who seems genuinely ready for the next step in her life, whether it's with Peter at Stanford University or across the country at New York University. To All the Boys 3 also resolves the conflict between Lara Jean and Peter's ex, Gen, and effectively uses Kitty (Anna Cathcart) as a source of comic relief, all the while developing her character. To All the Boys 3 brings all of the main players together, rather than underlining what drives them apart.

As an actress, Condor displays incredible depth while communicating Lara Jean's insecurities and highlighting her agency as a young woman. Whereas many young rom-com protagonists feel like they're making life or death decisions, Lara Jean often takes moments to collect her thoughts and to remind herself that she's not living within a rom-com movie. Condor is especially effective in conveying her character's attraction to Peter, and it's almost like the couple's relationship is just beginning. As for Noah Centineo, he plays it a little too cool at times as the prototypical Homecoming King of rom-com movies, yet he truly does shine when capturing Peter's vulnerability, whether it's with the character's estranged father or when trying to process Lara Jean's fascination with New York City.

Charming as To All the Boys 3 may be, it's a little heavy-handed with its meta rom-com messaging, which makes some of the character dialogue feel stiff and unnatural. Also, the film doesn't invest much time exploring the complexities of Lara Jean and Peter's relationship beyond their obvious connection, which contrasts with some of the heavier conversations from the sequel. As a whole, To All the Boys 3 expects that the audience is already familiar with the basics, and doesn't really prioritize character development for Chris (Madeleine Arthur) or Lucas (Trezzo Mahoro). Aside from some tiny pacing issues, the third Netflix movie works especially well in terms of developing Lara Jean's story, but it might've been worth re-structuring the film to add a little more depth elsewhere.

To All the Boys I've Loved Before is the best of the three franchise films because of its storytelling, along with the element of surprise. For one, there's the love letter premise; the narrative hook to keep audiences engaged. Two, there's Condor's central performance as a 16-year-old trying to understanding her place in the world. The filmmakers take their time while covering the appropriate narrative groundwork, and establish the personalities for each of the main characters, along with how they connect to Lara Jean's backstory. The second and third films have similar energy and spirit but don't necessarily work as stand-alone films.

Related: To All The Boys 3: Biggest Changes To The Book In Always & Forever

Years from now, To All the Boys I've Loved Before will be recognized as a defining film from the Streaming Wars era, and maybe even the last great rom-com before the era of COVID-19. Storywise, there's a traditional coming-of-age narrative for audiences to enjoy, one about a middle child who relates to her young sister Kitty but wants to be more like her older sibling Margot (Janel Parrish). To All the Boys I've Loved Before pays homage to romantic comedies but doesn't feel the need to be extra clever with its citations. The Netflix movie also incorporates social media in a way that feels natural rather than didactic, a major plus in a time when filmmakers feel inclined to explain what audiences already know about Twitter, Facebook, etc.

Most importantly, To All the Boys I've Loved Before values the power of a big movie moment. The first kiss between Lara Jean and Peter has all the magic that their intimate encounter in To All the Boys 3 lacks. There's even some scrunchie-themed drama that's at once juvenile but also incredibly important for the character conflict. As a whole, To All the Boys I've Loved Before shows much more nuance than the second and third Netflix films. It's subtle when commenting on rom-com tropes and slowly develops the central relationship. The little moments stand out, whether it's how Lara Jean looks at Peter or vice versa. The sequels don't take such things for granted, but there's less attention paid to the build-up of big moments. To All the Boys I've Loved Before is truly a Netflix Original, one that's driven by character chemistry, star-making lead performances, and a specific style of storytelling.

Next: Will To All The Boys 4 Ever Happen?

To All The Boys: All Three Movies Ranked From Worst To Best from https://ift.tt/3djZOJr