- DEADWOOD SEASON 3 EPISODE 10 FULL
- DEADWOOD SEASON 3 EPISODE 10 SERIES
- DEADWOOD SEASON 3 EPISODE 10 TV
Given US programs’ global reach, this might not be as much of an issue for critics in other countries, but there would still be knowledge constraints. We didn’t want to be so foolish as to mistake our knowledge of the relatively paltry handful of British, Mexican, Japanese, Danish, and other foreign shows that have made it to the United States for the totality of international TV.
DEADWOOD SEASON 3 EPISODE 10 TV
Ultimately, though, we felt that while there were a few blind spots here and there in our knowledge of TV originating in the States, the gaps became much wider when we factored in shows from other countries. What Shows Were Considered?įawlty Towers, Prime Suspect, Space Battleship Yamato ( Star Blazers), Les Revenants ( The Returned), both Kingdom miniseries, and other beloved imports would rank highly if we opened this book to international series. Other categories were judged against the entirety of television this was graded on a curve against the rest of the Pantheon: only a few 10s, lots of middling scores, and a few low ones reflecting how that show’s best compares to, say, the fourth seasons of The Wire or Seinfeld.
DEADWOOD SEASON 3 EPISODE 10 FULL
A late addition, factoring in how great each show was at its absolute best, using a full season, more or less, as our unit of measurement. All five scored well in this category because what matters in storytelling isn’t just what you’re doing but how well you’re doing it. Hannibal, Twin Peaks, and The Simpsons prided themselves on doing something different every week, whereas Cheers and The Honeymooners did more or less the same thing every week. Among the seeming intangibles that come into play are comic timing, suspense, surprise, formal audacity, and its obverse, perfectly executed classicism. Here we come to the parts of writing beyond characterization, such as tone and structure, not to mention such filmmaking elements as direction, production design, editing, and music. So The Sopranos did better in this category than 24, because even if you feel that James Gandolfini and Kiefer Sutherland were giving performances of equal quality, Tony Soprano was just a richer, more complex character than Jack Bauer, and the same was true of supporting characters on each series. This deals not only with how great the actors on the show were but how well-crafted their characters were.
DEADWOOD SEASON 3 EPISODE 10 SERIES
How much did the quality fluctuate from episode to episode, or season to season? That said, consistency isn’t a mark just of smooth sailing from start to finish but of how well a series weathered storms beyond its control, like Nancy Marchand’s death after only two seasons of The Sopranos, or the constant cast turnover on Law & Order. Will & Grace (which finished outside the top 100) scored highly here because of the role it played in helping to reshape public attitudes about homosexuality.Ĭonsistency. Freaks and Geeks, a short-lived show that had few obvious imitators, scored highly because of the impact its cast and creators had on the entire comedy business during the past fifteen years. How much of an impact did the show have either on the medium of television or on the culture at large? Shows like Hill Street Blues and Friends were copied by many other TV series. Was the show trying something - in terms of form, subject matter, or both - that felt new, or was it following or embellishing upon tradition? Shows like All in the Family and 24 scored highly here because they did things no one in American television had really tried before, whereas an otherwise great show like Parks and Recreation had a comparatively low Innovation rating because it largely duplicated a stylistic template its creators had used for The Office. (No show got perfect scores across the board.) Each of us was assigned 10 points per category, for a possible maximum score of 120 if both of us gave a particular series perfect scores. We decided on five categories, to which we eventually added a sixth. Then we set about the sensible and not-at-all-controversial task of assigning numerical values to art. To create it, we made a list of several hundred candidates for the best shows of all time, allowing for various caveats explained in the following pages. The heart of TV (The Book) is the Pantheon: a list of the one hundred greatest comedies and dramas.
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