2020 year-end roundup: The books that stuck like random gum

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“We relate to the virus, in some ways, as we relate to Trump. We yearn desperately to return to a time of imagined normalcy, before Trump and before the coronavirus. But we can heal only by looking forward—perhaps to a life that will be slower, more environmentally responsible and less materially comfortable, but also more clearly rooted in mutual aid and the understanding of our fundamental equality and interdependence. Now that the pandemic, aided by Trump, has stripped our politics and our society to the bare basics, the question facing Americans is, What do we want our future to look like? Will we, as we did after 9/11, sacrifice civil liberties and human rights? Will we, as we did in response to the financial crisis of 2008, create even greater wealth inequality? Will we, in other words, choose solutions that exacerbate the root problems? In 2020, that would mean forfeiting more freedoms, accepting ever greater inequality, and reelecting Trump. Or will we commit ourselves to reinvention?” –Surviving Autocracy, Masha Gessen

It’s difficult to sum up a year in which time felt as though it passed more quickly than it ever has while simultaneously dragging on interminably. It feels fitting then that the year has been punctuated by memorable books, both old and new, that remind and instruct about the value of questioning, the value of suffering, the importance of asking how we want to be a part of the world and what we want that world to look like. Especially when we are limited and constrained by circumstances.

I did less this year than in previous years but read even more than normal over the course of the year. Read on to find out what I found most compelling in 2020’s reading.

Previous book reports: 2020 – December, October, September, August, July, June, May, April, March, February, January. 2019 – December, November, October, September, May, April, March, February, January. 2018 – NovemberOctober, SeptemberAugust, July, June, May, April, March, February and January.

Reading in 2020

In no particular order, I’ve listed the books that I valued most during the course of the year. I have never been great at describing why something resonated with me, or perhaps I am just lazy and prefer using the writer’s own words to explain what illuminates certain passages and books, elevating them above others. Here I condense my original write-ups from previous months’ readings.

*Man’s Search for MeaningViktor E Frankl

“The uniqueness and singleness which distinguishes each individual and gives a meaning to his existence has a bearing on his creative work as much as it does on human love. When the impossibility of replacing a person is realized, it allows the responsibility which a man has for his existence and its continuance to appear in all its magnitude.”

My December 2020 re-reading of Man’s Search for Meaning felt significant and newly relevant. It always does, but in the unusual darkness of 2020, its prescriptions for finding meaning and understanding the near-unlimited capacity we may possess for endurance take on new importance.

“Man can preserve a vestige of spiritual freedom, of independence of mind, even in such terrible conditions of psychic and physical stress. We who lived in concentration camps can remember the men who walked through the huts comforting others, giving away their last piece of bread. They may have been few in number, but they offer sufficient proof that everything can be taken from a man but one thing: the last of the human freedoms—to choose one’s attitude in any given set of circumstances, to choose one’s own way. And there were always choices to make.”

*The Zealot and the Emancipator: John Brown, Abraham Lincoln, and the Struggle for American FreedomH.W. Brands

“The work wasn’t finished. The work of freedom never would be.”

Also read in December 2020, The Zealot and the Emancipator explored the routes abolitionist John Brown and US president Abraham Lincoln would take in trying to end America’s darkest, most heinous violation of human rights — slavery. Because of Brands’s gift for storytelling, history comes to life as the lives of two vastly different men are juxtaposed.

“THE QUESTION HAD BEEN: What does a good man do when his country commits a great evil? John Brown chose the path of violence, Lincoln of politics. Yet the two paths wound up leading to the same place: the most terrible war in American history. Brown aimed at slavery and shattered the Union; Lincoln defended the Union and destroyed slavery.”

We are once more reminded that the work of freedom is never done, and the democratic experience is fragile, dictated more by relying on good faith rather than law, and this is where some of 2020’s other great reads pick up.

*Surviving AutocracyMasha Gessen

“The difficulty with absorbing the news lies, in part, in the words we use, which have a way of rendering the outrageous ordinary.”

Confronted by egregious and shocking things we’d never seen in quite the way they’ve unfolded in the previous four years, we have not had the cognitive ability to process, using the language available to us, that we were surviving the nascent steps toward autocratic rule. Masha Gessen’s Surviving Autocracy, which I read twice in 2020, relies on the work of Bálint Magyar,  who assigns three stages to the birth and development of autocracy: “the concept of autocratic transformation, which proceeds in three stages: autocratic attempt, autocratic breakthrough, and autocratic consolidation.”

Trump-era madness embodied the autocratic attempt, and was at turns, successful. Could we say there was an autocratic breakthrough? Perhaps Trumpian successes have created “holes” in the veneer but haven’t entirely broken through. But his presidency has done enough damage and set a dangerous precedent that may make a breakthrough more likely and easier to accomplish somewhere down the line because it’s highly unlikely we are as a society learning the lessons of what this period has taught. Gessen insists that we disbelieve or ignore the signs and lessons as our peril, and I fear we did this long before Trump was a viable contender for president, and will continue to do so long after he is gone because we so long for the blindness and comfort of the status quo.

*Hiding in Plain Sight: The Invention of Donald Trump and the Erosion of AmericaSarah Kendzior

““You were right two years ago, but this isn’t going to be Nixon. This is American authoritarianism, and they are going to tell us ‘That’s not possible’ until nothing else is.””

None of what Kendzior has predicted (repeatedly) will seem unfamiliar in hindsight. Much of it may seem unbelievable when reflected upon, but we’ve been on the slippery slope, being primed for this nightmare for a long time.

Read alongside Gessen’s warnings, Sarah Kendzior has delivered a damning condemnation of Trump and Trumpism, and, as many others have pointed out, doesn’t just let us off the hook with a concluding paragraph about “here’s how we get out of this” or “here are some hopeful, if misleading and false, words”. On second reading, this book managed to bear its sharp teeth even more effectively. After all, how can it offer hope when the truth is… things have long looked hopeless?

“One of the most horrific realizations when your government is hijacked from the inside is that there is no official to whom you can turn—because it is rare to find an official who cannot be turned by a corrupt operator. Living for legacy, living for security, living for money—it makes no difference, they are not living for you. There had been a coup, and we were on our own.”

As I said when I originally read this, this is a must-read. This was always the case but maybe it is even more important now as we stand at the threshold of the end of Trump’s presidency and the beginning of what may be the most status-quo presidency ever. So caught up in cleaning up the Trump-era messes and the continuing pandemic, no one will be interested in real change, and that’s what the powers-that-be (both the incoming government as well as Trump’s cronies) count on.

Inevitably, these readings lead to the bigger philosophical and existential questions of what constitutes freedom — on a personal or societal level? How can we seize our own freedom? Aren’t there countless definitions? Some of these definitions colored my other best-of 2020 choices.

Economic freedom

*And the Weak Suffer What They Must?: Europe’s Crisis and America’s Economic FutureYanis Varoufakis

Indeed, this book is about a paradox: European peoples, who had hitherto been uniting so splendidly, ended up increasingly divided by a common currency.”

I was on a Yanis Varoufakis kick in August, watching a number of his YouTube talks and interviews with other like-minded economists (there aren’t a lot of them because they have not drunk the standard endless-growth-is-good-possible-inevitable-at-all-costs KoolAid). When I feebly attempted to study economics, the field was dominated by blind praise for capitalism as a model, as the centerpiece around which other theories only existed as faded, failed ideas.

What reality shows us time and again, and which Varoufakis faithfully chronicles, is that people and the policies they enact, fail to enact or haphazardly enforce, often cause misery. It would be difficult to argue that unbridled capitalism has given true relief or prosperity to most people, even if it has done an exceptional job for the few who benefit from it.

To step outside the norm and the accepted (in anything, not just economic studies) requires not only an act of defiance but also raise your voice to tell the world that you think differently. This is where people like Varoufakis or Richard Wolff have walked a different path and have, at times, been “lightning rods” for daring to study, teach, lecture, and write about economic alternatives, which is akin to heresy for mainstream economists and capitalists. It’s also the unpopular direction economist Kate Raworth wanted her own economics studies to take, and she has discussed this in the introduction to her book,Doughnut Economics: Seven Ways to Think Like a 21st-century Economist. (Raworth’s book is another of my go-to 2020 reads; see below.) All focus on wanting to implement an economic system that serves goals that support human well-being rather than serving the rights and growth of capital. You wouldn’t think that would be so dangerous or controversial.

“ALEXIS DE TOCQUEVILLE once wrote that those who praise freedom only for the material benefits it offers have never kept it long.”

Indeed this is at the heart of a functioning democracy, which has in recent years grown threadbare before our eyes. We don’t live in a democracy as much as a functioning plutocracy (and more frequently under leaders like Trump, kleptocracy). The average person knows very little about economics, and in fact, has been intimidated by and discouraged from understanding it. It serves the plutocrat class to keep people in the dark and only feed the dominant theory into the educational machine.

One is fooled into believing they are free when they are brainwashed into thinking this is so. Varoufakis’s warnings about inequality and how capitalism (one of the great engines of inequality creation) will devour democracy (hasn’t it already in the form of things like Citizens United?) parallel the underlying themes of works by the aforementioned Sarah Kendzior. Varoufakis writes:

“Leonard Schapiro, writing on Stalinism, warned us that “the true object of propaganda is neither to convince nor even to persuade. But to produce a uniform pattern of public utterances in which the first trace of unorthodox thought reveals itself as a jarring dissonance.”

…you cannot help but think of Kendzior’s own warnings about how Trump’s scandals are a form of smoke and mirrors that serve as a distraction from the actual criminal pursuits taking place just below the surface (well, not even out of the public eye — if anyone were paying attention or cared, we can all see the illegality). The spectacle, the propaganda machine, spits out new craziness on a daily basis. The perpetual fatigue and exhaustion, which Gessen also writes about, create conditions ripe for the exploitation and complete plowing under of democracy.

And in a fragile, flawed democracy based on capitalism, which is — if you didn’t realize — controlled by money, money talks… loudest and longest, and those without (which is most of us) have very little recourse.

*Doughnut Economics: Seven Ways to Think Like a 21st-century EconomistKate Raworth

“…whenever I hear someone praising the ‘free market’, I beg them to take me there because I’ve never seen it at work in any country that I have visited.”

Raworth describes exactly what is almost ineffably wrong about standard economics. When I took up the formal study of economics more than 20 years ago, I ran into walls  – walls that have grown taller and thicker over time. Mostly this is because, when I started, I was more willing to accept, as Raworth describes it, economics’ “long-established theories”, rather than the more sensible and just “humanity’s long-term goals”. It did not occur to me until I was, as Raworth also describes, deep in the abyss of trying to understand accepted theory, that there might be another way.

“I was so busy getting to grips with the theory of demand and supply, so determined to get my head around the many definitions of money, that I did not spot the hidden values that had occupied the economic nest. Though claiming to be value-free, conventional economic theory cannot escape the fact that value is embedded at its heart: it is wrapped up with the idea of utility, which is defined as a person’s satisfaction or happiness gained from consuming a particular bundle of goods.”

The economic theories we were being sold were all about consumption and production and laden with its own (empty) values, which modern economists largely deny.

“It was only when I opted to study what was at the time an obscure topic—the economics of developing countries—that the question of goals popped up. The very first essay question that I was set confronted me head-on: What is the best way of assessing success in development? I was gripped and shocked. Two years into my economic education and the question of purpose had appeared for the first time. Worse, I hadn’t even realised that it had been missing. Twenty-five years later, I wondered if the teaching of economics had moved on by recognising the need to start with a discussion of what it is all for.”

How can future economists reclaim and reframe what economic success and progress look like, and espouse a way of “economic thinking that would enable us to achieve” and meet humanity’s needs and goals? Now more than ever, as unemployment numbers reach record territory, and when “full employment” doesn’t reflect the number of people in more than full-time employment who nevertheless live in poverty, how can we redefine economic prosperity to encompass human well-being instead of by impenetrable and meaningless GDP and stock market figures?

“And so, over half a century, GDP growth shifted from being a policy option to a political necessity and the de facto policy goal. To enquire whether further growth was always desirable, necessary, or indeed possible became irrelevant, or political suicide.”

This has been clear for a long time, but it takes extraordinary circumstances, such as the current COVID-19 pandemic to illustrate how exploitative, fragile and short-sighted the current system is. Whom does it serve? Who really enables it?

Raworth writes extensively about the invisible and unpaid “core economy” – the labor of the household, of rearing children, etc. This labor has been removed from the equation. During times of crisis (like now), however, the veil is lifted and its supremacy as the foundation of all that becomes possible in the market is elevated – or at least obvious, even if briefly.

“…And since work in the core economy is unpaid, it is routinely undervalued and exploited, generating lifelong inequalities in social standing, job opportunities, income and power between women and men.”

“By largely ignoring the core economy, mainstream economics has also overlooked just how much the paid economy depends upon it. Without all that cooking, washing, nursing and sweeping, there would be no workers—today or in the future—who were healthy, well-fed and ready for work each morning. As the futurist Alvin Toffler liked to ask at smart gatherings of business executives, ‘How productive would your workforce be if it hadn’t been toilet trained?’”

How can we show that freedom is not about buying shit and that GDP and growth have very little to do with the people who power the economy — those who supply the labor — both paid and unpaid — to create the workforce on which all of society depends?

Socioeconomic freedom

*The Nordic Theory of Everything: In Search of a Better LifeAnu Partanen

Defining freedom is culture specific. When I talk about freedom with Americans, they spout superficial ideas about freedom that are related to showy patriotism, supposedly low taxes, and the ability to “defend themselves” with guns. I don’t know exactly where these definitions come from, although I suspect, having been educated there, it’s full-scale indoctrination from an early age. Pledging allegiance to a flag and valuing symbols over other humans or cultures is something endemic to life in America and its school system. Perhaps, assigning a less value-judgment approach to this definition, I could say Americans are a “freedom to” culture more than a “freedom from” culture. This doesn’t capture the entire picture but strikes on the individualism and selfishness that characterizes most Americans and the culture they live in.

The Nordic Theory of Everything begins to tap into the two sides of the “freedom” debate (if you could call it a debate).

Re: America: “In this country you are at the mercy of your employer. You really don’t have any rights. Because of that you live in a constant state of worry.”

The book goes into incredible detail about the differences between the Finnish (and Nordic more generally) and American systems, finally landing on a key argument (italicized and emboldened emphasis mine):

“Yet the longer I lived in America as a Nordic immigrant, something became clear to me. Regardless of whether Finland was the “best” country in the world or not, most people in the United States, as well as many of my Nordic countrymen back home, did not fully realize that to leave Finland or any other Nordic country behind and settle in America at the beginning of the twenty-first century was to experience an extraordinary—and extraordinarily harsh—form of travel backward in time. As a Nordic immigrant to the United States, I noticed something else, too. Americans, and many others around the world, did not seem fully aware of how much better things could be.”

Instability is the name of the game in American life, and I so much wish I could impart to Americans about how they are sold a bill of goods that insists that they are free, but how free are you when everything is so complicated, opaque, and you are tied to your job, your employer-provided, but nevertheless not-comprehensive health insurance, your out-of-reach expensive day care, your student loans and exorbitant university fees, your complex and insane tax forms, an unfair system of taxation (which is not that much less than what many Nordic earners pay), which Nordic people are free from?

“The longer I lived in America, therefore, and the more places I visited and the more people I met—and the more American I myself became—the more puzzled I grew. For it was exactly those key benefits of modernity—freedom, personal independence, and opportunity—that seemed, from my outsider’s perspective, in a thousand small ways to be surprisingly missing from American life today.”

And ironically… in “free” America, neither employees nor employers are free. This may be one of the key points Partanen makes. While no one would accuse most US employers of being overly generous, they are still being saddled with many of the responsibilities that Nordic countries expect their taxes and good government to provide:

“By now I was used to hearing the Nordic countries dismissed as “socialist nanny states.” But ironically it was here in America that businesses trying to manufacture products and make a buck had somehow gotten saddled with the nanny’s job of taking care of their employees’ health. Surely, I thought, Milton Friedman, the great free-market economist, must be turning in his grave! From a Nordic perspective, it seemed ludicrous to burden for-profit companies with the responsibility of providing employees with such a fundamental, complicated, and expensive social service. People in the United States were aware of this contradiction, of course, and in discussions of the American business landscape, experts often pointed to the burdens that health-care obligations placed on companies, especially on small businesses. But no one seemed to be talking about the other side of the coin: the unhealthy dependence on employers that this creates among employees receiving, or hoping to receive, these benefits. It was an old-fashioned and oppressive sort of dependence, it seemed to me, completely at odds with the modern era of individual liberty and opportunity. I could see the consequences in the lives of everyone I knew.”

Anxiety levels among my American friends are almost insanely high — but they don’t know otherwise. Making personal choices, like leaving jobs in which they are unhappy, or starting businesses, or taking a year off to have a child, isn’t fraught with anxiety levels in the Nordic countries because the government, held accountable by the people who elected it, anticipate these changes and needs. This seems like true freedom to me.

“When I look at my Nordic friends now, they seem so free to me. They work and have children, they engage in hobbies, they travel the world, and they never seem to worry about really going broke. They have health care, day care, and pensions. They can study whatever they want, and they don’t have to risk their financial future to do so.”

The freedom of personal choice, self-definition, self-determination and identity

The majority of books I read in 2020 are bound by this loose thread of defining “freedom”, defining oneself and one’s own identity, and finding meaning as well as, as Viktor Frankl wrote about, the self-determining nature of humans and humanity.

There are traits about ourselves that we can’t change, but there are also many aspects of our personal identities that we can change and choose for ourselves. Many of these books reflect the ways we make these choices and determinations.

*Shuggie BainDouglas Stuart

The much-deserved 2020 Booker Prize winner, a heartbreaking work with a clear sense of language, culture, class and place (Glasgow). The titular protagonist, despite poverty, suffering and loss, is deeply human, as are all the rich and imperfect characters populating the story.

*Scots: The Mither TongueBilly Kay

“Politics, in support or suppression, are central to the fate of languages. Yet political support at a given time is not in itself enough to guarantee a language’s survival if the historical process which has eroded it has been unrelenting over centuries and has pushed the language to a geographical and psychological periphery in the nation’s consciousness. That is certainly the case with Irish and until recently was certainly the case with Gaelic. The principal reason why Welsh is in a much stronger position than Scottish Gaelic today is that the Welsh had not posed a political threat to the British state for hundreds of years, while Gaelic was the language of the Jacobite forces which almost overthrew the state in the rebellions of the eighteenth century.”

In self-determination, language is a powerful key toward definition and retention. This book chronicles how essential the diverse Scots language is to the linguistic, national and cultural history of Scotland. Historical and linguistic hostility at its persistent use and existence continues — but the language itself has become a subject of vivid study and much-needed focus.

 “If using your first language is classed as the equivalent of sticking your tongue out at the teacher, there is little ground for fruitful dialogue. Educationalists often refer to the ‘inarticulate Scot’ as if it were a hereditary disease, instead of the effect of shackling people to one language when they are much more articulate in another. The omnipotent standard of having one correct way of speaking colours our society’s attitude and results in false value judgements about people. These value judgements are made in every sector of society, not just in education.”

This is particularly important as Scotland itself struggles toward self-determination in a post-Brexit, post-Covid-shambles world.

“One of the most debilitating phenomena of Scottish society is the false notion that to get on you have to get out. English hegemony is so all pervasive in our society that a sign of success and sophistication among some is to attempt to erase signs of Scottishness from their public persona. The implications of such an attitude for Scottish culture are drastic, not to mention wrong-headed. The linguistic tension is often not resolved at one particular time and can be an ongoing choice throughout one’s life.”

A person may choose to retain and (defiantly) use a language, such as Scots, and it becomes a part of their identity — or more a part of the identity. While you may not choose your native, first language, you can make the choice to continue using it even when it’s a minority language and often ridiculed… not only is it a part of the identity, it is a statement.

*The Gentrification of the Mind: Witness to a Lost ImaginationSarah Schulman

“The gentrification mentality is rooted in the belief that obedience to consumer identity over recognition of lived experience is actually normal, neutral, and value free.”

One of the few books that made me cry in 2020, Schulman’s account of a 1980s world governed by callous gentrification and a brainwashing of the entire culture to become willing cogs in the “Nasdaq value system” wheel hurts. And it hurts even more against its bigger backdrop: the loss of vast parts of an entire generation of young people, many of whom were artists, to AIDS, the dehumanization of the communities it primarily affected, and the heartlessness and unwillingness to act that kept the disease from being front-page news or a public health crisis of the proportion it should have been.

“The announcer is discussing events that I know intimately, organically, that have seared the emotional foundation of my adult life. And yet there is a strangely mellow tone to the story. It’s been slightly banalized, homogenized. This is the first time I’ve heard AIDS being historicized, and there is something clean-cut about this telling, something wrong. Something…gentrified. “At first America had trouble with People with AIDS,” the announcer says in that falsely conversational tone, intended to be reassuring about apocalyptic things. “But then, they came around.” I almost crash the car.”

Thus I comprehend her bewildered reaction: “But then, they came around“?!

What!?

When did “they” ever come around? Had, as Schulman pondered, her community – what remained of it – failed to show exactly how much they had suffered, how much they had lost? What the world, in fact, lost, to this epidemic, the lack of response to which was “caused by governmental and familial neglect”?

Schulman’s words echo the same words and experiences as highlighted in other books I’ve selected as important here, especially regarding the devaluing of humanity, experience, education and the prioritization, at any and all costs, of money and material wealth.

“Gentrified happiness is often available to us in return for collusion with injustice. We go along with it, usually, because of the privilege of dominance, which is the privilege not to notice how our way of living affects less powerful people. Sometimes we do know that certain happiness exists at the expense of other human beings, but because we’re not as smart as we think we are, we decide that this is the only way we can survive. Stupidity or cruelty become the choice, but it doesn’t always have to be that way. After all, people and institutions act on and transform each other. So, it’s not happiness at the expense of the weaker versus nothing, right? And yet we are led to feel this way.”

Schulman is writing from her own experience and taking back the narrative that homogenizes the AIDS crisis, but her theses are widely applicable in terms of discussing gentrification, privatization, privilege and — of course — the commodification of humanity and individual identities. Everything about this book commands attention and compels… action. Action toward empathy, compassion and intervention.

“Gentrification culture was a twentieth-century, fin de siècle rendition of bourgeois values. It defined truth telling as antisocial instead of as a requirement for decency. The action of making people accountable was decontextualized as inappropriate. When there is no context for justice, freedom-seeking behavior is seen as annoying. Or futile. Or a drag. Or oppressive. And dismissed and dismissed and dismissed and dismissed until that behavior is finally just not seen. Every historical moment passes.”

*Scarlet A: The Ethics, Law, and Politics of Ordinary AbortionKatie Watson

While a book about abortion isn’t so much about identity, it is a complex and controversial issue defined by choice and anti-choice, ethical considerations, the legal system and personal and medical privacy. Public rhetoric about abortion, at least in the United States, treats it as less a personal medical issue and more a moral and religious one. And the mismatch between what is true (actions) versus what is said (ideas, beliefs) is stark.

Framing of the issue always comes into play, with the public discourse insisting that “abortion is always a tragedy” and that choosing abortion is or always must be “a difficult decision”. And this flies in the face of what I’d call freedom and identity (bold italics mine).

“But people who don’t struggle with an abortion decision are not necessarily less morally serious than those who do—they’re just less undecided. Someone who is clear about who she is, what she values, and what she wants is not casual. She is confident. Yet there are few examples of this type of counter-narrative. Bringing a child into the world is of great moral consequence, yet we don’t frame the decision to have a child as a difficult decision people always struggle with. So why wouldn’t some abortion decisions feel similarly obvious?”

And once more… the language and words we use matter.

“How we think shapes how we talk, and how we talk shapes how we think. That’s why terminology is contested ground in the abortion conversation. But all of our under- and over-inclusive words for embryos and fetuses make me wonder: Is it really that helpful to have seventeen words for snow? Or is the point rather that when you talk about something complex and important you need a range of words to describe it, each of which captures an important element, because none of them can encompass it all?“

*Breasts and EggsMieko Kawakami

And what of the choice not to bear children? What value does that convey about the one making this choice? Society has many opinions, but in the end, it is only the potential mother who must live with it.

In Breasts and Eggs, the protagonist is a writer who is considering having a child, and her reflections dive into the losses and consequences of having versus not having.

“It’s really simple, I promise. Why is it that people think this is okay? Why do people see no harm in having children? They do it with smiles on their faces, as if it’s not an act of violence. You force this other being into the world, this other being that never asked to be born.”

“Once you have children, you can’t unhave them,” she laughed. “I know how this sounds. You think I sound extreme, or detached from reality. Nothing could be further from the truth. This is real life. That’s what I’m talking about—the pain that comes with reality. Not that anyone ever sees it.”

*The Body Keeps Score: Brain, Mind, and Body in the Healing of TraumaBessel A. van der Kolk

Much of what I’ve focused on is the chosen identity. The self-determination that we can influence and drive for ourselves. But what of trauma and its influence on our bodies?

“Being able to feel safe with other people is probably the single most important aspect of mental health; safe connections are fundamental to meaningful and satisfying lives.”

Trauma appears to never disappear and the traumatic event (or events) live on, triggered for decades after (and epigenetics indicates that trauma lives on in the genes)… but an understanding of this, while continually emerging, is incomplete.

“The body keeps the score: If the memory of trauma is encoded in the viscera, in heartbreaking and gut-wrenching emotions, in autoimmune disorders and skeletal/muscular problems, and if mind/brain/visceral communication is the royal road to emotion regulation, this demands a radical shift in our therapeutic assumptions.”

Freedom to explore, understand and interpret identity

*Gods of Upper Air: How a Circle of Renegade Anthropologists Reinvented Race, Sex, and Gender in the Twentieth CenturyCharles King

“…no society, including our own, is the endpoint of human social evolution. We aren’t even a distinct stage in human development. History moves in loops and circles, not in straight lines, and toward no particular end. Our own vices and blind spots are as readily apparent as those of any society anywhere.”

The development of anthropology as a discipline isn’t something I gave a great deal of thought to until I started studying communication for development, which focuses on the so-called “developing world” (and queries whether it should even be called “developing world”). Later my psychology and theology studies crossed into anthropological territory, but it still never occurred to me to look more carefully at its theoretical and historical origins.

An anthropological quest crosses multiple disciplines: linguistics, sociology, psychology, theology, among others, and like most fields of academic inquiry, its methodology, its merit, its subjects have shifted alongside the specialists within the field and the cultures to which they belong.

At its core, according to its founding proponents, such as Franz Boas, cultural anthropology required acknowledging one’s own ignorance and one’s own worldview and preconceived ideas, placing oneself in unfamiliar surroundings and observing in as scientific and objective a way as possible. It provided, as anthropology pioneer Ruth Benedict put it, “illumination that comes of envisaging very different possible ways of handling invariable problems” and demanded the realization that nothing about culture is universal, i.e. cultural relativity.

Do we understand freedom, identity and self-determination without a context in which to place these concepts? Anthropology is one rich contextual lens through which to see and try to interpret in some limited way.

I greatly enjoyed this book, and could endlessly ramble about it — but won’t. It’s worth reading, and in particular its discussion on Zora Neale Hurston’s anthropological work shines a light on her journey as a folklorist and writer in a new context; she is the most fascinating among the book’s “characters” and, while not orthodox or organized in her methodology and data collection, she captured the most living, breathing, startling accounts and observations in her anthropological work, such as in Haiti.

“Magical thinking was as close to a human universal as you could imagine, and it existed in modern societies, too. Gambling, the stock market, even the concept of private property—the belief that I can expand my sense of self to include an inanimate object, the loss of which would induce deep displeasure and anxiety—all depend to a degree on magical belief systems. They are ways of summoning the unlikely and the invisible in order to control the tangible world.”

For more detail on more of the things I read in 2020 (and before), here are the previous years’ reports: 2020 – December, October, September, August, July, June, May, April, March, February, January. 2019 – December, November, October, September, May, April, March, February, January. 2018 – NovemberOctober, SeptemberAugust, July, June, May, April, March, February and January.

Lunchtable TV talk: Lockdown viewing

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I’ve said it about a million times before, much like addicts promise to get better, stop destroying themselves and hurting others: I will stop watching so much television. This is not a promise I ever end up keeping.

For a while this “promise” endured because I was busy with so many others things: work, study, travel, friends. Slowly I started letting more televisual entertainment slip into my field of view, and before I knew it, I was binge-watching all six seasons of Lost in the course of about one week (seriously). (I never saw Lost during its original run and felt like it was a strange gap in my pop culture knowledge.) Was I failing to do the things I needed to do in life? No. Was I neglecting relationships? Probably not. This excessive consumption has taken hold and had the chance to expand during the enforced isolation of Covid times. I am not alone there (well, in the most literal sense I am) — most streaming platforms have seen exponential (and semi-sustained) jumps in subscribership during this time.

With this confession, then, I am going to dump a random list here of things I’ve watched in recent months with a few short words about each (in most cases). You will notice that not all of them are new (case in point: Lost). Some are comedy/sitcoms, some are dramas, some are documentaries. Some are in English, some aren’t. I haven’t made an exhaustive list of what I’ve watched – there is a whole lot I have not listed here, if you can believe it. But it’s also not a list of things that I necessarily liked. These are the things that stuck in my head for one reason or another, so I’ve included them in this list. I know I’m going to forget some good stuff because… well, I am a total addict, I don’t keep close enough track of stuff as I watch, and I consume so much that I can’t possibly call it all to mind easily. For instance, I almost forgot to list Black Monday — and I loved that.

There is not much reason for this list other than… the fact that I like to keep track of stuff I watch and read. But I do know that lots of people are running out of stuff to watch after force-feeding themselves all their streaming platforms had to offer in the early days of lockdown. We may face multiple lockdown rounds, in which case, I am sure everyone really wants to know what kind of entertainment I would recommend (or not).

So here, in no particular order at all, are some of my recent viewing vices:

Brockmire: This is by far one of my favorite shows in this entire list. It’s a shame so few people have seen and heard of it. Led by Hank Azaria, supported by Amanda Peet, the four short seasons of Brockmire traveled from a semi-redemptive story about a fast-talking, loudmouth baseball announcer who lost it and went on a multiple-year drinking and drug bender to a future in which the titular character finds meaning in family life and something approaching simplicity. I don’t do it justice… but it’s razor sharp, hilarious, sad, a cautionary tale about baseball, technology and the broader, darker future we have in store for us. But its emotional resonance comes from the soulful performance Azaria delivers throughout the character’s journey. I urge you: WATCH THIS. If you watch anything at all from this entire list, let it be Brockmire.

Mr Inbetween: I cannot recommend this Australian show enough. I am not sure why but it struck me in a big way when I watched it. Read my further thoughts on Mr Inbetween here. (There’s also a nod to a Canadian show, Mary Kills People, about a doctor who helps terminally ill patients die, in the Mr Inbetween write-up; Mary Kills People is not worth watching but is something I watched in recent months.)

Bosch: A take on the dark, semi-rogue cop story, this detective procedural offers a slightly offbeat constancy… whether it is crime, corruption or the prevalence of inscrutable grey areas. Perhaps it’s the offbeat nature of it that makes it addictive and comforting – with ten hours flying by (while other shows feel like they drag). The writing is not bad, acting decent, good cast… and there are several seasons to sink your teeth into.

Hightown: I watched all eight episodes of the first season, never quite making up my mind until the end that I thought it was okay. I am frustrated with characters who are their own worst enemies, which is the case for Monica Raymund‘s Jackie. It’s a murder story with hints of organized crime/the drug underworld with not particularly engaging characters or character development, making this one that I’d recommend skipping.

Normal People: I have not read the book on which Normal People is based, but am told that it is in most ways quite faithful to the source material (with a few notable exceptions). Perhaps I watched it in an unusually emotional state because I found it… grating, although still gripping enough that I wanted to see it through. Mostly it irritated me because the two main characters were such poor communicators and most of the problems they faced as a couple came from not talking to each other, not making their wants and needs clear, and ending up in deeply unhappy and unsatisfying situations as a result. On the other hand, we are talking about two very young people, neither of whom had exceptional communication abilities or the propensity to form open, close connections with others (given what we learn about the woman character especially). For as much as critical buzz spoke about the realistic nature of the abundant sex scenes, I found it interesting that these two people could continually find their way back to each other and share a tremendous amount of physical intimacy that never seemed to cross over into an openly emotional intimacy (which, over time, is better explained by what we learn of each person’s life and past).

Ramy: I really despised the character Ramy, a young Egyptian-American man struggling with his identity in modern America. Inclined to be tied more actively to his Muslim faith than his family, he seems to be on a constant quest for spiritual fulfillment but at the same time is succumbing to temptations ranging from sugar addiction and copious porn-assisted masturbation to ongoing sexual affairs with various women, including a married member of his community. Perhaps as viewers we are not meant to like him or his struggle. Because most of the story is told from his POV, I think we get a one-dimensional view of women in general, and more particularly of Muslim women. I found myself enjoying the rest of Ramy’s family and the imam in season two (Mahershala Ali) much more than I cared for Ramy himself, and I was glad that the show had an expansive enough approach to storytelling to include these tales as well. I did find that the, erm, creative and unusual situations Ramy got himself into made the show well worth watching, even if his foibles, mistakes, poor choices and shortcomings were often cringeworthy.

Hanna: Comprised of two quite watchable seasons of action, this is no masterpiece and doesn’t really explore some of the moral questions that the themes of the show could and should invite. I found myself drawn to the performance of Esme Creed-Miles (daughter of actors Samantha Morton and Charlie Creed-Miles — whom I’d never heard of or seen acting until recently when he turned up in about five things I’d watched in short succession). I’ve never seen the film version of this (Saoirse Ronan played the lead), and I wouldn’t say that the tv version inspires me to go back and watch the film. But the tv version is a decent distraction.

Dirty John: The Betty Broderick Story: I am not sure when I fell in love with Amanda Peet, but it happened a few years ago (and happily two of her other vehicles are listed in this post — The Romanoffs and Brockmire). And she is the only reason I decided to watch this. If you were alive and probably American at the time this story took place, you probably heard about the dramatic double homicide perpetrated by Betty Broderick — she killed her ex-husband and his new wife. But the tabloid retellings of the time didn’t quite capture the story the way this did. Sure, this is a semi-fictional account, meaning that we see a relatively sympathetic take on Betty Broderick, who spent her youth making sacrifices for and supporting her husband, only to have him run off with his young assistant later, once he’d achieved great financial and professional success. Not a novel framework by any means, but certainly the outcome differs from most woeful “he left me for a younger woman” stories.

I’ll Be Gone in the Dark: I have been watching this documentary while reading the book it’s roughly taken from. Michelle McNamara was a gifted writer who humanized murder victims and seemed to really care about who they were as people, and the losses the people around them suffered once they were gone. Obsessive, driven, talented but undermined, it seems, by a kind of impostor syndrome, McNamara never quite embraced the idea (again, it seems) that she was as bright and talented as she really was. Sadly, she died before the book was completed, and before the murderer she’d relentlessly chased in her amateur detective work was identified and caught. But it’s a fitting tribute that the book has received as much attention as it has, and a documentary series is a perfect companion piece to showcase the publicity-shy, engaging McNamara in her element.

Little America: Having grabbed an AppleTV trial subscription solely to watch Visible: Out on Television, I felt I had to take advantage of the time on Apple before the week was up. There is almost nothing, otherwise, ON AppleTV, which is why I will be damned if I am going to shell out any money at all. You kind of have to bring the content, right? But I did quickly snack on this imperfect but charming collection about different immigrants in the US. Adapted from a number of true stories based on real people’s experiences, these semi-fictionalized accounts splashed just enough emotion (both happy and sad) to engage me even in the slower moments of the storytelling.

Flesh and Bone: Digging through Amazon content I stumbled onto this ballet-driven drama and did watch all eight episodes, but apart from depicting with a veneer of accuracy the physical torture of elite ballet (projected as the most delicate and transcendent movement experience a body can convey), the characters and stories often didn’t make sense, felt contrived and seemed needlessly dark and designed for audience shock value. It was particularly difficult to discern the motivations for many characters’ actions, and even though this problem started to resolve as the series went on, it felt as though there was not adequate time to fully resolve lingering motivational issues while still being able to hold the audience’s attention with the thin plotline(s). Nevertheless, the ballet created for the series itself and the talent of the cast – actual ballet dancers, thankfully – gave this a boost in terms of credibility.

Visible: Out on Television: I watch pretty much everything like this – documentaries on the struggle for equal rights and against violence, and of course at the core of these kinds of programs is the fight for AIDS treatment and research. I can’t emerge from watching these things without uncontrollably sobbing, thinking about all the people who were lost during that truly frightening time. You’d think we’d have learned something about compassion from the AIDS epidemic and how it was handled, but watching the way the current COVID crisis is unfolding, it seems we haven’t. The public “discourse” (it can’t even be called that) is so divisive and memories seemingly so short that I’ve pretty much lost whatever sliver of faith I had in humanity (or at least in the United States). In any case, this is so worth watching to see how LGBTQ representation has changed on TV (hint: there’s more of it at last, but there’s still some way to go).

Dead to Me: I’ve watched the two seasons of Dead to Me, and enjoyed their dark humor, but I can’t explain why. I guess I really like Linda Cardellini and also like Christina Applegate, and both play characters who make unlikely friends who have to stick together because of a few dark, shared secrets. It’s not always easy, and I suppose there is where the dramatic tension and some of the humor comes from.

Lenox Hill: I am kind of a sucker even for fictional medical drama, but this is a documentary that follows doctors in Lenox Hill hospital in New York over the course of several months. I enjoyed each story and the doctors the show followed, but I especially loved David Langer, the Chief of Neurosurgery. It’s probably weird to say that you’d fall in love with anyone from a show like this, but I suppose its emphasis on humanizing the somewhat mysterious work of physicians helps achieve this rush of feeling. After I devoured the first set of episodes, I noticed that there was a new one – they made a Covid-specific episode to chronicle how the hospital was coping with this new crisis.

Hunters: This was over-the-top and not particularly satisfying. Even though, especially in this day and age, you’d think it would be: a group of unlikely “heroes” come together to form a secret society of Nazi hunters in the 1970s. Not a bad premise, and while the show itself it not entirely bad, it’s just underbaked somehow. Still, when I watched it, I was drawn in enough to finish watching. But it seems that this could have been done differently and better. A wasted opportunity.

Sex Education: This one doesn’t need much introduction — it’s been streamed like mad, and rightfully so. It’s funny in a charming and embarrassing kind of way — both for awkward teenagers and for the adults who play it cool but are still just as confused as the rest of us. Gillian Anderson is great here as Jean Milburn, sex therapist/expert who nevertheless struggles with commitment and intimacy, and the plot of the show is driven by the intelligent but insecure Otis, Jean’s son, who delivers sex advice to his classmates to make some money. It’s often quite heartbreaking, heartfelt and reminds one of the trials of high school. Ugh. Well worth watching.

The Romanoffs: The Romanoffs, perhaps unfairly, was overlooked when it was released. Overshadowed by other content in a newly overstuffed streaming landscape, and buried under the weight of expectation. It’s not that this was flawless, but it was creative and unusual and had a great cast across each of the very loosely related vignettes. I think I saw some advertising for this around the same time The Kominsky Method came out, and the two Slavic-sounding names canceled each other out in my mind (because I watched neither until several years after they were released). Of course it was clear from the advertising about The Romanoffs that its premise was that all the characters were meant, in some way, to be descendants of the ill-fated Romanov dynasty. Whether they were or not was immaterial to, and only tangentially related, to the real stories the vignettes aimed to tell. Each of those stories was hit or miss. For example, I liked bits of the first story about an old French lady whose American nephew and his materialistic French girlfriend are just waiting for the aunt to die and leave them her apartment. They hire a housekeeper/caretaker who happens to be a Muslim woman, and the old lady is rude, racist, and incensed — but her anger seems less directed at the housekeeper and more toward being left alone and ignored in a world that is passing her by. The story gets a bit strange, but it has its rich moments. My favorite of the stories was the episode, “Expectation”, in which Amanda Peet and John Slattery are just so human that it’s hard to watch. A close second is “End of the Line” when a childless couple (Kathryn Hahn and Jay R. Ferguson) travel to the Russian Far East to adopt a baby. The scene is so drab and suspect, hinting constantly that something could, and will, go wrong at any moment. The final episode is also interesting. But then several of the episodes are utterly forgettable. Like I said, hit or miss.

Modern Love: Like The Romanoffs, Modern Love is an anthology of vignettes. It’s in fact The Romanoffs without the Romanoff thread… it’s stories of people falling in and out of love — different kinds of love and care, different places in love affairs, the loss of love, and so on. It’s engaging enough that I did feel drawn in and watched it all. Also a supremely talented cast, including John Slattery (who featured in The Romanoffs), and a duo of “everywhere, in everything” people —Julia Garner and Shea Whigham.

The Jewish Enquirer: Imagine a low-budget sitcom modeled on the awkward misanthropy and political incorrectness of Curb Your Enthusiasm, only set in London, focused on a mostly unsuccessful journalist at a niche newspaper, and you might dream up something like The Jewish Enquirer. As it likes to say in reference to itself, it’s the UK’s 4th most-read Jewish newspaper… which should tell you everything you need to know. Hapless protagonist, Paul, gets into scrapes and situations that are reminiscent of Larry David‘s Curb antics… meaning that you’re not sure whether to laugh or cringe or both.

Black Monday: I nearly forgot to include this, but when the show returned from a hiatus recently with a Halloween episode that featured Don Cheadle and Dulé Hill dressed in competing Coming to America themed costumes, challenging each other to a Bobby BrownMy Prerogative” dance-off, and Andrew Rannells dressed as George Michael from the “Faith” video, the brilliance and hilarity of this frenetic show came rushing back to me. It’s not always spot-on in terms of what it’s trying to do, but it effortlessly captures the volatility and excess of the era it’s portraying, and has us laughing while it does.

Ozark: Ozark started off by introducing us to Marty and Wendy Byrde, accidental money launderers who have to weasel their way out of trouble with a Mexican drug cartel. They both turn out to be so successful at money laundering that it takes over their lives, and changes their entire life path (the whole family is affected, but it’s Laura Linney‘s Wendy who seems to embrace this sinister lifestyle and immerse herself in it). Jason Bateman is a steady hand (as he is in everything), and Julia Garner, who has been everywhere in recent years, is superb, despite some script-related character fluctuations that didn’t feel aligned with her character, Ruth.

Unorthodox: A young woman escapes her oppressive ultra-Orthodox life, leaving her husband and only life she’s ever known in Brooklyn, and runs away to Berlin, where her mother (who has also long ago fled the Orthodox life) lives. It’s a fascinating story about claiming an individual identity when layers of some other cultural and religious identity and “tradition” have been forced on you. She finds her path, and begins to make her own decisions.

Shtisel: Following on the very popular Unorthodox, I watched the two series of Shtisel, an Israeli show that follows a fictional ultra-Orthodox family through their daily lives, particularly as they all bend and break some of the rules of the strict community they live in. (Shira Haas, who plays the lead in Unorthodox, also appears.)

Our Boys: There’s something about this Israeli-American production that both angered me and made me inconsolably sad. Perhaps it’s the hopelessness of the situation between Israelis and Palestinians as an overhanging theme. The story starts with three Israeli teens being kidnapped and killed, apparently by Hamas. In a retaliatory kidnapping a Palestinian boy is taken away and killed. While the reactions of both the Jewish and Arab communities are explored, the hardest thing to watch was the grief and pain the family feels, and how much their differing reactions lead to the fragmentation of their family.

Kalifat: A Swedish drama/thriller about a young woman, Pervin, who is married to an IS fighter in Syria. She is desperate to leave and return to Sweden and is told that she has to exchange intelligence on IS activities for an escape route for her child and herself. The urgency of each moment, and how much risk Pervin is taking to get out of her perilous situation, is keenly felt in fast-paced action and seemingly constant threats. There are secondary — and important — stories, such as a thread about a “recruiter” who is grooming/brainwashing girls in Sweden to send them off to IS-controlled Syria. But it’s Pervin’s story that makes this worth watching.

Bobby Kennedy for President: It’s possible I watched this while I was descending into a maudlin period anyway, but I couldn’t help but cry multiple times as I watched this documentary series. Not so much because of Bobby Kennedy’s assassination, but for the turbulence and loss of innocence that enveloped the 1960s — and Kennedy’s death was like a bookend to a period of sweeping social change that ultimately went into self-obsessed hibernation during the stagnant and ugly 1970s. I did enjoy the evolution of Bobby Kennedy as a thinker and politician, as he moved (at least rhetorically) away from dogmatic law and order to more social-justice-oriented policy and thought. His ascendancy and moment as the incumbent Democratic nominee, snatched away in minutes, is yet another one of history’s pivotal moments in which we are left to forever wonder, “What if?”

Years and Years: I sort of stumbled onto this British miniseries, and I ended up being quite surprised by its startling parallels with the current period we live in. We’re mired in a big mess, — politically, socially, economically, environmentally — and the real future, as well as the one projected in Years and Years, is grim and dark.

Hollywood: This won’t go down in history as a classic, but it was certainly inventive. A surprising emotional at times take on “what if…?” What if Hollywood had been different in the post-war era? What if gay actors could have just been who they were and lived with who they loved? What if black actors, writers and actresses would have had equality and visibility as they deserved? The generous artistic license here both let the imagination soar momentarily while also beating it down with the realization that no, we’re actually still not in a place of such openness.

Sorry for Your Loss: I wanted to find this to be… better than it was. But the endlessly whiny and exceedingly selfish character, a young widow played by Elizabeth Olsen, made this almost unwatchable. The supporting cast shines when they have the opportunity, but Olsen’s Leigh sucks all the oxygen out of every scene, making it difficult to enjoy the other stories. Her husband appears to have killed himself, and through flashbacks, we see how deep his lifelong depression is, and how dismissive Leigh has been of his struggles. And it just makes her selfishness all the more annoying. I couldn’t force myself to watch the second season.

Stateless: Anyone in doubt of the great range of Yvonne Strahovski‘s talent should look no further. If you put together her anguished, confused portrayal here with her controlled, manipulative role as Serena Joy in The Handmaid’s Tale and her breakout performance as Hannah in Dexter — all very different roles, it’s hard to imagine why she hasn’t made a bigger mark. Stateless is the true story of an Australian woman who, after a psychotic break, ends up in an Australian detention center meant for refugees.

I Am Not Okay With This: Based on a comic book, I Am Not Okay With This straddles fantasy, sci-fi, teen coming-of-age dramedy and somehow manages to pull it off. The story focuses on angry and confused teen, Syd, who discovers she has out-of-control telekinetic powers. It’s not terribly different from many other high school angst films and tv shows, but its irreverence and a touch of the supernatural make this worthwhile entertainment.

The English Game: This isn’t exactly a masterpiece but does take a surface-level look at how football changed and became a “passing” game once Scottish players came onto the scene. Football was at the time (the 1870s) seen as a wealthy upper-class man’s pastime, but the Scots who played were working class men who felt that the game not only could be a team effort but also a vocation for which players should be paid. He was by no means the main character, but I loved Craig Parkinson as James Walsh.

Queen Sono: I had to watch this if for no other reason that it was Netflix’s first African production. It’s not a masterpiece, but it held my attention and felt, for once, like something different.

Taste the Nation with Padma Lakshmi: I get pulled into these food and cooking shows sometimes, but most of them aren’t things I’d single out to mention. For example, I have watched most of the cooking-related shows available on Netflix (Ugly Delicious – but David Chang seems dickish enough that I can’t recommend it to anyone else; Chef’s Table, which I actually love; The Chef Show – which is fairly informative and made me have a new appreciation for Jon Favreau; Somebody Feed Phil, which is highly obnoxious and repetitive but does visit some interesting places – it in fact made me think I wouldn’t mind spending a bit of time in Chicago, even though I don’t have an ounce of desire to spend even one minute in the United States). Having listed all these things, I do single out Padma Lakshmi’s Taste the Nation because I very much enjoyed how she struck a balance between different groups of people and their food and the contradictions and adaptations of those foods and how they have been adopted and co-opted. In the first episode, for example, Lakshmi travels to Texas (the El Paso/Juarez border) and meets a second-generation Syrian immigrant who is a Trump supporter who claims to love his Mexican employees, Mexicans and Mexico — and runs a gas station/Mexican diner that employs Mexicans who have to cross the border to come to work every day. Padma, bless her, doesn’t comment on the cognitive dissonance that would allow someone to praise and vote for Trump at the same time as praising and relying on Mexicans for his livelihood… The whole show is full of these kinds of small cultural anomalies and twists, and it’s this stealth that made it enjoyable.

Nadiya’s Time to Eat: A breezy and informative British cooking show with a friendly but not annoying woman (that’s a hard balance to strike on these kinds of shows, I think), Nadiya. She sometimes made some weird stuff but overall it was just a pleasant thing to have on in the background, and to watch Nadiya as she traveled to different spots in the UK to see, for example, salmon farming, sugar processing and Marmite manufacturing in action. (I made a wee mention of this in another post on vegan candy making.)

Jett: Mostly mindless entertainment with the lovely Carla Gugino as an ex-con, high-end burglar also featuring Giancarlo Esposito. I’ve already confessed to enjoying Jett but not in a way that would make me tell you that you should watch it yourself.

Life in Pieces: I never got around to watching this sitcom when it was new, and over the course of a few weeks binge-watched the whole thing. There were moments that were funny, of course, but for the most part this always felt like it was trying too hard.

Star Trek: Picard: I will probably love anything Star Trek that you throw at me, and this was not an exception. There were some misfires (why was Alison Pill and her character even there?), but overall I loved this, and if you’re a Trek person, you probably will too. Oh, those Romulans.

The Plot Against America: I read Philip Roth‘s book in February 2018, and it seemed sufficiently terrifying and prescient. Then I watched this – the David Simon/Ed Burns adaptation – and, if possible, felt more terrified. Why? Was it because the tv version gave life to something that was once only on the page – making it closer to real? Was it the fact that by the time I saw this we were two more years into the implosion of the United States under Donald Trump? What Plot does best is expose the insidious hatred, racism and anti-Semitism that have always been living just below the surface — and when circumstances and characters enter the public stage — and gain power — permission to unleash these various forms of hatred seems to be granted and comes out into the open. Who could ignore the striking parallels to how Americans are living today?

The Kominsky Method: I’ve written a bit about Kominsky before, and continue to recommend it — apart from being funny it captures the past-middle-age, but not quite old (at least in the minds of the protagonist) ennui of life, peppered with moments of disruption, loss and the only kind of news people get at a certain point in life: bad. I’m not sure how a premise and plot points so soaked in themes of death, illness, tax and financial problems, and dealing with struggling middle-aged children can still manage to be as humorous as it is. Perhaps it’s because of these themes – we can’t shy away from them (it’s life, after all), so we make the best of them. Anyway it’s worth watching solely for Alan Arkin, but Michael Douglas isn’t bad either.

Breeders: I can never make up my mind about Martin Freeman. He’s great in most of the stuff he’s in, but there’s just something about him that makes him seem like he would be an insufferable asshole. And while I enjoyed Breeders a lot, I feel like the character he plays here is very likely not dissimilar to how he might be in his real life. Impatient, often unpleasant, prone to outbursts. Obviously I have no way of knowing this. Perhaps it’s just that he is so good in this role that it became hard to separate the role from the man/actor. I’ve written about Breeders before, so I won’t go on about it. Just know that it’s a bang-on embodiment of the duality of parenthood: when else will you be willing to die for someone that you so frequently want to kill? (I wrote in the same post about the Canadian show, Workin’ Moms, which travels some well-trodden — and some not so well-trodden — ground on parenting challenges, but I didn’t think it warranted a separate entry here.)

Giri/Haji: I kind of struggled to get through this one – it moved a little slowly and it was sometimes not entirely clear what was going on. I am not sure I found the blooming “love story” aspect believable but I liked when the Japanese protagonist tells Kelly MacDonald something like, “I know nothing about you except that you are English.” And she of course, happily, corrects, “I am not English.” As I’ve written somewhere else in this list, before a glut of things like this, I could not have told you who the hell Charlie Creed-Miles was… but then he was here, in Peaky Blinders, Five Days, Injustice, and a few other things…

Startup: I watched Startup in a fit of… I don’t know what. I couldn’t find anything to watch that didn’t require my attention, which usually sends me down a path of hitting “play” on almost anything that looks like it could be … tolerable. Now, far removed from when I originally watched it, I don’t remember everything about it except that Martin Freeman (previously mentioned) plays a crooked FBI agent in it (another convincing asshole role that lends some credence to my theory that his default is “asshole”), and a trio of mismatched strangers end up trying to launch a digital currency together. I suppose I found it interesting in large part because there aren’t that many TV shows that discuss digital currency at all, and if they do, they get it all wrong. In fact offhand the only other show I can recall mentioning cryptocurrency (in this case ETH) was Queen of the South (also not a bad time-passer as tv goes). Would I recommend this? I don’t know. Probably not, but it’s also not terrible.

After Life: I’ve got my mixed feelings on Ricky Gervais… there’s a genius in there somewhere, but at the same time, he can’t seem to help himself from letting a very petty, uncompassionate dude off the leash sometimes. Then again, people are stupid and it’s hard to always have compassion when patience is taxed at every turn. And that’s all exacerbated by grief. But I’ve enjoyed After Life — for the most part. The first series was better in that his fresh grief and pain from losing his wife made his character both relatable and insufferable, but it’s hard to watch in a second series. Sure, we all know that grief and the accompanying expanse of emotions has no timeline or limit, but in a half-hour, semi-comedic show it’s harder to justify letting it go on unchecked, despite how realistic it might be.

Marcella: At the conclusion of the second series of Marcella, I couldn’t really see where they could take the show. But take it somewhere they did – to Northern Ireland. Marcella assumes a new deep undercover identity and tries to take down a crime family. Her own mental state has continued to deteriorate, and even though there is something captivating about this (the way a car wreck is), I can’t say this is a good show or a good use of time to watch. Never mind that it stretches all credibility in terms of how things would actually play out.

Deadwater Fell: I don’t know if David Tennant just enjoys these brief UK-TV miniseries in which he plays possible murderers, but this is another one not unlike others I have seen. This time Cush Jumbo is in it, but she didn’t make this any more compelling.

Westworld: My interest has fallen off completely after the intriguing season one. By the time this latest third season concluded, I couldn’t tell you why I had continued watching or even what was going on.

Devs: I actually could not finish this. It was just overwrought and filled with overacting. I really don’t care for Alison Pill for some reason, and watching her in this right after her “why are you even here?” role in Star Trek: Picard made this even less interesting. It’s also hard to take Nick Offerman seriously as anyone but Ron Swanson in Parks and Recreation.

Billions: I have written about Billions more than once, and I will just say that it started off and remained exciting for a couple of seasons, but has become a weird pissing contest with tiny slivers of inspiration in what, if I recall, is its fifth (?) season. Worth watching the early bits, not so much worth following through to the end.

Mrs America: A much-needed account of the history of how the ERA and the promise of women’s equality were quashed in the 1970s and 80s, mostly through the efforts of the conservative women’s movement driven by Phyllis Schlafly. Really well done, stellar cast – I wrote more about it here, and why it’s necessary viewing.

The Good Fight: The perfect dramedy, capturing the utter absurdity of the moment we live in. An even better, freer extension of The Good Wife, this time Christine Baranski takes the lead along with a stellar supporting cast. Although I’ve liked the show from the beginning, it feels less constrained now that Rose Leslie and her Madoff-like-dad storyline is gone.

Run: I mentioned Run in a post on women’s paths on television, and although I didn’t go deeply into the story of Run, I should mention that it is something I watched during this overdose-on-tv period. I didn’t really buy into the premise – two former lovers have arranged that they will text each other the word “Run” and if the other answers with “Run”, they will both run from whatever they are doing in their lives and meet at some predetermined place. Despite never really finding footing in that backdrop, the interaction and chemistry between the show’s stars, Merritt Wever (who must also be seen in Netflix’s Unbelievable) and Domhnall Gleeson, made me come back each week for me. The secondary stories and characters, including Archie Panjabi as Gleeson’s vindictive business partner and Phoebe Waller-Bridge as someone the two main characters come across during their “run”, were interesting diversions – and they didn’t entirely “fit” in the story, kept it quirky. It was nice to see Panjabi do something after The Good Wife, for which I am sure she is typecast and best known; Panjabi also appeared in the dark, depressing but nevertheless well-executed tv adaptation of I Know This Much Is True (also on HBO).

Schitt’s Creek: When I finally got around to watching Schitt’s Creek, it grated on my nerves at first, but I heeded the warnings about how it gets better and grows on you. For the most part this is true. It’s about as quirky as you’d expect, given the cast and premise. I still haven’t seen the final season, but everything up to that point is enjoyable enough that you can lose yourself, setting aside, if only briefly, the endless thoughts of pandemic, impending national collapse and potentially destabilizing presidential election (if you’re in the US).

Pure: Apparently there were two shows called “Pure” that came out around the same time. I started a show, thinking I was watching one of them, when in fact I had accessed the other. What I ended up seeing was a program about Mennonites involved in the drug trade, but what I meant to see was a UK-based show about a young woman suffering from debilitating and disturbing impure, deviant, sexual visions that were disrupting her entire life (and her search for relief/solutions). In the end I’ve seen both, and while I would not actively recommend either of them, I preferred the Mennonite Pure, despite the fact that I’d never set out to watch it in the first place.

Killing Eve: I keep watching this even though I hate it. I really hate it. I cannot put my finger on what exactly I hate about it, but it’s just … what’s the word? I’m glad that most of the lead roles are women, even if they seem mostly unhinged, and that the show’s creator is also a woman. But this seems more a showcase for strangeness and a platform for …something. But it’s not great. I don’t understand the compulsion that draws Eve (Sandra Oh) and Villanelle (Jodie Comer) together time and again, and this is meant to be what draws the viewer into the show week after week. In fact at a certain point, it is the only story, and everything else is a distraction. Apart from short glimpses of entirely other things — such as the damaging effects poor parents have on their children and the difficulties of, in fact, parenting, the core of this show feels hollow.

The Morning Show: I somehow thought this was a half-hour comedy. Maybe because people have tried so many times (and mostly failed) to make half-hour comedies about morning shows. But no, I was quickly set straight and realized that watching this was going to take much more time than I had anticipated. This is a thinly veiled version of the Matt Lauer sexual assault story, and the NBC coverup (recounted in detail in Ronan Farrow‘s Catch and Kill) that kept Lauer out of harm’s way and damaged countless women, their self-esteem and their careers. Not bad source material. Steve Carell‘s dramatic stock-in-trade is surface-level nice guy veneer papering over a deeply flawed, self-absorbed, abusive asshole. He uses this to perfection here, probably pulling off the most believable performance among the leads. I’m not a big fan of Reese Witherspoon or Jennifer Aniston, but both are passable, and better than usual (in my opinion). The supporting cast/roles were the biggest draw, as many of the production staff characters have compelling backstories, great personalities, and convey the real damage they have suffered from the sexual abuse they’ve experienced. And the best thing about the show, which is only a secondary thread, is Néstor Carbonell‘s weatherman character. You can’t help but love him.

The Outsider: I read a few good reviews of The Outsider (not to be mistaken for the heels of bread, ootsiders, as many Scots call them), and I like Ben Mendelsohn. But I don’t like Stephen King adaptations much, and this was not an exception. The basic idea: a murder that at first seems straightforward turns out to be not at all what it seems, and the lead investigator’s winding journey to find out what really happened. It’s not to say that this was bad – it was in fact as well done as a story with supernatural elements can be (and maybe that’s what is hard to swallow for me). Performances and characters were all great — so I should just be glad there was something redeeming here.

AKA Jane Roe: Documentary on “Jane Roe” (Norma McCorvey), who was the plaintiff in the landmark, always-under-threat case, Roe v Wade, which granted American women the right to legal abortion. McCorvey was a difficult and challenging woman — shifting from a pro-choice “icon” to a mouthpiece for the anti-abortion Christian right. Her move to the right was a blow to the movement, and even had a personal cost for McCorvey (who had to renounce her longtime partner because the religious movement to which she’d tied herself considered homosexuality a sin). If there were a living, breathing embodiment of an unreliable narrator of one’s own life – McCorvey qualified. At the very end she says she was using the religious right as much as they were using her, and she was being paid to renounce her pro-choice beliefs and be a public voice for the anti-abortion movement. But in life, as on film, McCorvey never establishes that much of what she presented was true or real, so it’s hard to know what to believe.

Showbiz Kids: It’s hard not to feel bad for the kids (now adults) who appear in this documentary about kids who have grown up on film or tv sets. Nothing has been normal about their lives, and many don’t cope well (if they make it out alive) with it when they get older, particularly those who don’t successfully make the leap into being actors as adults.

Various standups: Standup comedy is a bit hit or miss, but I’ve found that some comedians are reliable for providing something I will enjoy, namely Marc Maron, Colin Quinn, Patton Oswalt and Hannah Gadsby. All have stuff streaming on Netflix. And you need a laugh. Go for it.

*Postscript 1*

A few items I forgot to add:

Homecoming

Shrill: I found Shrill to be surprisingly cutting and forthright — I didn’t expect to enjoy it as much as I did.

Quiz: The backstory on a cheating scandal that rocked Who Wants to Be a Millionaire.

The Great: Satirical and fictional take on Russia’s Catherine the Great. Not perfect but entertaining.

Dispatches from Elsewhere: I’ve already written about this unusual and fascinating journey.

Mrs Fletcher: I love Kathryn Hahn, and I’d add this because of her anyway. But this was an interesting journey about a divorced middle-aged empty-nester coming to terms with who she is and taking a new path. It fails on some fronts and feels a bit directionless at times, but that seems to serve the character’s unsteady, unsure steps toward identifying who she is.

*Postscript 2*

I thought a bit more about things I had consumed and decided to add a few more, even though some were things I watched a long time ago. Some shows, like The Americans and Halt and Catch Fire deserve much more attention and praise and viewers than they had when they originally aired. A handful of other shows are similar. And then there are the shows I just forgot watching (regardless of their quality — that’s what happens when you watch as much as I do. You are submerged by a wave of viewing.

Succession: I had forgotten about this until someone told me about a frightening documentary about the Murdochs that’s been airing in Britain of late. And while I don’t feel the urge to lavish uncommon levels of praise on Succession, I have enjoyed it.

Better Things: I will never be able to praise Pamela Adlon and Better Things enough. I’ve written about it more than once and think, despite critical acclaim, it should receive a lot more attention for the craft and creativity of its realism.

I May Destroy You: I found this to be uncomfortable to watch. Not just because of the subject matter (sexual assault in its various forms) but because the main character is deeply unlikable. She seems to drift through life mostly partying and not really showing much concern for others around her despite expecting them to show her compassion and deference. Other characters were far more compelling and sympathetic, and it’s a testament to Michaela Coel‘s (writer, director and star) talent that she makes the main character’s story ambiguous and challenging.

Never Have I Ever: Light fare — high school girl longs for popularity and a boyfriend and tries to come to terms with her father’s death, her difficult relationship with her mother, and her ambivalence about living in two cultures (as an Indian-American). It’s an interesting look at how we all see ourselves as outsiders/others, how we are all vulnerable but don’t acknowledge it, but sometimes we get a chance to see others’ vulnerability and it opens us up to revealing our selves more fully.

Better Call Saul: It’s a different show from Breaking Bad, and as it has developed – slowly – I have come to prefer it over Breaking Bad. The characters in Saul are so compelling, changing throughout, morphing into who they will eventually become. It’s fascinating to see how they get there. For a long while it was Jimmy/Saul and his struggle with his brother Chuck that kept me glued to the screen, but over time it has become Kim Wexler‘s complex inner journey and decision-making that drive this narrative forward.

Search Party: A small show that has certainly evolved from its beginnings. I guess seeing Alia Shawkat‘s Dory change from a self-absorbed young woman on a mission into a manipulative sociopath is what makes this interesting. The other characters, Dory’s group of friends, feel mostly one-dimensional and inconsequential, and in many ways detract from the show (even if it would not necessarily work without their involvement). I was happy to see Louie Anderson in a supporting role as a defense lawyer and Michaela Watkins as a prosecuting attorney in season 3. Probably the highlights for me.

Baskets: Speaking of Louie Anderson, Baskets (a vehicle for and by Zach Galifianakis) was always one of the strangest shows on tv while it lasted. Galifianakis as Chip Baskets, a kind of loser who wants desperately to become a (serious) clown, is oddly poignant. Anderson plays Chip’s Costco and Arbys-obsessed mother, Christine. I don’t think it does justice to the unique nature of the show to try to describe it… but it’s one of those under-the-radar things that I feel like I’m the only person who has ever seen it.

Goliath: So… Billy Bob Thornton as a kind of washed-up lawyer. The only show I’ve ever seen that has used the word “uvulopalatopharyngoplasty“. Not that that makes for a recommendation. Me, I will watch almost anything Billy Bob makes.

The Marvelous Mrs Maisel: I love Tony Shalhoub, and it is for this reason that I have continued to watch this mostly insufferable show. As most critics and viewers have pointed out, it seems highly unlikely that every person who meets the titular heroine, Midge Maisel, is going to fall head over heels in love with her, requiring that each scene in which this character appears be lauded by “you’re so amazing!” praise. This is the biggest complaint I have, but the secondary problem for me is the Amy Sherman-Palladino problem. Her style feels unnatural (this was nowhere more true than in the hate-watched Gilmore Girls). While I genuinely enjoyed the first season of Mrs Maisel, I found that each successive season felt more like work to get through, despite enjoying the presence of both Luke Kirby as Lenny Bruce throughout the series and Sterling K Brown in a season 3 role.

Little Fires Everywhere: Save yourself the trouble. Read the book instead.

Halt and Catch Fire: Please just watch this. Stick with its slight missteps in season one and follow through. So worth it.

The Americans: I’ve never been able to understand why The Americans never made a bigger splash — it’s got so much in it. Stellar performances (Matthew Rhys, Keri Russell, Noah Emmerich, Annet Mahendru, Alison Wright, Frank Langella, Margo Martindale and Costa Ronin are all outstanding), timely themes, the 1980s, spycraft. It’s just so well done. I recall being told as the 1990s were coming to an end that my interest and study of Russia and the Russian language was “useless” because “that war is over”. But even as the Soviet Union itself crumbled, the long-term view clearly depicted a different future in which enemy countries will continue to fight but things will just become more subtle, more technological. We are seeing that play out now. This show is a powerful introduction to the ways spycraft worked as the 80s came to a close and the Cold War as we knew it was ending. The ideologies that these spies defended were so far removed from how power and everyday life both played out in the Soviet Union — and to watch the two main characters struggle with this in very different ways made The Americans a must-see.

Chernobyl: Speaking of the Soviet Union crumbling, the dramatization of the Chernobyl disaster, the attempts to cover up and deny the scale of what was happening, and the horrifying and long-lasting effects was handled with care, without exaggeration. The disaster was perilous enough that turning it into a spectacle was unnecessary. An understated story put together by Craig Mazin is brought to life by an incomparable cast, from Jared Harris to Emily Watson, from Stellan Skarsgård to Jessie Buckley. An exceptional story that, like many historical events, gets lost with time, we luckily have storytellers who continue to bring history to life in film and literature.

Perry Mason: A strange TV revival, a rather dark remake of Perry Mason — but nothing like the old 1950s-1960s tv show of Raymond Burr (see more about Burr in Visible: Out on Television) fame. No, Matthew Rhys is Mason here, and although ostensibly the lead, many other characters play at least as important a role in unraveling the mystery central to the story. Like much of the prestige TV listed and discussed, the plausibility and watchability comes down to casting. I continue to watch for Rhys, everywhere-man Shea Whigham, Tatiana Maslany (who else misses Orphan Black?), Chris Chalk and Juliet Rylance… but everyone here is great, even in the smallest of roles (Justin Kirk, Gretchen Mol, for example).

Trust Me: There was nothing groundbreaking about this medical drama. Over the course of two disconnected series, two characters are at the center of mysteries and lies within a hospital setting.

Taboo: I’m still not sure what to make of this series. It wasn’t enjoyable, but somehow felt… gripping anyway. Conceived of by its star (Tom Hardy) and his father, this story follows James Delaney (Hardy) as he returns to 1814 London when his father dies. Delaney has been absent for years, presumed dead. His return upends the order of things, including entitlement to his father’s estate. Some plot points are a bit complex, so more useful to watch than read about. (And the lovely Jessie Buckley turns up here too.)

Barry: I’ve mentioned Barry before in writing about hit men. It’s an entertaining take on murder-for-hire.

Casual: It’s been over for a while, and even though it wasn’t perfect, I enjoyed the sibling relationship at the center of the story. Michaela Watkins is fantastic as the co-lead of the sibling duo… and Tommy Dewey, as the other part of the sibling duo, plays a shallow character who begins to evolve as a person. In fact all the characters evolve, and it’s nice to see characters change in subtle ways — sometimes for the better, sometimes not. Most shows aim for character change, but the evolution feels too much like a plot path. Here it feels more organic and realistic.

Catastrophe: Imperfect marriage; very flawed people. Often very funny, sometimes heartbreaking. That’s kind of the whole plot.

Who the (Bleep) Did I Marry?: One weekend I was out of things to watch that wouldn’t require my attention or thought, so I turned this on. It was interesting to see some of these real-life tales that I’d seen in the news (the wife of the Green River Killer, or Mary Jo Buttafuoco) depicted from the point of view of the unsuspecting partner. Mostly this felt like a lot of naive, gullible, lonely people who were so desperate to be with someone that they did no due diligence to find out if anything about their partner was true. But oddly addictive if you got sucked in.

Underground: This harrowing show only lasted for two seasons, and while it was not perfect, it dealt with a subject matter that America should reckon with frequently and in great depth. Sure, a fictional account of slaves making their way to freedom isn’t going to fix anything, but it too is a form of representation and making sure that parts of history are not just swept away or softened.

City on a Hill: Kevin Bacon as a corrupt FBI agent and Aldis Hodge (who was fantastic in the aforementioned Underground as well as in TURN: Washington’s Spies) as a District Attorney in 1990s Boston. It took me a while to get through this, but I think by the end of the first season I hoped for renewal.

Pose: Failed to include this in the list originally… but quite a show. Even if the show itself weren’t fabulous, the cast and concept are. Nevertheless it’s so watchable and sometimes so sad.

Liar: I’m kind of a sucker for Ioan Gruffudd, so I watched Liar mostly for him — even though he definitely isn’t a good guy. The problem here is that I really do not care for Joanne Froggatt (Downton Abbey fame) — her voice grates on me, and then this character feels more histrionic than necessary. Sure, she is a victim of sexual assault and later accused of murder. This would make most anyone histrionic. I think it’s a lot of her behaviors — often overly defensive and not doing her any favors — that make her hard to believe and watch. At the same time, if she didn’t behave in these ways, her character, who was being railroaded, would likely have been convicted of murder.

The Valhalla Murders (Brot): It’s Icelandic, and even though it captures (or reminds me of) how small and insular the place is, it made me feel desperately homesick.

Call My Agent! (Dix Pour Cent): A French comedy-drama about professional entertainment agents. Entertaining, satisfying and lovely to listen to French.

Frayed: An Australian semi-dramatic comedy. A woman, living it up in London, with riches beyond imagination, loses everything when her wealthy husband dies in rather questionable circumstances, and their house-of-cards life falls apart; with nothing, she is forced to go home to Newcastle, Australia. I quite enjoyed its six episodes… I like reflecting on the idea of trying to “go home” again to a place you never felt at home in, especially after you’ve worked hard to erase the person you were. But you cannot completely escape that person. The “Simone” we meet in the beginning in London has been a hard-won, long-con fabrication of an identity, but it’s so hard-wired by the time she returns with her tail between her legs to Australia, that it’s hard to imagine that she will return to the “Sammy” she was growing up (but slowly, almost inevitably, she does).

*Postscript 3*

What We Do in the Shadows: I started watching this because I had read so many times about how great it is. It took a while to get into it because at first it just seemed stupid. But I was won over in the end. Mostly by the vampires’ familiar, Guillermo, but its sly cleverness, pop culture references, and total randomness (Matt Berry‘s Laszlo going into hiding in Pennsylvania and becoming passionate about volleyball, for example) eventually made this addictive.

Fauda: An incredibly violent Israeli show about an undercover Israeli IDF unit. I’ve read reviews that make this sound like it’s two-sided, but it mostly doesn’t offer the most sympathetic viewpoint on Palestinians (apart from the occasional character we’re meant to sympathize with, i.e. someone who gets in over their head or is driven to terrorism or something similar). Mostly we see a completely off-the-handle team lead, Doron, constantly disobeying orders and doing stupid shit that puts his entire team at risk (when they are already doing risky stuff). He reminded me of a discount version of Vic Mackey from The Shield. Completely unreasonable, and worse — despite all the things he did that were insane, the unit kept welcoming him back in for more ill-fated missions. Nevertheless it was action-packed and suspenseful.

When Heroes Fly: Another Israeli show with a ridiculous title. I wouldn’t say I liked this show at all, but I like listening to Hebrew. And Michael Aloni from Shtisel is in this as an entirely different kind of character. The overall plot was a bit off, acting a bit stiff, and a fair few things that don’t fit together, fair enough. The first episode was pretty interesting, but that was its peak other than a facet the show only just began to touch on: the lasting effects of combat PTSD and what happens when you don’t acknowledge or deal with it. That could have been a lot more rewarding to explore.

Kidding: Jim Carrey as a beloved Mr Rogers-like children’s tv host, going through a crisis of sorts after the death of his son. I wanted to like this more than I did, but it felt more depressing than anything else. Not that real life isn’t depressing. There are moments of levity – that can’t be discounted. Interactions between Carrey and Justin Kirk make this worth watching, and I enjoyed Catherine Keener and the Japanese puppeteer guy’s storyline. But as a whole, somehow this did not really come together the way I hoped it would.

*Postscript 4*

I probably watched other things in the interim since updating last, but there were a handful of things I decided to add/mention.

Patriot Act: I’ve been watching this since its start, and it’s fantastic. I’m disappointed in Netflix for cancelling it at all, let alone during fraught times like this. Hasan Minhaj has been a comedic voice of reason, and it will be sorely missed.

Immigration Nation: I knew the US immigration system was completely fucked up, but this illustrated just how badly. This was a horror show.

Good Girls: I don’t know why I find this show about three women who get deeper into criminal activities as compelling as I do, but the combination of Mae Whitman, Retta and Christina Hendricks just seems to work. Oddly I watched season 1 a long  time ago, enjoyed it and mistakenly thought I’d seen season 2. Imagine my surprise, then, when I had seasons 2 and 3 to watch to catch up.

Øljefondet (Oil Fund): A rather silly Norwegian comedy about the Norwegian Pension Fund and the American-style, ethics-free head of investments and how he’s bought back down to earth when the agency brings an ethics officer on board. It’s entertaining and always fun to see places you recognize on film.

The Bureau (Le Bureau des Légendes): A French political/spy thriller, which I will admit that I’ve only begun to watch right now. I am not sure if I will continue but wanted to highlight an Amazon Prime problem/bait-and-switch kind of issue. Scrolling through Amazon, I saw The Bureau available but through some subsidiary subscription service (meaning I’d have to shell out extra to watch), but then I kept scrolling, and the same content was available for free as part of the regular Amazon Prime subscription (albeit for a limited time). I’ve come across this more than once where content is duplicated — and if you find it in one part of Amazon, it’s free, but if you happen to find it elsewhere first, it’s part of a subscription package. Ugh.

Srugim: Another Israeli show… looks like it was kind of done on the cheap (some repeated stock footage used in nearly every episode), but an interesting look at a group of young, religious friends (Religious Zionists) who obey the Sabbath solemnly and, at times, struggle with the different levels of observance among their friend group and outside of it as well as their own beliefs. It brings up a lot of interesting and controversial issues, and I’m always game to learn more Hebrew.

Blink

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Finally finished up reading Jonas Gardell’s Kärleken/Sjukdomen/Döden (Torka aldrig tårar utan handskar) trilogy (the TV version is also good). It’s strange to see the ‘backwards’ countryside of western Värmland represented (and to read about it). As a ‘foreigner’ living here especially it’s entertaining.

Near the end of the third book, one of the main characters (one of the only ones left alive) exits the train in Åmotfors, which is already a podunk, middle-of-nowhere, close-to-nothing town, and asks the guy who picks him up, “Ar det långt till Koppom?”

“Bah. Tar väl en kvart eller så. Och när vi väl är där får du inte blinka för då missar du hela tätörten.” Yes, that’s just about 100% accurate.

It was interesting to delve into these books as my first foray into reading books in Swedish. I knew I had to choose something that would hold my interest – and the story/tragedy of AIDS happens to be one of the things that still conjures up all kinds of emotion and anger – this huge sense of loss – even though I have no tangible connection to it. I feel deeply affected every time I think about it – and how pervasive the fear and scaremongering was. And also to realize how young people today understand so little of how the terror associated with this at-first completely mysterious and fatal disease rippled across society and more starkly exposed the hypocrisy and inhumanity of bureaucracy, governments and healthcare organizations (as well as average people – who didn’t care about this at all, in fact welcoming and even laughing about it on some selfish, shitty, brutal level as long as they believed it only afflicted gay men) while bringing the strength, resilience, organization and collective voice of the gay community into the light.

When I reflect on this period, it felt like “peak terror” went on for a really long time (I was a child during the height of this), but in fact, despite the havoc the disease wreaked, it was a relatively short period of time that it gripped public attention and also equalled an inevitable death sentence (the relatively brevity of the ‘epidemic’ period being little consolation to all those who did lose their lives)… I cannot say it was a mere blink of an eye, but like most things in life and indeed in the course of history, especially now with the 30-second attention spans of tweets, the demand for instant gratification and higher-stakes drama, the pain and fear of that period has lost its efficacy – at least for those who didn’t witness those years of uncertainty, illness and death.

Innovation v Invention – Not knowing how to change things when you work from a template

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As long as something is deemed sufficient, even if imperfect, no one will change it. Most people who work in technology or in any field that relies on innovation know that “innovation” is rarely, if ever, borne of someone expressing a specific need and someone else finding a way to meet that need. Sometimes innovation comes from hidden needs – the solving of a problem. Those who express their problem but don’t have ideas for or even an expectation of finding a solution are eventually met by those who have framed their problems with a solution in mind, developed solutions and introduced these solutions (or sometimes introduce solutions for problems that were somewhat hidden).

There are, of course, other innovations that are so novel, so innovative, that they create whole new things, new paradigms, new ways of seeing, perceiving, gathering information, organizing the world and living in that world. These tend to be things that are widely perceived as “crazy”, such as statements like “every home will have a personal computer by whatever year”. This seemed so outlandish, unnecessary and beyond the realm of possibility at the time. But there were visionaries who could see the potential for personal computing. We have seen the same with the smartphone, spearheaded by Apple, and other connected devices. We used to have crazy long-distance phone charges just to speak to someone who lived in the next county – and even though we all hated it, it is not like the majority of us tried to devise innovations to liberate ourselves. True innovation is often vision and a means to liberation (not just a run-of-the-mill solution to a problem). It anticipates a solution for many problems or features that we want to use long before we have the problem or want the features. Steve Jobs and Bill Gates are written about ad nauseam as the forefathers of this sort of thing – mostly because they have been the front-men and are identifiable figures. We don’t often hear about the thinkers, geniuses, programmers who have come up with a lot of the inventions (tech oriented or not). But real innovation usually changes the world.

This is where I have a lot of problems with normal corporate life. Most companies have adopted “innovation” as a buzzword and concept – have tried to weave the idea into the corporate behaviors, running workshops on how to think about and teach approaches to “innovation”. But this is just not how it works.

In a somewhat related area, I recently read an article about why we don’t have better condoms. The most “revolutionary” development in the condom-making arena in the last 40 years has been synthetic latex condoms (since latex allergies are serious, and one wouldn’t want a latex allergy to prevent someone from having safer sex…). (Durex apparently used the word “revolutionary” in its marketing of a polyisoprene condom.) This is not innovation, at least not by its modern, accepted definition. Perhaps if we think of the literal definition of “innovation” – it is a bit like “to make new again/improve”, in which case, making small, incremental changes and improvements IS innovative. And polyisoprene is a variation of an existing product and existing material. True innovation, as the word is used, should be called “invention” – meaning that you will end up discovering something completely new and different from what anyone could have imagined. Some completely new material that totally changes the game.

Condoms have never been the most interesting topic for anyone – and because, until the onset of the AIDS crisis in the 1980s, condoms were seen primarily as a non-invasive birth control method (not something gay men were particularly into), they were not something anyone really needed to talk about. It was also not high atop anyone’s “let’s revolutionize this design/material” agenda, going back to the point that if something is sufficient, there is no real reason to fast-track change or seek to think about it in a new way. Indeed, at the height of the AIDS crisis, real innovation had to go into something more urgent – seeking viable, life-saving treatments for the disease itself. (It was not entirely clear early on, before the virus and its spread was fully understood, that condoms could act preventively.)

If you believe Danny Resnic, hard at work on his Origami condom, polyisoprene is a symptom of Americans’ failure of imagination when it comes to condoms. “When I first told people I was developing a new condom, they went, ‘Well, what could be different about a condom?’ ” he said. “They couldn’t imagine anything different, because there’s never been anything different.” Resnic thinks men have become desensitized by latex condoms. “They’ve come to accept that level of sensation as the maximum.” If they use condoms at all.”

I would argue that lack of invention in many areas comes down to this same lack of imagination. There seems to be no shortage of imagination in technology. And while changes occur frequently in areas like healthcare and pharmaceutical/medical device development, the regulatory and legal requirements, costs, lack of “sexy factor” and human factors considerations make this field much more difficult to operate in. Real change seems to occur only when there is a loud enough public outcry or public health emergency (the response to HIV/AIDS in the 80s – only because the gay community and its few supporters were vocal, organized and demanding enough or to some extent in response to Ebola, which some argue came belatedly). Some “imagination” is not as possible to implement – and certainly not as swiftly as one would desire – in healthcare and medtech.

When looking at something as “boring” to most as condoms, we have a working template, and very few people have the interest or imagination to change or improve it.

“Everyone has AIDS!” – When Did AIDS Become a Punchline?

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I watch an undue amount of television and films and have begun to wonder: when did it become okay to joke about AIDS? And when is a joke a joke too far?

When did AIDS stop being a histrionic soapbox issue in one isolated, “very special” TV episode (à la Designing Women) or a story arc for a regular character (à la Life Goes On and its Chad Lowe character “Jesse” – which actually handled it pretty well – but didn’t that show have enough going on with an economically strapped middle-class family rearing a Down Syndrome kid, an overachieving nerd kid and a late-in-life, unplanned pregnancy, among other things?).

Back in the early days of the crisis, which rightfully terrified every person conscious and alive at that time, we did not see a lot of gay stories on TV (we know of course that all AIDS stories were not gay stories, but the dearth and lateness of mainstream stories can be placed squarely on the fact that network television was not the semi-gay-friendly place it has now become), but there were some exceptions – Designing Women had a particularly poignant episode guest starring a very young Tony Goldwyn (yes, yes – President “Fitz” Grant from Scandal).

AIDS showed up in pop culture now and then… but when did it become okay to joke about it?

When you think about treatment for HIV and AIDS – and the awareness of it – it has advanced further and faster than advances in almost any other disease or illness. I’d attribute it to the persistent, loud demands of won’t-take-no-for-an-answer activism from an hitherto marginalized community of gay men who were disproportionately affected by this epidemic. We can all thank them – even if, as one characterization of the crisis puts it, we have ended up in a “complacent” or “indifferent” place in society with regard to what is now a treatable illness.

But does this advancement mean that all of societal perception has shifted? Does the tempering or perceived neutralization of the threat and the almost-distant memory of the devastation AIDS once caused in the western world mean that we have reached a stage where we can laugh at it? Young people today (I know I sound elderly starting a sentence that way) did not live through the fear and terror of those early years and thus don’t feel the same limitation or deference to the topic’s seriousness. It’s seen as a “developing-world issue” if it is thought of at all. Taking that into account, is it possible for some of the humor to be intelligent analysis or satire of the place we are with the disease – or with other things in society when held up to it? And where is that line? What happens when someone crosses it?

A woman named Justine Sacco found out the hard way, as she completely failed to walk the tightrope when she tweeted something that went viral and was widely seen as completely inappropriate and in horrible taste. (Her Tweet read: “she tweeted: “Going to Africa. Hope I don’t get AIDS. Just kidding. I’m white!”)

“Despite Ms Sacco only having around 200 followers, the message quickly spread to online news organisations, with social media users around the world expressing their disgust.

The irony of a supposed public relations expert tweeting such an insensitive comment, and the fact it could not be corrected during a 12-hour flight without an internet connection, meant the hashtag #HasJustineLandedYet was soon trending on the social media site.”

Apart from being a perfect example of displaying very bad judgment, it is also a perfect illustration of the viral nature of social media and why we have to be careful.

But pop culture is… well, popping with all kinds of increasingly frequent joking references to AIDS. From the parody of the popular musical Rent in Team America: World Police with its “Everyone Has AIDS!” song

to the South Park play on the different meanings of the homophones “AIDS” and “aides” (which reminds me of my days observing TESOL/ESL courses; one afternoon one of the teachers discussed acronyms and had used AIDS as an example – later in the lesson, although on a different topic, she introduced the word “aides” and asked the perplexed class, “Do you think Bill Clinton has aides?”).

What prompted this entire train of thought on the subject, apart from watching the heartwrenching HBO treatment of The Normal Heart last week, was my marathon-viewing of Comedy Central’s Inside Amy Schumer, and an episode in which Amy’s boyfriend announces he has AIDS (humorously summarized here). Seeing it almost shocked me because I was not sure whether to find it funny or not. I think Schumer stayed on the right side of the humor because she was not actually laughing at AIDS but was shining a light on a lot of different issues, ranging from hypocrisy to the awkwardness of conversations in which you feel a certain pressure to accept or agree to things that you need time to process, regardless of what they are (but when put on the spot, it is not like you know what to say, so when the boyfriend asks if his having AIDS is a dealbreaker, she nervously, awkwardly chimes, “No, it’s great!”).

The question, though, cannot really be answered universally – where is the line?

TV overdoses, past and present – Random stream of consciousness

Standard

According to HuffPost the best line uttered on tv in 2013 was, “Not great, Bob!”

““Not great, Bob!” It was only three words, spoken by an angry Pete Campbell as he joined the ever-sunny Bob Benson in an elevator on Mad Men.””

As someone who loves any line that involves “Bob” (e.g. “I used to have a pretty good pen, Bob.” Or “Scarves, Bob? His life will be filled with scarves?”), I agree. Especially because I am, like most, a Mad Men fan – and possibly an even bigger fan of the work James Wolk has done on Mad Men, the entertaining and mostly underrated Political Animals and The Crazy Ones – he and Hamish Linklater are the best parts of that show.

I get roped into a lot of television shows – not just because television is improving and offers a depth and breadth that seemed unimaginable a decade ago. I live in the middle of the Swedish woods and am a workaholic multitasker. I need some noise going on in the background all the time, and when it’s not music, it’s television shows. Mostly I carefully select the shows to which I become devoted – but in the interim, I watch a lot of stuff halfheartedly (like the aforementioned The Crazy Ones, which is not very good and only offers a funny line now and then or –puke, puke – guest appearances from – PUKE – Josh Groban. I watch, I judge, I keep watching sometimes even when a show sucks or even after it loses the plot (example, Revenge) or becomes passé (case in point – Grey’s Anatomy). Some stuff is middling all the time – entertaining but nothing extraordinary (Elementary, Grimm, Revolution – stuff that does not require careful attention, enabling my half-watching notice, mostly things I will refer to as “network stuff”. As much as the major networks are trying to be edgy, they are still just middle-ground followers. Half-baked ideas relying on shock value, soapy dramatics, riding the coattails of the deserved success of edgier, deeper, different storytelling from free and premium cable channels. (Not that all non-network tries are successful. The US version of The Killing started off with promise, dragged its feet with sloppy storytelling and carried its first-season mystery into season two without resolution – never a good idea, right David Lynch/Twin Peaks/Who killed Laura Palmer? People extended the show goodwill enough to give it a third season, which was arguably much better than the second season, but it was really too late.)

Speaking of killing, I also caught a brief article on TV characters who should be killed off. I found that I agreed with the majority. The article also brought up some other random thoughts – because that is what a multitasker does – lots of different things at once, with disconnected thoughts shooting through the brain at lightning speed. Sometimes I capture them – sometimes not (but they were not likely worth capturing).

I only recently started watching Scandal – rapidly caught up on the previous seasons over holiday break. I dislike Quinn – never had a liking for her, but it has gotten worse. I agree that she can go anytime. I have trouble with Tony Goldwyn in general – he is a good actor but for me, he is Carl the bad guy from Ghost (a film I hated). I cannot do anything except make fun of Ghost. Everything about it was so cheesy, and the villains (Willie Lopez!? Carl!). I also remember ghosts of TV’s past when Tony Goldwyn was a guest star on Designing Women, asking the women to design his funeral. He played a gay man who was going to die from AIDS, and the episode ended with his funeral. Designing Women was a preachy show and brought up a lot of issues of the day (mid/late 80s issues). Not that AIDS is not an issue today – but the issue and the illness – or approach to the illness – have changed, maybe in part because of mainstream treatment of the disease?

Which then led me to think about the show Life Goes On (not least because one of its principal actors, Patti LuPone, is now in the ensemble cast of American Horror Story: Coven. Not a favorite in the US although it went on for seasons and seasons. It was probably the first show that put a family front and center that included a member with Down Syndrome and prominently featured that character in the storylines. While that was probably groundbreaking at the time, the show also gave one of its main characters an HIV-positive teenage boyfriend (played by Chad Lowe – probably one of the only things I remember him doing since his career has been overshadowed by his brother Rob and his ex-wife, Hilary Swank – who would have imagined that when she was in one of the many Karate Kid sequels?). I thought about how this character introduction was also its own kind of groundbreaking. While Life Goes On was never actually what I could call “entertaining”, it somehow tackled big issues without being over the top or preachy. It’s no wonder it was not popular (I am told that it was popular in Iceland for some reason – so everyone remembers “Corky” – I suspect if I were to ask a representative sample of Americans if they remember Corky or Becca Thatcher, they would not).

Where is this line in television between entertainment and education? At times Designing Women just felt like a mouthpiece for the creator’s political views and feminist diatribes. Life Goes On, without being too heavy handed or dramatic, still felt a bit too real, making it too depressing to be a gripping drama. Meanwhile, something like The Wire can do both – “edutainment”. But, it is also true that The Wire was not exactly popular during its first run. It has more of the slow-burn quality that comes from being able to buy whole seasons of tv on DVD or online for streaming/download. Some things just don’t catch on until well after the fact. Some fall into obscurity (Homefront, anyone?) while others live on and gather a loyal, vocal following (Arrested Development, Friday Night Lights – note that I cite TWO Kyle Chandler classics!). Thanks to the push for original programming from unorthodox sources (Netflix), we got another season of Arrested Development after years of waiting. Was it worth it? Hard to say – need to watch it more than once to assess. That was the beauty of Arrested Development all along – you almost had to watch it more than once to catch everything. The show was laced with multilayered jokes and references, and without a pretty well-stocked brain bar, getting the perfectly hilarious mixed cocktail it intended could be challenging. It was funny on its surface in many cases but even funnier if you could unpack all the layers. (The Simpsons is a lot like that, too – albeit more so in its earlier years.)

But then so much of pop culture – any culture or discipline – relies on shared references.

For example, everyone needs to see the 1980s classic film, Fast Times at Ridgemont High – I do not know how many times I have referenced it lately and heard it referenced. There was a con mentioned in the show White Collar called “The Phoebe Cates” (referring to the most memorable scene in the film). There was a reference in The Crazy Ones to the scene-stealing Jeff Spicoli (played by then-unknown Sean Penn). Most good pop culture – even the not so good – plays on these references and adds a richness

For the sake of posterity and trying to remember how, when, where and on what I flushed so much time down the toilet, I’m listing as much as I can remember of television I recently ingested and random thoughts on some of them. There are way too many other shows I have not listed (like Mad Men, actually – because they are not on now or soon).

Nashville – Not great, not terrible. I like Connie Britton (thanks to her work in Friday Night Lights, American Horror Story and early Spin City) – not sure I buy this show but I actually like a lot of the music in the show.

The Crazy Ones – This show is all right but I don’t go out of my way to see it. James Wolk and Hamish Linklater make the show for me (really enjoyed both of their work in other things as well). Robin Williams is too over the top as usual and Sarah Michelle Gellar, whom I keep trying to like, is just not for me. I do love Brad Garrett in his role, though. The episodes seemed to get better when he arrived.

The Good Wife – New life breathed into this (not that it needed it) when main character goes off to form her own law firm.

Justified – can’t wait for the new season, coming up soon. I love everything about this show and all its characters. Agree with the writer of article cited above – do not want ANY of these characters to die.

Once Upon a Time – I admit that I have skipped the whole current season of this show. I gave up.

Californication – Thank god we are heading into the final season of this show that should have died ages ago. Sick of this story being rehashed of some loser middle-aged dude who manages to pull his head out of his ass long enough to do something artistically rewarding only to fuck up his personal life and screw over all the people in his fucked life again and again. It’s only funny or forgivable for so long…

House of Lies – Pretty entertaining because it plays on all the stereotypical business clichés and management consultant language. Don Cheadle plays a great asshole.

House of Cards – Entertaining remake of the UK version, proof that creativity can be launched from all kinds of wombs (Netflix original programming)

Episodes – Looking forward to new season. Have been surprised by how crass but simultaneously funny this show is.

Lilyhammer – Funny but also like being hit over the head with stereotypes. But then no one outside of Norway knows anything about Norway – but this might be the sort of thing they imagine. UDI (immigration directorate) might take offense to its treatment, but I’ve never heard a happy story coming out of there.

Shameless – Looking forward to the new season

Grey’s Anatomy – End already. It’s getting petty (or pettier) and duller by the minute

Revenge – It was always soapy but now it’s just ridiculous and has lost any edge it had. Best part is the ease with which character Nolan Ross switches between male and female love interests and it’s just no big deal to anyone. Perfect.

Parks and Recreation – Losing its comedic edge unfortunately.

Community – interested in seeing how this is rebooted now that its controversial creator is back at the helm. Fingers crossed after dismal previous season.

Scandal – Outlandish but a guilty pleasure.

Hawaii Five-0 – another guilty pleasure. I like the chemistry among the cast. Alex O’Loughlin and Scott Caan together are pretty funny. I like some of the cheeky jokes, for example about Magnum PI – long ago and faraway Hawaii-based TV

Elementary – Big Jonny Lee Miller fan, like how Aidan Quinn is pretty much always a New York police captain in every show now, and Lucy Liu has grown on me in almost all the roles she has done since annoying Ally McBeal BS.

Downton Abbey – I could fully see where the popularity came from in the beginning but it is grating my nerves now

How I Met Your Mother – So glad this is coming to an end. It used to be quite funny at times but this last season feels like a stretch.

White Collar – Time filler. Sometimes quite entertaining. I like the characters but it’s a fairly straightforward show.

Veep – Caught up on this a few months ago and loved it. Laughed a lot at the awkwardness.

The Walking Dead – When it comes back, I wonder where the gang will go. I have always been happy that the show was not afraid to kill people off as they went – that’s realistic.

American Horror Story – Enjoying. I love the big ensemble cast and like that each season brings back the same people in different roles. I never used to like Jessica Lange but this has put a few points in her column. Angela Bassett is, for lack of a better word, amazing. She always is.

Treme – An abbreviated final season. Interested in seeing how it all turns out, even though things never quite “turn out” – I don’t expect finality.

Girls – Clever at first. Eventually just annoying as all fuck. The article above wants Marnie to die. I would not mind if they all did.

Top of the LakeJane Campion is a complicated filmmaker, and she is no different when introducing her storytelling to the small screen. Visually arresting backdrop to a complicated and ugly story, Elisabeth Moss takes center stage as a New Zealander/detective who goes home for the first time in years, dredging up some of the horrors of her own past. Excellent viewing.

Luther – The story is often really outlandish and unbelievable but we can’t help loving Idris Elba, can we? Or the troubled John Luther that he portrays.

Game of Thrones – I resisted. I tried to watch once but did not get far. I tried again and got sucked in this time. Much better. I am a Peter Dinklage fan anyway but came to appreciate the whole thing (even if I still acknowledge that he’s the best thing about the show)

Bron – Swedish/Danish original of the police show – great characters.

The Bridge – US version of Swedish/Danish police show. It took a while to accept Diane Kruger and her character, but I loved Demian Bichir’s character immediately. Also appreciated Ted Levine as the lieutenant – as I loved him in Monk – and Thomas M. Wright as Steven Linder – he also figured prominently into Top of the Lake.

Orange is the New Black – Binge watched. Mostly really enjoyed this – of course it’s not perfect but it was different from most of what else is out there. More accolades for Netflix taking a chance on its own programming.

Longmire – Just renewed for a third season. Can you argue with a show that has Lou Diamond Phillips in it? No.

Ray Donovan – Not sure about this show still. I like most of the characters, but all I can think of when I watch this is that the whole plot development is advanced almost entirely by people making phone calls on their mobiles – way too much time on the phone for everyone involved. Character development suffers a bit…

Homeland – Ok, this show went off the rails many times. I still enjoy it, largely because I have enjoyed the performances of Mandy Patinkin and F Murray Abraham (he will always be Salieri to me). But let’s hope that the next season takes a new direction in light of some of what transpired in the end of the latest season.

Masters of Sex – One of the best things to come along in the last round of shows. Excellent and likeable cast, a sensitive subject handled with sensitivity and a deft hand. Beautifully done. A lot of accolades have gone to star Lizzy Caplan (well-deserved), but other cast members, including virtually unrecognizable Julianne Nicholson and, as the repressed housewife discovering sexual secrets about her husband, the always great Allison Janney.

The Newsroom – My opinion is tipping toward dislike. The background music playing in many scenes tells too much of the story – soaring music that somehow betrays that Jeff Daniels’s character is going to do something liberal and benevolent that no one expects. Too much of the annoying Maggie (played by Alison Pill) and a whole stupid storyline there. I know this is Aaron Sorkin and his famous fast-talking, wordy spiels for all the characters, but I don’t buy the characters here. Mac (Emily Mortimer) is especially out there – someone is unlikely to ascend to her position if this insecure and flighty. Best characters – Sam Waterston, Jane Fonda, Hamish Linklater (a few episodes in the most recent season). They kept the thing grounded.

True Blood – End already? The recent season was a bit more entertaining than the previous two but I could do without this one.

Boardwalk Empire – One of my all-time favorites. I don’t actually know many people who like it, but I love it. I think it becomes more engrossing each season and love the actors they bring in. Somehow the vast ensemble does not get muddled – each character is distinct, even if it does mean that one needs to pay close attention to every moment of the show. Definitely a show not afraid to kill off important characters and fan favorites, which is sad but perhaps necessary to keep it going at the same level. (Actresses I have never liked, such as Patricia Arquette and Julianne Nicholson, turn in fabulous performances here.)

Sons of Anarchy – Also look forward to this ending. It has just become ridiculous. More ridiculous than it already was.

Revolution – Time filler-killer

Grimm – Time filler – like that it is set in Portland, though, so we get references to Portland’s weirdness and Voodoo Doughnut.

Hell on Wheels – I watch this almost entirely to see the performance of Christopher Heyerdahl as “The Swede”. That alone is worth the time.