Raise your hands, who reading this article has seen Counterpart, the recently cancelled science-fiction drama starring JK Simmons? Just as suspected… that’s not very many hands.
Honestly, had you ever even really *heard* of it in the first place? Counterpart, created by Justin Marks, has spent over a year across two seasons being critically feted by writers yet largely being ignored by audiences. Most people who *have* found Counterpart have seemed to embrace its ‘Fringe for grown ups’ narrative; Simmons in the dual role of a UN diplomat, Howard Silk, with two very different personas across adjacent parallel universes in danger of edging into conflict with each other. Counterpart is stylish, measured, dramatic and filled with great performances… so why, two seasons in, has it been dumped?
As is often the way with American networks, it all comes down to ratings. Counterpart aired on Starz with just a network average share of 500,000 viewers across its second season. When Netflix are boasting about Gillian Anderson-starring teen dramedy Sex Education netting 40 *million* viewers, half a million is chump change. Counterpart is filmed in Europe often on location, with actors such as Simmons, Olivia Williams, Harry Lloyd etc… who don’t come dirt cheap, and ultimately the sums simply don’t add up. Not enough people watched to justify the expense. So goes the story of hundreds of other shows a core fan base loved but ended unresolved and sometimes ignominiously.
The difference now is that something like this just should not happen to a show as critically applauded as Counterpart. Not in the streaming era of peak TV.
It’s been a pretty fantastic year for TV in general, so it’s been fairly challenging whittling down ten shows, never mind five, and I haven’t nearly watched everything that has struck a chord with people in 2018.
The following, in my opinion, have nonetheless been some of the strongest TV of this year. Some new, some older, some just taking off. All still with a lot of led left in their pencil.
Here we go with #5 to #1…
There is every possibility we may look back upon Bandersnatch, the latest episode of Black Mirror, and be amazed at just what a pioneer it was.
Black Mirror has seeped into popular culture in a remarkable way since Charlie Brooker moved from being one of TV’s most entertaining cult comedians, when it comes to analysing popular media, and into the realm of writing and producing what could be the most innovative and format breaking television show of the modern age. Black Mirror has come a long way since its first Channel Four episode, telling the disturbing story of a David Cameron-parody being blackmailed into having sex with a pig live on television.
What began as a darkly comic examination of our evolving relationship with new media, akin to Brooker’s earlier scripted series Dead Set (zombies meets Big Brother), has grown into a 21st century Twilight Zone; a dark, indeed black mirror for our own fears, anxieties and cautionary tales about the technology we are allowing to dominate and consume our lives. While Brooker’s show, on being snapped up in a savvy move by Netflix and getting a hefty budget increase in the bargain, has benefited from A-list movie stars and directors wanting to be involved, the modern day Rod Serling has always had one eye on the past as he puts one foot in the future.
Bandersnatch feels like the ultimate realisation of Brooker’s fascination with retro 1980’s and 1990’s culture, particularly gaming culture. Fionn Whitehead’s troubled protagonist Stefan Butler could be Brooker in another, alternate life.