Ako vas uzbuđuju uvijek kontroverzne top-liste, pripremite se za novu erekciju. Debata o nedavno sastavljenoj listi 101 najbolje napisane serije svih vremena jedva se stišala, a Entertainment Weekly već ulijeće sa svojim popisom — ovog puta izdvaja deset najboljih serija svih vremena. Brzo, pripremite popis svojih favorita koji su sramotno izostavljeni!
Za razliku od spomenute liste koje je sastavilo Udruženje američkih scenarista, koje je Obitelj Soprano proglasilo najbolje napisanom serijom svih vremena, EW.com na prvo mjesto stavlja The Wire, samo produbljujući vječnu debatu o najboljoj seriji ikad snimljenoj. Baš kao i Udruženje scenarista, ni EW.com među prvih deset nije našao mjesta za Breaking Bad — ali zato je Mad Men na devetom mjestu, što je svrbež koji ćete sigurno počešati u komentarima.
Prvih deset mjesta sa obje liste preklapa se u šest serija, to su: The Wire, Seinfeld, The Mary Tyler Moore Show, The Sopranos, All in the Family i Mad Men. Boje aktulnih serija brane Simpsoni i Mad Men, od onih koje još imamo u friškom sjećanju tu su Seinfeld, The Sopranos i Buffy. Manje upitnike nad glavom isprovocirat će vam uvrštavanje zabavne emisije Your Show of Shows, koja se emitirala početkom pedesetih.
Uglavnom, kao prethodno spomenuta lista, i ova bi vam trebala poslužiti kao dodatni poticaj da pogledate The Wire i The Sopranos, ako još niste.
10. Your Show of Shows (NBC, 1950-54)
The best-written, best-acted comedy/variety show in history, this showcase for Sid Caesar’s fearless slapstick and endlessly inventive verbal frenzy was the first to perfect a now-lost genre.
9. Mad Men (AMC, 2007-present)
An exquisitely textured retrodrama, Men isn’t just about impeccably dressed ad execs selling the American dream — it’s about the perils of secrets, success, and the struggle to lead an authentic life.
8. Buffy the Vampire Slayer (The WB, 1997-2001; UPN, 2001-03)
Joss Whedon’s poppy, profound cult saga starring Sarah Michelle Gellar is the best coming-of-age fantasy…ever? Even Harry Potter wonders.
7. The Andy Griffith Show (CBS, 1960-68)
This is television’s consummate portrait of a rural idyll, with Griffith as the wisest, kindest, gentlest authority figure. Don Knotts’ jittery deputy helped pump up the laughs.
6. All in the Family (CBS, 1971-79)
The notion of a lovable bigot was unheard-of until producer Norman Lear and actor Carroll O’Connor brought us Archie Bunker, a man who was endearing in his love for his wife, Edith (played to dingbat perfection by Jean Stapleton), and a role model…in how not to behave.
5. The Sopranos (HBO, 1999-2007)
David Chase’s landmark mobster drama introduced us to what has become a ubiquitous presence on TV: the antihero. Whether you rooted for Mob boss Tony Soprano (the fearsomely intense James Gandolfini) or against him, you couldn’t help but be riveted by him, no matter which family he was battling.Pročitaj još
4. The Mary Tyler Moore Show (CBS, 1970-77)
Only the greatest, most detailed portrayal of a single career woman in TV history. With laughs and guts, MTM established the paradigm of ”the workplace family.” Moore proved to be one of the medium’s finest straight-women as well as one of its most beautiful comedians.
3. Seinfeld (NBC, 1989-1998)
Less the famous “show about nothing” than a show about the amusing, stressful, neurotic intricacies of friendship, Seinfeld converted Jerry Seinfeld’s observational stand-up routines into hilarious universal truths about the banality of life, value-added with catchphrases (not that there’s anything wrong with that). The most endlessly rewatchable sitcom since The Honeymooners.
2. The Simpsons (FOX, 1989-present)
It became the gold standard of the subversive dysfunctional-family comedy — animated or live-action — when the focus was shifted early on from punky son Bart to dad Homer, an id-driven but bighearted man child whose IQ is inversely proportional to his cholesterol levels. “I’m in no condition to drive. Wait, I shouldn’t listen to myself. I’m drunk!” is stupidity at its smartest.
1. The Wire (HBO, 2002-08)
The most sustained narrative in television history, The Wire used the drug trade in Baltimore, heavily researched by creator David Simon, to tell tales of race and class with unprecedented complexity. (Perhaps that’s why the show never won a much-deserved Emmy for Outstanding Drama Series and earned only two nominations for writing.) Politics, the war on drugs, labor unions, public education, the media — these were among the big themes, all examined through exquisitely drawn characters, such as the brilliant yet broken detective Jimmy McNulty (Dominic West) and the great avenging thug Omar Little (Michael K. Williams), who will live on in legend.