Top Ten Shows of the Decade

When rating the top ten television shows of the decade I tried to consider not just great seasons, but the how a show performed over its life. For that reason, a show like Scrubs doesn’t make the cut, since there was no consistency in its performance. Arrested Development had only a three year run, but it has almost no equal in terms of funny and therefore makes the cut. Anyway, there is a lot to disagree with here, especially since my defenses will probably suck. So let’s get to it.
10. Always Sunny in Philadelphia (2005-Present)
• This show is not nearly as original as it may seem. Essentially it is a rip off of Seinfeld, with its intertwined plots and morally bankrupt characters. That being said, it’s a very good rip off of the best show from the 90s, which is why it makes the top ten for this decade.

Utilizing the freedom of cable television, ALWAYS SUNNY was able to abandon broad comedy. At the same time, though, the show never shied away from generic gross out humor. Ultimately the show ended up carving out a niche for itself that was both high brow in its commentary, but extremely low brow in its delivery.
ALWAYS SUNNY has, throughout its tenure, remained a show written and starring a group of friends who have been given an outlet for their inane, ridiculous and contemplative thoughts. The imagination of those thoughts is hilarious, original and awe inspiring considering how much is accomplished in such a little scope.
9. Battlestar Galactica (2004-2009)
• This reimagining of the campy sci-fi hit of the past is an experience. In its entirety it represent a body of work that has few peers. If there was a downside it was only that the sum was so much greater than any of its parts, which made some episodes a chore to watch. Ultimately, though, the whole experience was a delight.
This was a show that could honestly claim to be a drama in space, rather than a space show with dramatic elements. But the science-fiction was not absent on this show. Instead it was another player, like a plot device or an actor.
In BATTLESTAR you had a show that could sweep you away with its vision and grandeur. It was so big, existing in a world seemingly too large for television. All of this, and I haven’t even gotten to the sexy Cylons, who represent some of the best villains ever on television. Oh yeah, this is also the hottest show of the decade that didn’t use nudity.
8. (TIE) King of the Hill/Malcolm in the Middle (1997-2009/2000-2006)
• Neither show was original its creation, with each representing a traditional family sitcom. But while other shows relied on gimmicks and breaks from reality, HILL and MALCOLM seemed to go the other way, finding humor in the mundane aspects of life.
But the great scripts carried these shows only so far, with MALCOLM in particular exhibiting some standout acting. The parents, as played by Bryan Cranston and Jane Kaczmarek were simply amazing in their portrayal of a couple deeply in love, who struggled with the day to day exercise of running a family, supporting them financially and retaining their sanity. Both were repeat emmy nominees, and it’s a travesty that they never received more recognition.
The actors on HILL were no slouches either, with Mike Judge and Kathy Najimy embodying two generic parents just through their voices.
Both shows captured life in the tiniest details. The mom jeans. The dumb dad stories. Kids just being kids. If you ever need a break from your family, I’d always recommend a stay with theirs.
7. The Sopranos (1999-2007)
• The Sopranos tenure can be summed up in an early episode that involves Tony taking his daughter on a college visit, during which he kills an old partner in crime. This episode embodies the realism and escapism the show balanced so very well, as it delivered a family drama and a crime family drama.
The world David Chase created is not some foreign object to viewers, since the world is so welcoming and easy to embrace. All of this is possible because of tight writing, great acting and a story that captures our imagination as we willingly go for a little ride that scares us half to death.
The SOPRANOS also deserves credit for showing what television could be. Creative types were limited to the confines of network television, and cable programming didn’t just need to be edgy for edgy sake (OZ). There was a way to use swearing, sex and violence as props, not the whole show. In this regard SOPRANOS was the best.
6. The Daily Show (1996-Present)
• Let’s first address the fact that this show didn’t really mean anything until Jon Stewart came along, and that its coming out party occurred during the 2000 recount. The combination of those two events highlighted a vicious wit in Stewart and put on display a host of correspondents whose skewed take on events was revolutionary.
Anyone who writes this show off as an extended version of Weekend Update, obviously doesn’t watch either program. In this decade the DAILY SHOW has become a daily source of news and commentary for millions of Americans. It was the balance that the show struck between informing and comedy that makes it worthy of our attention. Through its screwball antics and elementary school humor is a social and political commentary that makes the laughs so much more meaningful.
5. The Office (2005-Present)
• Showing up for work has never been as fun as at the midlevel paper company in Scranton. The OFFICE established a new dynamic with its mockumentary style of filmmaking, which has become the trademark of most wannabe witty followers.
What makes the OFFICE great is its strong supporting cast, who are responsible for making a goof show great. By themselves, the core stars (Michael, Pam, Jim and Ryan) could bring the funny, but with Oscar, Kevin, Stanley, Phyllis and a whole host of other players you get the funk and the noise. Essentially the other workers are set dressing for the establishment of a world that we love to watch.

But The Office never fell victim to the trappings of network television, which explains why its ratings are never great, but also how they avoided will they/won’t they clichés and constantly deliver fresh storylines. Now in its 6th year, The OFFICE has never jumped the shark, even while constantly reinventing itself, and that’s a testament to the quality of the writing.
4. The West Wing (1999-2006)
• I try to ignore the last three seasons of THE WEST WING, as they were done without Aaron Sorkin, the show’s creator and head writer. His absence resulted in a West Wing-lite, which looked familiar and sounded familiar, but wasn’t the same show. In many respects that created a less enjoyable experience, although it does reflect the changing nature of any white house. Granted, that was never the goal, yet it does allow me to forgive the last three season (They weren’t that bad. Especially the Presidential race arc).

When the WEST WING debuted it really had no peers in terms of the size and scope of its aim. It was a very expensive show, and that money paid dividends as far as the reality they created. For most people, myself included, this show created our perceptions about politics and D.C. That was only possible because of the artful direction of the show, but also because of the writing.
Oh the writing, which was vintage Aaron Sorkin. The pitter patter that had been building since Sports Night and THE AMERICAN PRESIDENT finally hit its perfect beat in this show, with the lofty exchange of ideals and jokes flowing like a river that I anxiously awaited to wash over me.
None of that would have been possible without adequate mouthpieces, which THE WEST WING had in spades (that’s an expression, right?). Helmed by Martin Sheen, but firing big guns all the way down to Donna the secretary or some random guest star (Oliver Platt), the WEST WING was an exhibition for actors to highlight their craft. While those who couldn’t talk and walk need not apply, for everyone else it offered meaty roles with juicy lines.
Now as we enjoy our dramas in packages of 12, 16 or 20 episodes, THE WEST WING provided a full roster of episodes. This is a demand on network shows that normally results in peaks and valleys during the season, but it wasn’t the case here.
3. Lost (2004-2010)
• I’m done talking about Lost. You either get it or you don’t. If not, then what you’re missing is a thriller. You’re missing love stories, action, comedy and mysteries. Yeah, it’s complicated, but do you like your food chewed for you too? Do you? What, you’re a baby bird so you do? Ok. That’s fine.
If you’ve skipped this psychological experiment that doubles as an episode joy ride, then don’t worry, because it will be amazing once it’s all together on DVD.
2. Arrested Development (2003-2006)
• There’s really nothing I can say that will articulate how good ARRESTED DEVELOPMENT was. It was a show that was so layered with funny that I routinely had to watch it a second or third time to appreciate all the jokes. The running jokes went beyond a season and lasted for an entire series. The plot twists were nothing short of an M. Night Shymalan movie. The acting represented an ensemble cast that will never be matched in terms of quality (never. Not even close).
This show lasted three years, and chronicled the adventures of the Bluth family. This group of misfits couldn’t help but get in their own way, and each week was a delight as they just tried to survive. At its heart was a father and son drama, which was sabotaged by the surrounding elements.
1. The Wire (2002-2008)
• Did you watch The Wire? I didn’t think so. Apparently no one did, except white latte sipping yuppies who like to see how the other half lives. Besides from the lattes I essentially fit that mold, except for the fact that I don’t care how the other half lives. For me, the interest in THE WIRE stems from its superb acting, amazing stories and realistic dialogue that doesn’t sound as phony as actors on other cop shows look.
Let’s get the big stuff out of the way regarding THE WIRE, specifically the social and political commentary it offers. The underlying theme is that the world we live in is broke. It doesn’t offer a way out, but merely serves as a wakeup call. Ok, that was for the NY TIMES crowd that was slumming it or arrived at my blog accidentally.
The good stuff is the episode by episode action. Drive primarily by Det. James McNulty, THE WIRE was a continuous battle of wits between the cops and their evil enemies (drug crews, politicians, dockworkers). In that struggle were laughs, tears and gut wrenching moments that made you stop. Not stop and think, but just stop. Anything that can stop you in your tracks like that has to be good.
The dialogue of THE WIRE seems real. I think that’s a big compliment, considering the most cop shows are littered with clichés or sound like they should be spoken by someone else, who probably isn’t a cop.
I need to stop the floodgates now before I start a flood. I’ll leave you with the fact that THE WIRE has been the best forum for black actors ever.

So that’s my list. What do you think? Agree? Disagree? Leave something, even if it’s to tell me I suck. Because while I’m sure my mom would disagree on that front, I will admit the argument has some merit. Let’s talk.