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…
One suspects in the future, when people talk about The Cloverfield Paradox, they may wonder if the title was intentionally ironic. The paradox of Julius Onah’s picture doesn’t lie in the alternate realities or particle accelerators in space that its plot propagates, rather in quite how unsuccessfully a promising spec script was ported into the burgeoning Cloverfield universe, hashed up, delayed, re-written, re-shot, and then thrown onto Netflix after the Super Bowl with, literally, around two hours notice. That story is undoubtedly more remarkable than anything in the film itself.
Let’s backtrack. In early 2008, JJ Abrams’ production house Bad Robot dropped, equally out of nowhere, the original Cloverfield. Directed by friend and collaborator Matt Reeves, who has since gone on to make quite the name for himself with the Dawn and War For the Planet of the Apes (and potentially soon The Batman), Cloverfield took everyone by surprise. Abrams, fresh off huge TV success with Lost and breaking into cinema with Mission Impossible III, managed to fuse together the en vogue found footage sub-genre with a modern day, Hollywood take on Toho, reimagining a Godzilla-esque monster ramping through New York for a post-911, burgeoning social media American audience. Punchy, frothy and deft, Cloverfield just *worked*.
Understandably, it also left people wanting more. Abrams & Reeves left just enough clues as to a wider universe to make fans salivate; a blink and you’ll miss it (literally) suggestion the monster came from outer space, for one thing. The point of that story didn’t involve answers—it was about average Joe characters thrown into a scenario equivalent to a terrorist attack, essentially—but the idea answers may point to a broader mythology left many hoping Abrams and his collaborators would follow it up. Though it took almost a decade, in 2016, again almost out of nowhere, 10 Cloverfield Lane arrived in cinemas with a more recognisable cast (including a great John Goodman performance) and a narrative which made one thing clear: the Cloverfield universe was playing by different rules.
If you grew up in the late 1990’s across into the new millennium, you almost certainly remember The League of Gentlemen, if you’re British at least. Then unknown performers Mark Gatiss, Steve Pemberton & Reece Shearsmith burst on the TV scene and delivered for the BBC a sketch comedy as successful as The Fast Show and Monty Python’s Flying Circus before it, only skewed far more away from social comedy or absurdity, and closer to a grotesque, eccentric inversion of Northern lifestyle spliced with Hammer horror movie homage. Running for three series and a Christmas special, the League got in and out before anyone could start to find them wearing; constantly evolving their visual and narrative style, telling witty, bleak and inventive stories, and ending with the hope they would make more. Almost twenty years since they began, they have, with three new Christmas specials on the horizon. But why now?
It’s fair to say there has been something of a Renaissance for 90’s and ‘Noughties’ television in the last couple of years. The old guard have been popping up all over the place, revamped, reimagined and revived for an entirely new audience. The X-Files, early in 2016, returned with its two key original characters and a shortened, six episode run, followed swiftly by a condensed, compact revival of Prison Break for an erstwhile fifth season. This was after, in the autumn of 2015, popular superhero series of the mid 00’s Heroes returned for a mini-series called Reborn.
This year’s most profound revival has been, almost inexplicably, Twin Peaks, in which David Lynch crafted a third season almost twenty years since the end of the second, baffling and confounding audiences in equal measure on both sides of the Pond – some say it’s genius, others say it’s ponderous. Even Star Trek, a 90’s mainstay of television which dominated the science-fiction landscape for more than a decade before drifting into mid-00’s obscurity, returned with a new lease of life thanks to Discovery, its new series set ten years before the original 1960’s run. These aren’t the only examples but they all have one crucial element in common – all of them, to a series, have met with a mixed response.