Best of 2019: TV

Source: Wikimedia Commons

Pi Culture’s ‘Best of 2019’ series highlights the favourite things we’ve seen, heard and read this year. In this article, our writers share their favourite TV series.

Seven Worlds, One Planet

Last month, David Attenborough received the Chatham House Prize for Blue Planet II’s focus on plastic pollution, spurring a passionate global response. Attenborough and the BBC Natural History Unit have always made stunning wildlife documentaries, but Seven Worlds, One Planet has brought a new perspective to British television. Importantly, the show focusses not only on the world’s wildlife wonders but also political and environmental problems. As we begin to recognise our climate crisis, the documentary provides a timely, stark, and at times brutal reminder as to the realities of life for both ourselves and our planet. We see the cute and comical nature of life in our very midst, exemplified by hamsters playing in a Viennese graveyard, but also the potential for danger and destruction by humans to our planet, such as to orangutans or whales. More so than ever before, Attenborough’s documentary calls for behavioural and policy change to protect our world, its beings and ourselves.

Nikolas Koch

Years and Years

Russell T. Davies is a screenwriting god. I knew this as I grew up watching his reboot of the classic Doctor Who series, and I know it even more now I’ve seen his 2019 mini-series, Years and Years. Six episodes, one extended British family, the next fifteen years in human history. Davies speculates on technology (the family talk to Señor, a version of Amazon’s Alexa, as though he is one of them), politics (the UK see Emma Thompson’s insidious far-right populist elected PM), and pressing socio-economic issues (migration, welfare, identity). Years and Years is a sharply funny, moving, and ultimately hideous portrayal of the modern world. Unfortunately, post-election, it’s looking hideously real.

Matilda Singer

The Witcher

The Witcher is one of the final hits of the year. Dropping on Netflix on December 20th, this high-octane, magic-fuelled fantasy show is a jaw dropping spectacle that proves Netflix can play with the big boys of the film and TV industry. The production values are high and the story weaves spectacularly, playing with time and setting in ways that keep the audience in suspense. This series is based on “The Witcher” books but also the wider known games which made the “witcher” a phenomenon for many teenagers and young adults. Henry Cavill provides a brooding, grisly portrayal of a social outcast who must kill monsters to earn his living; but in reality, is someone who longs “to be important to someone”. Although Cavill looks somewhat like Legolas on steroids, his form is imposing and brings a masculine energy in a largely female cast. Anya Chalotra plays the enigmatic and mysterious Yennefer who embodies chaos and anger, with Freya Allan playing the young Ciri who is bound to Cavill’s Geralt of Rivia. Both women are powerful and individual, each defining a different aspect of female strength and determination. This show works because it has heart; there are themes of loss and exclusion combined with fierce family bonds and the desire to be loved; all mixed together with amazing action sequences, sword fights, dragons and everything you could want from a medieval magical setting. Perhaps Netflix has got the next Game of Thrones on its hands.

Olivia Olphin

His dark materials

For the avid goggle-boxer, 2019 has been a bumper year. Yet, perhaps one of the most gloriously compelling new series to hit our small screens was the HBO and BBC One co-production of His Dark Materials. Based on the trilogy by Philip Pullman, the eight-part show revolved around the orphan Lyra Belacqua, living in Jordan College in an alternate version of Oxford. She battles her way to the snowy North to rescue fellow-orphan Roger from the evil Magisterium, making friends and discovering truths about religion and authority along the way. Arguably, one of the most likeable aspects of the series is the fact that each character has their own daemon, an animal companion, which is a physical manifestation of their inner selves. Surely we would all like a fluffy friend to guide us through the dark days that 2020 will no-doubt bring?

Chloe Rossington

killing eve

British TV in 2019 can be defined by a single woman — Phoebe Waller-Bridge. The latest instalment of her genius saw the follow up series of both Fleabag and Killing Eve, firmly solidifying her legacy as a TV legend. Picking up 30 seconds after the end of season one we are instantaneously transferred back into the intoxicating world of underground crime, serial killers, and intense obsessions. This time the cat and mouse chase finds itself on the shores of England and ends in the heat of an Italian summer. Helped by new show writer Emerald Fennell, the characters are once again developed and humanised giving this season a refreshing feel. Eve appears to become more like Villanelle and Villanelle more like Eve. As stylish, tense and binge-able as ever, this series will surely pass the test of time with flying pastel pink colours. 

Laura Toms

fleabag

The second series of the beloved Fleabag graced audiences with one of the most talked about characters of the year (if not the decade). One to set knees knocking and mouths drooling, the hot priest (Andrew Scott) will remain in our daydreams for a long time to come. This six-part series is driven by Fleabag’s pursuit of forbidden love, highlighting issues of fertility, power, and desire along the way. Waller-Bridge once again perfects a blend of humour (who can forget “I look like a pencil” or “I sometimes worry I wouldn't be much of a feminist if I had bigger tits”) with heartbreakingly honest and painful scenes (think of the iconic speech made by the priest at the wedding). This series also adds an innovative dimension to the traditional audience-actor relationship. Once the hot priest notices Fleabag’s asides we are instantly made conscious of our intrusive presence as viewers. These small additions prove the size of Waller-Bridge’s genius. Despite the collective mourning, as it has been confirmed this is our last dose of Fleabag, it can be agreed that the series finished in the most heart-wrenchingly perfect manner. 

Laura Toms

ELITE

The Netflix original series Elite has managed something few other modern Spanish TV programmes have: breaking the anglophone barrier and achieving spectacular success across continents, winning hearts wherever it’s available to stream. It might be a little trashy: every episode is dripping with murder, drugs, sex, and drama, not to mention the swathes of American high school clichés. But it’s this, as well as the important social issues it touches on – perhaps most notably the intercultural struggle of protagonist Nadia – that make Elite so charismatic. Whether you want it to or not, you’ll be thoroughly charmed by it.

Zoe West-Taylor

after life

Ricky Gervais’ bittersweet comedy drama After Life is a beautiful and heart-wrenching story of a grief-stricken middle-aged man coming to terms with the untimely passing of his wife. Depressed and angry at the world, the lead character undergoes a Scrooge-type reformation over the six episodes as he comes into contact with others at various stages of the grieving process. It is painfully relatable, very heavy, and occasionally quite amusing. The humour isn’t always clever and subtle, but the poignant moments are stunning and a real thump in the stomach if you emotionally invest yourself. Gervais recently tweeted, actually, that the show “might be his favourite thing he’s ever done”. Watch it, and you’ll see why.

Matt Cross

The Family

By far the most riveting and mind boggling docuseries in 2019. The series based on two books by an investigative journalist delves deep into the theocracy that rules Washington D.C.. Through a series of interviews with Washington officials and other political characters, and harrowing reconstructed scenes, the series constructs a terrifying yet convincing story of the rise and growth of an evangelical cult ominously named “The Fellowship” or just “The Family”. Even though the information can be a little overwhelming at times, the outrageously captivating storyline more than makes up for it. Critics are quick to point out that a lot is left open to interpretation, but I think dealing with such a controversial topic requires a level of neutrality in narrative. The Family stays with you and makes you hungry for more. 

Lesley Wang

Succession

How does one begin to describe Succession? Corporate intrigue meets absurd comedy, perhaps. A satire of the dire situation we find our politics and media mired in – yes, very possibly. Progenitor of countless Twitter memes? Definitely. Despite the comedy and memes, what Jesse Armstrong’s HBO creation highlights is just how the personal (and sometimes petty) dramas of irredeemable Rich White People can traumatize and fuck our entire society up. And yet! It’s written in such a way that you want these irredeemable Rich White People to succeed. And you want it badly. As one reviewer pithily surmises: “it’s Game of Thrones, but with real blood: ours.”

Kay Ean Leong