The Wire (2002-8)

David Simon landmark series holds up in the waning years of the Golden era of television. The technology may be outdated by now, but the drama is timeless. Simon pioneered bingeable television (along with the Sopranos, I suppose), plotting a mystery to unfold over the course of a whole season. And today in the streaming era, every TV show worth its salt has an overarching plot. Some may criticize him for being slow, but it's a methodical slow burn that allows for deep characterization of even secondary characters. We come to know not just the cops, not just the head honcho drug dealers but even the street level kids (a very young Michael B Jordan). His sense of realism comes through in his unknown actors, character actors, non-actors, and many real Baltimoreans. The show is about characters who are trapped by the institutions (a set of rules) that plague the city.

The Wire is Simon's love letter to Baltimore. It may not always seem that way given all the crime and corruption he highlights but indeed it is. No city has ever gotten such a thorough treatment on TV, exposing its underbelly. He doesn't do it out of malice or hatred but he genuinely believes that it can do better. Despite the specificity, it could have been about any city because in general terms it is about the decline of the American city. Other cities also have drug problems, docks, corrupt city government, schools, and print media. He would give post-Katrina New Orleans a similar treatment in Treme, but Simon has a personal connection to Baltimore. He (and writer Ed Burns) have first hand experience about the things they write (the Baltimore Police and the Baltimore Sun).

Seasons 3 and 4 are the strongest. Simon's analysis on the flaws in our education system is brilliant. I thought season 2 at the docks was kind of weak while watching it but in retrospect it was also very good. There are so many characters and by the end I felt like we got satisfactory closure on each one. It was kind of weird that McNulty doesn't feature much in season 4, but honestly, it's all the better without him. His twisted story line in season 5 is probably the weakest, most cynical (most ironic).

The Queen's Gambit (2020)

The Queen's Gambit is a very watchable limited series that manages to make chess engaging. That's no small feat. This will be the cause of a whole new generation of chess fans. Funnily enough, it succeeds by not explaining any of the chess whatsoever. That way, novices who don't know the first thing about chess aren't left out. But people that do understand some chess don't have anything to follow either. The drama is not in the tactics of chess. They discuss strategy without explaining the strategy. She moves a piece but it doesn't mean anything to us. She just looks good doing it. I do feel like there was a missed opportunity to contextualize the movie more in the Cold War. The final episode sets up Chekov's gun that never goes off; Borgov makes two unexpected moves in the game, potentially a signal that he wants to defect, as the State Department official had warned Beth to be on the lookout for, but they never play that out.

Anya Taylor-Joy is magnetic. The whole show does have an amazing look. The Sixties set pieces and costumes are luscious. Beth criss-crosses the globe like she's in a spy movie (but again the Cold War spies don't really factor in). I love the visual of the imaginary chess pieces on the ceiling. The camera sometimes sits right behind the upside-down piece so you get something like an over-the-shoulder shot where you see a fraction of the rook or knight in the foreground--it's an interesting choice.

The Americans (2013-8)

The Americans is an extremely suspenseful Cold War-era spy thriller, perhaps the best TV has ever seen. Similar to Breaking Bad, The Americans excelled at character development of antiheroes, and at slow-burn long cons unfolding over the course of a whole season. The series follows two "illegals", Soviet sleeper agents posing as travel agents, living in Virginia (though recognizably filmed in New York) at the height of the Cold War with their two American-born children. Though not a true story, it is based in truth. The Soviet Union took espionage very seriously; it is kind of incredible (read: crazy) how integrated they were in American society. That combination of extreme dedication and pettiness is, I think, uniquely Russian, maybe also kind of Chinese. I think the inverse, the Russian version of the Americans, probably didn't work because it's unbelievable that American spies were so nuts.  They characteristically over react a lot, and devise wild over-the-top schemes to achieve small goals.

Philip says it best in Season 6, that they were always worried about what the Americans would do them, but in the end it was other Soviets that would ultimately be their downfall. Meanwhile, Stan (a stand-in for the bureaucracy generally) fails to see why Gorbachev's leadership matters. If he had asked someone at State, Gorbachev's opening up of the Soviet Union would be far more important than his mission to catch illegals--Stan fails to see the forest for the trees or is so focused on winning the battle he can't fathom winning the war. He is blinded by his narrow focus. Similarly, Elizabeth sees her job as a spy as purely ideological, so stone cold that she doesn't even realize the other tactical qualities it takes to be a spy. It's why she thinks Paige could become a spy herself, even though it is so obvious that she could not. 

Some highlights:

• The assassination attempt on Reagan as seen from Russia as a coup in motion was eye-opening
• The bio-weapon plot line is a clear example of defense spiral, the classic IR theory. The Soviets cannot discern the difference between offensive and defensive weapons, so when they discover that the Americans are developing bioweapons, allegedly serums for potential bioweapons, they must escalate their own stockpile, bound to spiral out of control. 
• Spying isn't all just assassinations, it's mostly intelligence gathhering
• Great use of 80s music
• Fantastic costumes and hair styling for the many disguises
  
• Mischa's son never really comes in to play. It's like they had plans for him but then forgot and left him hanging.  
• The first season is very exciting. I think it's the strongest season along with the last.
  
• The ending is brilliant. I called Henry's ending, but did not see Paige's gut-punch ending coming.
  

Patriot Act with Hasan Minhaj (2018-20)

Gone too soon. Netflix has had a bad week, first pushing the creators of Avatar: The Last Airbender to walk away and now canceling Hasan Minhaj just as he is getting into the groove of things. Despite the very expensive looking set, he was never quite as polished as his fellow Daily Show alumni Colbert, Oliver or Bee. But he is young, charming and Asian American. He was hitting the target demographic with culturally specific content, and frankly cooler references than you're going to find on Last Week Tonight. He actually shined brightest in his off-the-cuff Deep Cuts web exclusives. He is a natural comedian interacting with an audience that doesn't need the culturally specific jokes explained to him. He never did quite figure out what to do with his hands. Hopefully this now frees him to do something new.

Unorthodox (2020)

Unorthodox is an extraordinary Yiddish-language drama about a young Hasidic woman from the very insular Satnam ultra-orthodox Jewish community in Williamsburg, Brooklyn. Consigned to an unhappy marriage and a community that does not support her as an individual, she escapes to Germany where her exiled mother lives.  German Nazis, of course, are the raison d'etre of the Satnam community, arising as a reaction to the Holocaust, turning inward to find solace in Judaism and repopulate the Jewish race. The heroine Esty learns to find her solace in secular music (and in the fitting ending, Jewish music). That tension between cosmopolitan, diverse, and secular modern Berlin and her former life in Williamsburg is a driving force. It's a well researched look at a community that is loathe to air its dirty laundry.

The Eddy (2020)

I feel like I was a little deceived. I thought that Damien Chazelle was doing the whole series but it turns out that he only directed the first two episodes. But the marketing worked; his name drew me to this Parisian jazz drama. I didn't actually care much for the drama. But I love the jazz. I wish there was more music and less plot because the plot is messy. The characters' motivations are often fuzzy. They make irrational choices and most of them are pretty annoying. It was ultimately worth watching for the music and the great jazz memorial scene.

Mrs. America (2020)

The miniseries from FX on Hulu is quite good on the whole though some episodes in the middle are not as interesting. I think especially powerful is the Shirley Chisholm episode, helmed by an excellent Uzo Aduba. The episode speaks to the power of representation, even symbolic. Chisholm is the first woman and first African-American to make a run for president. And even if she never really stood a chance, seeing her on the stage was incredibly important. The Bella Abzug episode is also very good, helmed by Margo Martindale who tends to play politician-types, always very well; her costumes and accent and gestures are really great. What makes her episode especially powerful is the argument it makes about radical change. Ideas that may sound radical, over time, can and do move into the mainstream. The moment she realizes this while visiting Betty Friedan, known for her own brand of radicalism. Feminism, which once seen as radical, in her own lifetime, moved into the mainstream, and today (at least in the Obama era) are self-evident ideals, that a woman deserves equal pay as a man, for instance.  And then I also thought the Houston episode was very good, which takes place at the 1977 National Women's Conference. The STOP ERA women are at the Convention without their leader, and left on her own, Sarah Paulson's character in her drunkenness starts to see the light. The episode is a trip like something out of The Good Fight.

In a terrific ensemble cast, Cate Blanchett is the crown jewel as the awful Phyllis Schlafly. Even playing such a hypocritical brainwashed witch, Blanchett is typically excellent. I remember learning about Schlafly in school specifically as part of the anti-ERA movement but not as the mother of modern Republicanism. I think the series may give her a little too much credit for birthing Reaganism. Her valuable mailing list becomes the base of the modern Republican party. The irony is Reagan doesn't offer her a place in his administration, supposedly because he is already unpopular enough with female voters. However the line from Schlafly to Trumpism is much darker.