Parade 100 Teenage Series: Places 80-61
The charming "Virgin Jane", "Spartacus" Shilhava, "The Space" human entry into space, "The Knick" and "Black Sails" were unbelievably beautiful, "Archer" also surprised the world of premium animated series and more. Part two of five of the 100th Century Parade
Parade 100 Teenage Series: Places 80-61Courtesy of HOT
Broadcasting body: ITV (yes in Israel)
It is not new to TV fans that British works are among the best, and Broadchurch is by far one of the best examples of this in the last decade. On paper, the series sounds like every other "small-town-crime" series, especially for those of us who like the genre. However, one cannot help but be impressed by the series (though perhaps in retrospect) as a time when meeting some of the great British stars of the decade on one screen, and these great talents gave performances that made the whole piece powerful in its parts.
David Tennant, who in 2013 still rode his success in the tenth Doctor role in the Cold War series "Doctor Who," met in Broadchurch with Judy Whitaker, who will make history in 2017 as the first woman to play the Doctor. The third leg of the talent triangle, of course, was Olivia Coleman, who was well-known in Britain, but captured the US by winning the Academy Award for her favorite performance, and even starring Queen Elizabeth in Netflix's period hit, "The Crown."
In 2013, Broadchurch was a quality drama with an outstanding soundtrack, beautiful photography and fine actors, who were known outside the UK mainly to cultural critics and a relatively limited audience of international viewers. Today, it finds its place among the series that has made Britain one of the most important content sources in the global television industry.
Lots of talent. "Broadchurch" (Photo: PR)
Broadchurch 2 Trailer (Photo: PR)
Broadcasting Body: Starz (in Israel on yes, now fully available on Netflix)
For several years at the beginning of the decade, "Spartacus" was the cheap and trashy sister of the "Game of Thrones" (so to speak, she did not spare Trash in her early days). But much of the time she was also more engaging and entertaining, and also full of sex and violence. The imperfect effects contributed to the grotesque and disproportionate feeling of the huge amounts of blood and flying organs that fill the screen, so that in retrospect these plays became something that most of the time there was no real problem to watch.
This boundless approach also permeated the plot and gradually created - especially in the first and last seasons - a calculated, powerful, emotional spectacle, layers and surprising plot twists. One that managed to make me scream, tear and occasionally even clap out of instinct. Andy Whitfield, who played Spartacus, carried quiet, anguished powers that matched the character, while being sympathetic and empathetic. Unfortunately he got cancer and passed away after the first season, which was also the best. This series is Gilad's beauty for him.
Spectacle of sex and violence. "Spartacus" (Photo: PR)
Spartacus Season 1, Andy Whitfield (Photo: PR)
Originally: The Expanse
Broadcast Network: SyFy (in Israel on Netflix and now on Amazon Prime Video)
Years: 2015 - Today
The fate of truly quality US series is usually derived from the niche category. They are so true to the story and the small details that the insidious, "sexy" part that creeps into the mainstream's hot lap is not prominent enough. It was the "Star of Galatica" And now also of "space." This, in the case of both, is also a smart relationship drama, which develops its heroes far beyond the stigma they are supposed to be used to, but all serve as a blessing for "space," which, like its protagonists, thrives on living in twilight and in secret. Uninterruptedly spread a fan from Mars to Earth, with dozens of characters, an intricate frame story in intrigues and interactions.
What makes "space" so successful is precisely its move away from the conventional genre. It has no equestrian futuristic weapons, space-time stratagems or super-developed alien races. Instead, it focuses on human nature and credible ways in which it evolves with the advancement of human knowledge and the roaming of space - for its good, greedy, ambitious, and scary. Her heroes do not create reality but respond to it, trying to adapt and survive. The space around them is big, scary and unpredictable, forcing them to build on daring, improvisation and teamwork. Like Don Quixote, the creation from which the name "Rosinante" was taken, her crew, too, was always seen in a situation bigger than it in several numbers - clinging to the fragments of humanity to survive one more day in the infinite space.
Cling to fragments of humanity. "The space" (Photo: PR)
Space Season 2 (Photo: 2016 Syfy Media, LLC, PR)
77. Black Sails
Originally: Black Sails
Broadcast Network: Starz (in Israel on HOT)
As is the case with any hit series, "Game of Thrones" has also opened the door to attempts to replicate that success. Deep-pocket cable and streaming companies have created epic period series, whether fantasy or not, more successful (Starz's "foreign") or less (Netflix's "Marco Polo"). One of the great and underrated of these series is "Black Sails," a series that pre-empted "Treasure Island," and describes how the pirate conceived Long John Silver of Robert Louis Stevenson's classics to become who he is. Interestingly and intelligently, the series combined his story with the stories of real 18th-century pirates who tried to make Nassau Island daring, and for a while even successful.
It takes time for the series to start. An entire season, to be exact. But when that happened, "Black Sails" turned out to be one of the screen-calculated series, with an interesting and surprising plot, and a fascinating relationship between complex and touching characters. She conveyed the pirates' daily lives in a way that was true and true to reality, which instilled intimacy and sobriety in this thrilling story. And perhaps most of all, "Black Sails" was simply beautiful-looking. Really, one of the most spectacular series of teenage years. Its pastel colors, light games and darkness, derived from the periodic use of natural light only (on screen at least, not necessarily behind the scenes), have regularly provided fools who look like works of art from the times described in the series. Penetrating sunbeams blinds or an open window, lanterns or candles that leave some of the frame in the dark and some golden tones. Even the peeling and stale walls look so beautiful in this way. And this is without talking about photographs from across the ocean and ancient ships.
One of the series calculated on screen. "Black sails" (Photo: PR)
Black Sails Season 4 Episode 3 (Photo: screenshot)
76. The Knick
Broadcasting Body: Cinemax (yes in Israel)
Well-known filmmakers have come to television in the past, but in the current decade the television medium has become the best friend of directors. And if personalities like David Fincher, Doug Lehman and Jane Campion staged pilots and were signed as producers on series such as "House of Cards," "Mind Hunter," "Impulse," and "The Edge of the Lake," Stephen Soderberg simply devoted himself to the medium. In 2011, he announced that he was retiring from cinema, and in 2014 brought us "The Knick," starring Clive Owen, a period series about a genius, breakthrough and drug addict in early 20th century New York.
The plot of the series, created by Jack Amiel and Michael Geller, was interesting but routine, without much inspiration and imagination for too many other works. But with the help of a wonderful actor like Clive Owen and a genius director like Soderberg, "The Knick" has become one of the most unique series on television. In fact, Soderberg, under various pseudonyms, is responsible not only for directing all twenty episodes of the series, but also for photography and editing. Each scene where it was built differently, bright and dark and beautiful like a painting, follows hazy characters instead of their front, focusing on listeners instead of the speaker. She was adventurous, she was beautiful, you couldn't look away. It is a pity that it was only two seasons.
A wonderful game. Clive Owen, "The Knick" (Photo: PR)
The Knick (Photo: PR)
Broadcasting Body: Channel 4 (Israel on yes)
In the era when Greta Thunberg became a revered star for her desire to raise awareness that our world is dying - and our fault - it is amazing to remember that it was a British series that most of us went under the radar and engaged in quite a bit of this guilt. In one of the good and memorable scenes in the series, a young mother tells a foreign man that she is on her way to France with her little son, but to save the environment she is traveling on the bus and not flying on a plane, because it is important for her to be part of the solution and not part of the problem. The man agrees with her, but wonders why she ever made a child. In the face of the astonished face, he explains the size of the infection that a child brought into the world: "You could fly 6,500 times to Paris and it would be less polluting than having a child." The scene becomes dark very quickly when the man offers the mother to kill the child, and even volunteers to do it himself.
Now that the environmental catastrophe is only becoming clearer, the dark and dark world that Utopia has envisioned becomes much more realistic - and re-watching the series feels even more chilling. No wonder the much-anticipated American remake of the series, which comes after four years with a White House climate denier, is one of the things we are most looking forward to on TV of the next decade.
Predicted the burning theme of the decade. "Utopia" (Photo: PR)
British Utopia (Photo: PR, PR)
Broadcasting Body: FXX (in Israel on Netflix)
Years: 2009 - Today
In a world where "Bojak Horsman" and "Rick and Morty" exist, it is difficult to compete in the original animation field, but for a decade Archer's creators have been able to perfectly exploit the boundlessness allowed by the use of animation. Not the least of them is the most creative and surprising program of the decade, and not just the animation genre.
Faced with a pretty straightforward plot line, Sterling Archer is a James Bond-style super spy who is attracted to beautiful women and almost as fast cars as he is to alcohol and drugs. We've already seen that. But "Archer" exists in a world where fashion is from the sixties, technology is from the 21st century, the Cold War is still going on, Hitler's clone works at the American government's agency and Brett Reynolds is the world's biggest movie star.
As the series progressed, the creators refused to let it age and become banal, forcibly creating "concept" seasons in which the familiar characters gain a new life by breaking down and assembling the entire mantle. For example, an entire season takes place within Archer's dream. For better or worse, no other series in this decade has had the guts to make such a move.
Bold. "Archer" (Photo: PR)
The Archer series (Photo: PR, PR)
73. Childrens Hospital
Broadcast Body: Adult Swim (not aired in Israel)
There is no normative way to set up "Childrens Hospital," a fifteen-hour product that ran for seven seasons in Adults Swim, the nighttime strip on American Comedy Central, and refused to submit to the dictates of television logic. What exactly was that? Parody of a hospital series? Parody about parody on a hospital series? Comedy about a hospital series production? Private joke of a bunch of comic actors? Puff of a Puerto Rican dwarf? All the answers are correct, none of which can describe the genius levels of this underrated comic pearl.
Rob Cordari, a player of "That One" level, has done a lot of things since then, but none comes close to the brilliance of "Childrens Hospital." Along with the equally talented director David Wayne ("A Hot and Wet American Summer"), they gathered around their best friends in the two weeks before Christmas break each year - talents of advertising ranging from Michael Serra, Megan Mulley, Nick Offerman and Henry Winkler, via Ken From Marino and Malin Ackerman to Lake Bell, Erin Hayes and Rob Hovel to have fun together. The result was a nonsensical nonsense on a children's hospital (named after Derek Childrens of course), which contained American doctors operating in Brazil and then also Japan, when the players changed the format as needed, and rules were not formed before being broken in a big voice. It was a comedy of its purest kind, crushing all the clichés and finally proving that there was nothing funnier than the imagination. That is all.
there are no such things. "Childrens Hospital" (Photo: PR)
Childrens Hospital (Photo: PR, PR)
72. The novel
Originally: The Affair
Broadcast Body: Showtime (in Israel on HOT)
"Novel" author Sarah Trim has often said that she and her colleague, the creator of Hagai Levy, wanted to write a series that was supposedly about betrayal, but in fact about marriage. The convergence towards this point has only reached the end of last season, but for a long time it seemed more fitting that the "novel" was a series of commitment. Family, personal, moral, social and of course couple. Each of the characters tackled the need to escape and let sadness and pain take over, resulting in a heavyweight, abysmal and serious literary drama, a remnant of old television that plays by all the rules in the book, literally, but does it well.
It had countless metaphors, motifs and symbolism throughout, as taught in introductory courses to fiction that need to be intertwined with rich creation - the external occurrence as a counter to the inner conflict, random dialogues that are an allegory of the plot, a gun that appears in the first act and shoots in the third and so on. All this, plus the "trick" of the various angles of view, shaped it less like a modern television series in the frenzied Internet era, and more like a mood to sink in and feel it for a moment before turning off the light in a nightstand and going to bed.
But she also had a wonderful ability to manipulate her story in a fascinating way, interweaving at least one intriguing element each season, even in the weakest of them. And she also had Ruth Wilson and Teacher Tierney, who carried most of their emotional baggage on their backs. And in the end, she also had an upbeat message - "If pain can resonate across generations, so will love."
Maneuvering the story in a fascinating way. "The novel" (Photo: PR)
The Novel - Season 4, Ruth Wilson, Dominic West (Photo: PR, PR)
71. Twin Fix
Originally: Twin Peaks
Broadcasting Body: Showtime (yes in Israel)
This was undoubtedly the most bizarre revival of the decade, and as a reminder, it was a decade that included "grief-raising girls - the next generation." In the latest episode of "Twin Peaks" which aired in 1991, Laura Palmer promised to see you 25 years later, and 26 years later, almost like a clock (after a year's delay for "Give Me More Money"), David Lynch returned one of the illustrious series Of the nientes that every TV critic liked, while complaining about the bad taste of the public. It is very doubtful that most of them were enthusiastic about the new season, too.
The best thing about her is that she was completely "Twin Peaks", all that implied: enigmatic, experimental, gruesome, oppressive, non-coherent. You can probably guess why this was also what was bad about her. While Lynch's original vision was retained, which is always creatively good, it only swelled to the dimensions of Lynch Plus, Lynch Max, or Lynch XL, which made it a bit hard to listen to and get down to depth. "Twin Peaks" has always been a series for the better, but while the first two seasons were a bit more communicative and multilayered, the third season was probably intended for athletes for Triathlon Modes. And in the end, just like any novelty, rebuttal or other resuscitation on this list, in retrospect, it was also a footnote on the Wikipedia page of the real thing.
Once again enigmatic, experimental, gruesome. "Twin Peaks" (Photo: PR)
Twin Peaks (Photo: PR, PR)
70. Virgin Jane
Originally: Jane The Virgin
Broadcasting body: The CW (yes in Israel)
A decade after the "ugly Betty" captured our hearts, another comedic American adaptation came to South American telenovela and did the same thing: to use the genre's conventions and satire at the same time, with a lot of heart and soul. The story of the virgin who was mistakenly seeded in an unspecified semen was just the starting point for a series of uninterrupted twists that were fun and silly, and in general delightful, funny and feminist.
And that's actually the strong point of "The Virgin Jane." The ridiculous moments, beyond being self-aware, were covered with layers of honesty and truth with the help of smart writing that strived for every possible stereotype. Added to it were characters that it was hard not to fall in love with, including three generations of powerful and empowering Latin women, and of course, a sweet heroine we loved even when she made mistakes, in Gina Rodriguez's wonderful portrayal. On the fringes of the era of the anguished white hero, Jane's arrival and the women in her family were an integral part of the new era on television, and for five seasons they made the series one of the most adorable things on screen.
Layers of truth. "Jane the Virgin" (Photo: PR)
Jane the Virgin (Photo: PR, PR)
69. All for the better
Originally: Happy Endings
Broadcasting Body: ABC (in Israel on HOT)
The mission was supposed to be another "friends" - six young, two of them family-related, two of them establishment-related and two of them in a tiring relationship of yes or no. And the beginning did look like a single-chamber imitation of that nineties phenomenon, only with flashbacks and foreign shots. But after a whole season of simple birth ropes, it turned out that the real humor of "All for the Good" is about the farthest thing from the mass "friends": specific, diagnostic, referential, poppy and as much as disturbed - the better. The plot itself was not its strong side, and sometimes even the weak, but it did not matter. Every piece of text uttered by each of these five (and sometimes by Dave) was upgraded in an instant with extraordinary mimicry and complete and uncompromising flow with rhythm and smirk.
The fun lasted only three short and exhaustive seasons, because while Penny taught Jazz Kwan Do, Max became a bear and Alex was a racial parrot, the rest of ABC's line-up that evening contained more pale and familial content such as "a good middle place" and "a modern family" , Which did not exactly fit in with the tulips. The talented cast has spread to other television projects, most of which are far less successful, and although the address was on the broadcast board - it was still one of the painful and defeating cancellations of the decade. Now we would never know what would have happened if Mary Tyler Moore were married and then divorced from Stephen Tyler, then married and divorced from Michael Moore, and then would have entered a lesbian threesome marriage to Demi Moore and Mandy Moore.
Mary Tyler Moore Tyler Moore Tyler Moore Moore Moore. "Everything is for the better" (Photo: PR)
All for the better (Photo: PR, PR)
68. American Horror
Originally: American Horror Story
Broadcasting body: FX (yes in Israel)
Years: 2011 - Today
Ryan Murphy, of course, did not invent the concept of anthology as a TV series - a series in which each episode contains a different story - but he was certainly the one who updated it to individual stories that stretch across entire seasons, and a cast that plays completely different roles each year. One of his co-creators, Tim Meinier, said he initially had trouble figuring out how to create horror on TV when viewers weren't really worried about the fate of the regular characters. But as soon as he was told that the chess board was completely vacated at the end of each season and the game tools were being repositioned, he realized that it was a new and exciting television sub-genre that could break all of the familiar and abusive rules. Since then, others have seen it as well, and so have we received "American Crime," "John the Harp," "Who Lives at House Hill," "Terror" and "Castle Rock."
But other than that, the first season of "American Horror" (which is basically "American Horror Story") was even good. Not necessarily because of her horror or Americanism, but precisely because of the story. The haunted house history, which was exposed to the viewer tapped by tapped, was weaved into an impressive piece of thought, like a puzzle whose full picture is only visible at the end. Connie Britton, Dylan McDermott and Jessica Lange brought with them weight and seriousness that were not characterized until then by Murphy's works, to say the least. The start button that was pressed at the end of the year also aroused curiosity and drew guesswork about each player's next role, and surely the animated characters also enjoyed the variety. But the cure camp was still in the dark in almost every scene, and it seemed to be the summer between season four and fifth when Lang announced she was leaving and Lady Gaga announced she was joining in, finally slashing her tongue from a potential narrative creation, to nonsense tomato juice that is "American horror." Today.
A new path to walk. "American horror" (Photo: PR)
American horror (Photo: yes)
Broadcasting Body: Lifetime (in Israel on yes and on Cellcom TV)
The decade that has been richer in series created by women than any other decade, but their increasing influence lies not only behind the camera but also on the screen itself, and more than ever we get to know complex female and human characters precisely as heroes rather than sub-characters. "UnREAL" was an extreme example of this wave - a full of unexpected, unexpected series that the very decision and desire to continue watching were undermining for the selective viewer and taste bud. "UnREAL" was a series about Trash, but it wasn't Trash. It met the most basic needs of the viewer engaged in the inferior reality sub-genre - dating series - but turned the spotlight on the minds behind the cameras, the producers who run the show and also provided the intellectual (and emotional) challenge of getting to know the less glamorous face of the industry. The entertainment.
There were no bigger bitches on the screen from her distraught producer Rachel (Appleby songs) and her demanding boss Kevin (Constance Zimmer), whose devastating power was felt in the lives of anyone who was on their way, and didn't even pass up on them. Creators Marty Noxon ("Sharp Objects") and Sarah Gertrude-Shapiro (whose experiences as the producer of The Bachelor's set inspired the series) were not the first to dare to portray Ultimate Evil Women, as fans of "Game of Thrones" testify, but they were Of the units that put such women in the center, and we didn't hate them - we just enjoyed them.
Complex and human women. "UnREAL" (Photo: PR)
UnReal (Photo: PR)
66. The Crazy Ex
Originally: Crazy Ex-Girlfriend
Broadcast Body: Lifetime (in Israel on yes)
In a generation of fierce comedians, Rachel Bloom has her own place: Who grew up as a network star in charge of humorous clips was the face of what became a cold television phenomenon - a touching romantic comedy that also dropped a disrupted musical on the Y generation, America Privilege, self-hatred, and baggy (not necessarily in that order). And if something was missing to buy us, it is also an amusing Jewish series. At times she was tearing up laughter, sometimes Krying, sometimes thrilling to tears, but there was always at least one truth to hide from the surface.
Beyond all this, two reasons have made "The Crazy Ex" so special. The first is a genre: the series has taken to the end of television musical choices, and with nearly 200 original four-season songs that blend in more or less organically, it has created elaborate parodies of almost every genre in popular music, from punk-rock to pop from the eights , From the Chicago musical to the Beach Boys, from Chansons to Shakira. Together they created a whole anthology, an eclectic snapshot that says something about how we let music act as a soundtrack to our life and emotions. The second reason is more important: No less than the addictive soundtrack, the "crazy ex" used her characters to talk about things beyond the areas that romantic comedy is usually about, especially coping - an issue she dealt with in an incredibly sensitive and intelligent way, and managed to tap into human experiences More general like human rule insecurity. You don't have to suffer a borderline personality disorder or be East Coast Jewish to identify with heroine Rebecca Bunch and fall in love with her in West Covina, California. Enough to have a heart, an affection for pop culture, and a healthy pinch of madness.
Such a special piece. "The crazy ex" (Photo: PR)
Crazy ex, Rachel Bloom (Photo: PR)
65. Kill Eve
Originally: Killing Eve
Broadcast Network: BBC America (in Israel in HOT)
Years: 2018 - Today
This decade belongs to Phoebe Waller-Bridge. Her acting career flourished during roles in series such as "Broadchurch," but more importantly, she portrayed her unique voice as a creator. The suspense comedy "Kill Eve" is the third series they created on the screen between 2016 and 2018, the only one of which Waller-Bridge does not play. Instead, the screen burns Sandra O ("Grey's Anatomy") and especially Judy Comer ("Thirteen") - one embodies an MI6 agent who hunted the other, a fun-loving, psychopathic assassin. Soon, this hunt becomes a mutual fascination that claims the task of sexual tension and destruction.
"Killing Eve" is far from perfect, but when she's at her best she is delightful, funny and witty. Illustrates how an old concept like cat and mouse games can become fresh and original when you play the roles of women. All of this is largely thanks to Judy Comer, who sticks her teeth in the role of killer Villanel, changing as often as a chameleon like her character does - voice tones differ according to what she's trying to achieve, different accents depending on her needs. To a large extent Villanel embodies her "Kill Eve." The fact that her character is unexpectedly paranoid, suspense and anarchy in every scene she is in, and with her hands makes the whole series a great fun.
Sexual tension and destruction. 'Kill Eve' (Photo: PR)
Kill Eve (Photo: Courtesy of HOT, official website)
64. Kimi Schmidt
Originally: Unbreakable Kimmy Schmidt
Broadcasting Body: Netflix
It's hard not to fall in love with Eli Kemper as she enters the classic character of Kimmy Schmidt, the "mole girl" who lived for years in an underground bunker under the influence of a cult leader (John the mother who proves his greatness in a comic role again). The circumstances that brought her to New York, in her most grotesque and authentic version that has come on screen since "Taxi Driver," make her look unusual and different in the landscape. It's easy to classify her as a bartender or even a fool, but in fact she's a modern-day version of Phoebe Poba from "Friends," as powerful and complex as her, but much funnier. No wonder Lisa Kudrow (the original Phoebe) was cast to play Kimmy's biological mother in the series.
But Kimi Schmidt is first and foremost a showcase for Titus Burgess's never-ending talent. His extroverted character is probably the funniest thing Tina Fey has ever created, and it's no big deal. The cast's talent and grace help the series go through periods when the script doesn't really work out - but it was worth watching the entire series just for the special episode that's all a parody of the heterosexual genre.
It's hard not to fall in love. "Kimi Schmidt" (Photo: PR)
Kimi Schmidt Season 4, Eli Kemper (Photo: Netflix, PR)
Originally: The 100
Broadcast Network: The CW (in Netflix in Israel, with considerable delay)
Each time, it is hard not to be impressed by the achievement of "The 100," which is freely based on Cass Morgan's books of the same name (some of them also published in Hebrew by the United Kibbutz). The series, whose plot takes place in a post-apocalyptic future after nuclear bombs contained life on Earth, began as a banal dystopian, even a little soapy, youth drama, but quickly became one of television's boldest and greatest.
The "100" had its ups and downs throughout her life, but she always managed to keep her head above water, being brave, uncompromising, surprising and thought-provoking. Make us despise characters in one moment and then present them over time in a different light that made us fall in love with them. To place her heroes in the face of impossible moral dilemmas which they must nevertheless overcome. To exist in the darkest complexes that are asked by the perpetual question that guides the heroes: to what abyss will you reach to survive?
One of the bold and excellent series. "The 100" (Photo: PR)
The 100 Season 5, The Century, 100, Eliza Taylor (Photo: PR, PR)
62. The Empire of Crime
Originally: Boardwalk Empire
Broadcasting Network: HBO (in Israel in yes)
A year before the "Game of Thrones" came on and changed television, HBO came up with "Boardwalk Empire" (we still deny the trite Hebrew name, "Crime Empire"). Terrence Winters, David Chase's right-hand man in "The Sopranos," created the series, Martin Scorsese made his first significant appearance on television and directed the first episode, which had a budget of $ 18 million. Five million of them were destined to build the huge set, a reconstruction of the glorious Atlantic City in the 1920s, when Naki Thompson (Steve Bushmy in striped casting), the city treasurer, became the strong man in it with the introduction of dry goods laws prohibiting the sale of alcoholic beverages.
Like other series in this decade and parade, "The Boardwalk Empire" was more a product of the previous decade than of the new one. A direct continuation of HBO's great creative successes of the last decade, series on interrelated crime and politics institutions, "The Sopranos," "The Covert," "Deadwood," most of them with a white anti-hero at their center. Such as the importance of the Boardwalk Empire in relatively minor chronicles, but other than some glitches, especially in the third season (hi, Jeep Rossetti), most of the time it was just wonderful, bursting with the intimate power of its slow and calculated construction. This is a familiar element in quality series that builds and is finally repaid, but the "Boardwalk Empire" brought it to perfection, and incidentally yielded a wealth of amazing moments that remain memorable years later.
Its importance is minor but most of the time it is wonderful. "Boardwalk Empire" (Photo: PR)
Naked Thompson (Steve Bushmi) in the crime empire series (Photo: PR)
61. Inside Amy Schumer
Originally: Inside Amy Schumer
Broadcast Network: Comedy Central (Israel in HOT)
The wind in Amy's sails keeps growing a bit as the decade progresses, and the sharpness seems to have dimmed as she gets closer to the mainstream, but her skit show has most of the time been a glorious purpose display for her strong, unique and confident comic voice. A white comedian with a considerable preoccupation with sexual femininity, feminine sexuality, and the life of a single woman, including the most humiliating moments. From the first moment Schumer did not hesitate to turn herself into a punching bag, to Punch Line, to convey some truths about the world we live in.
In almost every episode, at least one ingenious skit could be encountered, usually more. Inspirational moments like a couple therapist in the image of Christie Teagan, God (in the form of Paul Giametti) who reveals to Amy when she begs her not to be herpes, a military computer game where the choice to play the character of a woman soldier brings a radically different trajectory that includes rape and a bureaucratic system that burdens difficulties, 12 jurors trying to decide if Amy is worth enough to star on TV, a daughter who goes with her technophobic mother to a qualified therapist on the subject, and also the best parody ever about Arkin Sorkin.
Like every parade, the one in front of you reflects something relative and partial, in part because of the vast amount of content of this decade. The raters - Ido Isaiah, Ilan Kaprov, Ophir Artzi, Amit Slonim, Natalia Yermin, Ophir Sagarsky, Pini Eskel and Hadar Torowitz - chose the decade series with a mix of quality, importance and love, not necessarily in this order. Since there is a difference between series that run over time and those that are initially limited to a certain number of episodes, the parade does not include mini-series. This is also why we chose not to include series that started in 2019, despite our great love for much of it. At this point, the teenage fabric is unclear, and we will probably meet many of them in the next decade, and certainly in December, in this year's series parade.