More than a year ago, in April 2007 (time flies!), I wrote a post about Dexter and The Shield—specifically, how morally ambiguous characters can make for great television. Whether it’s action-drama, sci-fi, comedy-drama (dramedy), medical drama, sitcoms, or police procedurals, TV series explore an incredible range of topics and styles. I’m always amazed by the variety of content and how certain shows can attract audiences that don’t typically watch TV. Almost anyone can find a show that hooks them—watching every week, counting down to the season finale, unwilling to miss a single episode.
American TV shows, in particular, offer some of the best entertainment—at least the ones I enjoy most (am I being subjective? Definitely!). From Pushing Daisies with its Tim Burton-esque charm to Ugly Betty, where beautiful people are “ugly” and vice versa; from House M.D., blending cynicism with sharp realism, to Battlestar Galactica, tackling religion and AI-driven existential crises. Then there’s How I Met Your Mother, which never actually answers the question; Nip/Tuck, which got even trashier after moving to L.A.; and so many others: Dexter, Prison Break, 24, The Shield, Desperate Housewives, Stargate Atlantis, The Big Bang Theory (am I really that kind of nerd?), Heroes, Curb Your Enthusiasm (Pretty, pretty, pretty good!). Not to mention the classics that are no longer airing—Day Break, Deadwood, OZ, Dream On, and Boomtown.
I’ve always loved TV shows for their short, engaging format, each episode bringing a fresh story. When I was younger, The Prisoner and The Twilight Zone fueled my imagination—time travel, afterlife mysteries, sci-fi wonders—but also gave me some of my worst nightmares. (“I am not a number—I am a free (wo)man!” No, not Number Six from Battlestar Galactica.) The Persuaders captivated me with the unlikely duo of Danny Wilde and Brett Sinclair (Tony Curtis and Roger Moore), their sleek Ferrari 246 Dino and Aston Martin DBS, and their jet-set lifestyle. Then there were The Wild Wild West with Robert Conrad, The Avengers with Patrick Macnee and Diana Rigg, Logan’s Run, The Time Tunnel, and the original Battlestar Galactica.
These days, I don’t have much spare time, so I rarely watch TV shows when they air. I’m often a season behind, preferring to binge on DVD or recorded episodes rather than being tied to a schedule. And honestly, if I tried to keep up with everything I love, I’d be watching TV every night—no thanks.
But this raises some interesting questions: are TV shows just entertainment? That’s their primary goal, of course. Do they reflect the world around us and the diversity of our societies? Maybe not entirely. Most of the best shows today come from the U.S., and while some argue that we’re being “Americanized,” that’s only half true. What is undeniable, though, is the growing number of people choosing TV series over movies, obsessing over cliffhangers and twists—“Why is John Locke dead?” (Lost) or “Who’s the twelfth Cylon?” (Battlestar Galactica).
TV shows are an addiction. And addicts need their weekly—sometimes daily—fix. Summer, when most shows go on hiatus, feels like withdrawal. It’s even worse when a scheduled show gets postponed (24, earlier this year) or when a long-awaited new season (The Shield Season 7) takes forever to arrive. Oh, and don’t expect Lost back before January 2009. I know, it’s going to be rough sitting through reality shows instead.
As for me? I’ll be revisiting some of my favorite films noir.