LGBTQIA+

By Alexander Grey (Unsplash)

If you've watched BoJack Horseman, read Archie comics, or been rejected by someone who says they like you but your genitals gross them out, then you're familiar with asexuality ⁠— but probably not as familiar as you think.

A 2019 poll found that 76% of those surveyed weren't able to accurately define asexuality, despite 53% of respondents asserting that they could.

And that's fine. I can barely do it after years of research, and according to modern definitions I'm a full-fledged "heteroromantic" "asexual."

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TV News

Golden Globes: HFPA Nominates "Emily in Paris", Snubs "I May Destroy You"

What is wrong with the Golden Globes that a brilliant show gets snubbed while mediocrity is honored?

Emily in Paris

Stephanie Branchu/Netflix/Kobal/Shutterstock

Here's the setup: a young but accomplished social-media maven is in over her head in the professional world where she finds herself in a major European capital (for the sake of argument, we'll pretend England is still part of the EU).

She has a complicated romantic life, and she wants to be successful — just not quite as much as she wants to enjoy herself. We follow her as she learns to navigate often overwhelming circumstances and how to stick up for herself — with a lot of help from some close friends.

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TV Features

Before Its Time: "Freaks and Geeks"

20 years ago, Freaks and Geeks aired for an audience that expected a modern Wonder Years but instead got something closer to Dazed and Confused.

FREAKS AND GEEKS | Now On Digital | Paramount Movies

If Netflix announced a new, upcoming series produced by Judd Apatow with a cast including Seth Rogen, Jason Segel, James Franco, Martin Starr, Busy Philipps, Lizzy Caplan, and Shia LaBeouf, it would be one of the most anticipated projects in Hollywood.

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TV

The 50 Best TV Shows of the Decade

Did your favorites make the list?

The 2010s saw the advent of binge-watching.

Thanks to streaming platforms like Netflix and Hulu, it was suddenly possible to watch multiple episodes of a single TV series in one sitting without the interruptions of commercials. As the way we watched TV changed, so too did the kind of shows we watched. Gone was the overabundance of vapid, sugary-sweet sitcoms, and in came the era of political satire, dramatic comedies, and searing commentaries on everything from abortion to Hollywood. Summarily, the 2010s saw a golden age of television. Here are our 50 favorites, with the top 25 and bottom 25 listed in alphabetical order.

The Top 25 TV Shows of the 2010s

Atlanta



Atlanta first aired in 2016, with Donald Glover's Earn learning that his cousin Alfred has released a hit song under the stage name Paper Boi. Since then, the show has followed Earn's struggle to navigate different worlds as he takes over managing his cousin's burgeoning music career while also trying to be a good father to his daughter, Lottie, and to prove himself to Van, his ex-girlfriend and Lottie's mother. The show uses varying perspectives to flesh out the city of Atlanta and the complexities of being black in America with surreal touches that highlight the real-world absurdity. Yet despite the heaviness of much of its subject matter, it frequently manages to be among the funniest shows on TV.

Barry



For anyone who ever wondered whether or not SNL-alum Bill Hader could carry a serious TV show, Barry answers with an overwhelming "yes." To be clear, Barry is technically a dark comedy, or perhaps a crime comedy-drama, but Bill Hader brings a level of unprecedented seriousness to his titular character that oftentimes makes the show feel like a straight tragedy.

Playing a hitman who wants to leave his life of crime behind in order to pursue a career in acting, Bill Hader imbues Barry with an earnestness that makes us as an audience truly want him to succeed. This likability serves to make Barry's violent acts all the more disturbing. Barry's greatest success is its ability to effortlessly fluctuate between the quirks of life as a struggling actor in LA and the violent inclinations of a man who murders for a living and can never really escape that truth. It's one of the best character studies currently on TV and is sure to cement Bill Hader as an extremely versatile A-list talent.

Baskets



Baskets premiered on FX in 2016, telling the story of Chip Baskets, an aspiring clown played by Zach Galifianakis, who is moving back to Bakersfield, California to live with his mother after a failed stint at clown school in Paris. Galfianakis' talent for melancholy slapstick makes the show by turns hilarious and touching, but it's his mother Christine Baskets—artfully portrayed by Louie Anderson—whose simple enthusiasm for small-town life makes the show one of the best of the decade. Watching Christine, Chip, and his twin brother Dale (also Galifianakis) heighten relatable family drama to exquisite absurdity never gets old.

Black Mirror



Nothing would be the same without Black Mirror. Though its later seasons have been inconsistent in quality, its earliest contributions were digital horror at its finest, with some of the episodes being downright visionary in terms of how accurately they predicted the near future. From the nostalgic visions of virtual afterlife in "San Junipero" to the eerie foresight of "Nosedive" and its digital ranking systems, Black Mirror made an indelible impact.

Bob's Burgers



Whatever you've heard about Family Guy or South Park, Bob's Burgers is the true successor to the golden age of The Simpsons. The Belcher family offers an update to The Simpsons' satirical view on middle class family life that reflects how America has changed since the 90s—slightly more urban, with less overt child abuse and a lot more economic precarity. And just as with the best seasons of The Simpsons, Bob's Burgers maintains a touching core of familial love and solidarity amid the absurd hijinks and veiled political commentary. Throw in the added value of the frequently hilarious, occasionally moving musical numbers, and Bob's Burgers easily secures a spot as one of the best shows of the decade.

Bojack Horseman



In terms of the quality of its writing, BoJack Horseman outdid itself season after season. What began as a parody of Hollywood's excesses quickly turned into a searing, and boundary-pushing meditation on depression, addiction, and what it means to change (or to be unable to). Increasingly self-aware and conscious of its hypocritical tendency to obsess over the misadventures of an evil but sympathetic celebrity, thereby glorifying them while criticizing them, BoJack Horseman is the political, devastating, timely, often hilarious show about an animated horse that none of us knew we needed. It's buoyed by the strength of its secondary characters, from the workaholic Princess Carolyn to asexual Todd to self-loathing Diane, and altogether the show takes deep-rooted fears that many share and refracts them in a funhouse mirror that's impossible to look away from.

Broad City



Ilana Glazer and Abbi Jacobson began producing an independent web series about their struggles to "make it" in New York City in 2009. Soon, Amy Poehler took interest in the series, and it moved to Comedy Central in 2014. The smash hit comedy was not only laugh-out-loud funny, but a beautiful portrait of a genuinely healthy, supportive female friendship—something TV has historically seen little of. Broad City can be credited for helping to usher in a new generation of female comedy creators and has become a cultural touchstone for millenials.

Catastrophe



Catastrophe, created and written by the show's stars, Rob Delaney and Sharon Horgan, is one of the realest, grossest, and funniest takes on love and the mess of life. Two people entering middle age meet and hit it off, they spend a reckless night together, and when she gets pregnant, they decide to make things work—not realizing how complicated that will be. It's a simple enough premise, but the cutting dialogue and the absurd comedy that plays out as two near-strangers build a life together make Catastrophe one of a kind.

Fargo



Anthology series like True Detective and American Horror Story can be really hit or miss, but in the three seasons that have aired on FX since 2014, Fargo has been consistently great. Maybe it has to do with the leisurely production schedule, the all-star cast, or the near-perfect movie that forms the basis for its tone, but whatever the cause, Fargo delivers murderous midwestern tragicomedy better than any show on TV—and nearly as well as the original. Season three, which followed the rivalry of the Stussy brothers—as played by Ewan McGregor—deserves a particular call-out, with season four due next year and featuring Chris Rock, Timothy Olyphant, and Jason Schwartzman.

Fleabag



Phoebe Waller-Bridge's stage-play-turned-two-season-TV masterpiece took the world by storm at the end of the 2010s. In the series, the viewer is made into the protagonist's (an unnamed woman played by Bridge) confidante as she uses sex to cope with grief and complicated family dynamics. As the show progresses, the closely protected inner life of the protagonist begins to reveal itself. Many consider the second season to be an essentially perfect season of television, in large part because of the hot priest (played by Andrew Scott). Fleabag is a funny, searing commentary on what it means to exist as a sexual, complicated being in a world with ever-changing expectations of women.

Grace and Frankie



70 is the new 30, or 20, or whatever arbitrary year of life we as a culture are deciding to glorify for no reason, because age is just a number. If you weren't aware that Jane Fonda glowed with money or that Lily Tomlin is our collective spiritual mother, then Grace and Frankie enlightened you. When two septuagenarian women are told that their husbands are gay and in love with each other, the best phase of their lives begins.

Haikyu!!



It's almost 2020, the world is upside down, and yes, an anime about high school volleyball is genuinely one of the best shows of the decade. Haikyu!!, literally "Volleyball" in Japanese, is about the trials and tribulations of the Karasuno High School Boys Volleyball Team. Unlike pretty much every other high school sports anime out there, Haikyu!! takes a relatively realistic approach to...well...high schoolers playing sports. In doing so, Haikyu!! translates the genuine passion that goes into high school sports and the real dynamics of teamwork, better than any other show I've ever seen.

The protagonist, Hinata, isn't a superpowered Volleyball God; he's an extremely short boy who can't reach the top of the net, but works his butt off because he loves the game. Likewise, all the other boys in Haikyu!! have realistic strengths and weaknesses (both on and off the court) that they work to overcome with help from their teammates. Haikyu!! is an exercise in wholesomeness––there are no villains, just other kids at other schools who love the same sport our boys do––and in a decade full of so much bitterness, it's a much needed dose of medicine.

Hunter x Hunter



For anyone who likes long-running shonen anime, Hunter x Hunter is, without a doubt, the pinnacle of the genre. While the original manga began publication in 1998, and a previous anime adaptation ran from 1999-2001, the 2011 adaptation re-started the series from scratch and, most importantly, covered the Chimaera Ant arc (or season––kind of––for you non-anime watchers).

The entirety of Hunter x Hunter is fantastic, featuring likeable protagonists, dastardly villains, and a brilliantly creative power system called "Nen." But there's a reason the Chimaera Ant arc is often considered the greatest shonen arc ever, and that's because it's a total deconstruction of the genre's tropes and conventions. Everything from the "always optimistic protagonist" to "the ultimate evil villain" is turned completely inside-out. The Chimaera Ant arc is intensely brutal and ultimately poignant, making us question the very nature of what makes us human.

Killing Eve



Phoebe Waller-Bridge can do no wrong, and even if she could and did, I'd probably still clap. The combination of Waller-Bridge's cutting wit and Sandra Oh and Jodie Comer's flawless performances makes for a TV show that never quite lets you find your balance before sending you spinning again. It's dark and surreal, while managing to still be deeply human.

Marvelous Mrs. Maisel



Being a professional stand-up comedienne is hard, but being Midge Maisel is wrapping chaos in a designer dress. Created by the fast-talking husband and wife behind Gilmore Girls, The Marvelous Mrs. Maisel created a stage for Rachel Brosnahan to showcase her comedic timing and Alex Borstein to be a solid, deadpan pillar within Mrs. Maisel's world of quippy, fast-talking, energy. Also Michael Zegen (Joel) is dead cute.

Mob Psycho 100



While One Punch Man might be manga artist One's best known series (and is fantastic in its own right), his other series, Mob Psycho 100,is profound in a way quite unlike anything else I've seen. The show revolves around Mob, an awkward, unconfident middle school boy with god-like psychic powers. Any other shonen anime would use this premise as a gateway to epic battles (and there are a few, and their animation is absolutely incredible), but Mob Psycho 100 focuses far more on the coming-of-age angle instead.

See, Mob doesn't like his psychic powers because they make him feel weird. So instead of focusing on the one thing he's innately talented at but doesn't like, Mob tries to improve himself in the ways he actually cares about improving––making friends, talking to girls, working out with his school's Body Improvement Club. If anything, Mob's incredible psychic powers are a backdrop for the show's larger message––that no person, no matter what natural abilities they may have, is better than anyone else. Mob Psycho 100 shows that everyone has their own struggles, and that the only person you should ever hold yourself up in comparison to is the person you were yesterday.

The OA



Brit Marling and Zal Batmanglij's labyrinthine show only ran for two seasons, but it managed to earn a cult following during that time. Deeply weird, profoundly earnest, and full to the brim with observations on the connections between the environment, parallel universes, and technology, the two seasons that we do have are irreplaceable and paradigm-shifting examples of what TV could become, if we let ourselves believe.

Orange Is the New Black



Piper Kerman's post-grad rebellious stage went from a felony to a cultural touchstone. As Netflix's most-watched original series, OITNB boasted a female-led cast and cutting commentary on race, class, and the industrial prison complex.

PEN15



Those who didn't have a gruelingly awkward middle school experience are, by scientific evidence, simply inhuman. Maya Erskine and Anna Konkle tell it best in Hulu original PEN15, which co-stars the real-life BFFs (who also wrote and executive produced together) as 13-year-olds. Here, there's no sugarcoating the calamities of tweenhood, whether they're as trivial as thongs and AIM messaging or as weighty as race identity. All delivered with Erskine and Konkle's razor-sharp wit, it's absolutely hysterical to anyone who's lived past the seventh grade.

Rick and Morty



"To be fair, you have to have a very high IQ to understand Rick and Morty. The humour is extremely subtle, and without a solid grasp of theoretical physics most of the jokes will go over a typical viewer's head."

Okay, so first things first, we need to separate Rick and Morty from the Rick and Morty fandom. The Rick and Morty fandom is so annoying that memes making fun of them are barely distinguishable from the things they actually say. But, to be fair, Rick and Morty really is a great show full of smart writing, surprisingly deep characterization, and the exact kind of bizarre, abstract humor that lends itself perfectly to endless memes. No doubt, Rick and Morty will be the defining animated comedy of the 2010s.

Russian Doll



This tightly-wound and big-hearted thriller stars Natasha Lyonne as a jaded New Yorker who gets caught in a loop in time and has to relive the night of her 36th birthday party over and over again. A perfect blend of humor and seriousness, and riddled with quantum leaps and profound connections, it's as satisfying as it is provocative.

Shameless



We fell in love with the trainwreck family the Gallaghers when it debuted on Showtime in 2011. William H. Macy brought so much toxic charm to the abusive and neglectful father Frank Gallagher that we actually found him, if not likable, then good television. Emmy Rossum managed to cause tears and laughter within the same scene, and the entire cast was as impressive as their characters were appalling.

Shingeki no Kyojin (Attack on Titan)



After the first season of Attack on Titan premiered in 2013, it received so much hype that even people outside of the anime community were raving about it. The show featured an incredibly high-concept premise, following the last surviving humans as they tried to fight back against giant, man-eating monsters called Titans. Had Attack on Titan stuck to that premise, it would have been top-notch action-horror, albeit not necessarily one of the best shows of the decade.

But Attack on Titan turned out to be so much bigger than its initial premise. As the seasons progressed, Attack on Titan reshaped itself time and time again, leading viewers through an increasingly complex, expertly plotted narrative featuring some of the most compelling characters and intensely emotional moments that I've ever experienced in fiction. At its core, Attack on Titan is a deeply thematic contemplation on war, othering, and humanity's will to survive against impossible odds, alongside the moral sacrifices they oftentimes make to do so.

Shrill



It shouldn't be revolutionary for a show to feature a fat female lead, but it is. Shrill, the brilliant Hulu adaptation of Lindy West's memoir, Shrill: Notes from a Loud Woman, gave audiences a badly needed narrative about a woman who is actively seeking to change her life for the better, in ways that have nothing to do with her body. It's funny, it's heartfelt, and it shows a woman getting an abortion and finding it empowering. Woah. Hell yes.

Steven Universe



When Steven Universe first aired on Cartoon Network in 2013, it was a light-hearted and silly children's show with some super-powered action from the Crystal Gems and a lot of silly jokes from their sidekick—the childish titular character. Since then an entire galaxy has been fleshed out around the boardwalk of Beach City where much of the show takes place. Along with the alien gem creatures and their elaborate history, the show has introduced us to a cast of characters that have grown and changed—overcoming insecurities and facing complex questions of love and identity. While Steven matured and developed into a hero worthy of his last name, the show evolved to become one of the best of the decade.

25-50 Top TV Shows of the 2010s

  • American Horror Story
  • Archer
  • Big Mouth
  • Community
  • Homeland
  • Inside Amy Schumer
  • iZombie
  • Jane the Virgin
  • Jessica Jones
  • Justified
  • Last Week Tonight
  • Love
  • Stranger Things
  • Suits
  • The Good Place
  • The Newsroom
  • This Is Us
  • True Detective
  • Unreal

VeepThe 5 Worst TV Shows of the 2010s9-1-1

  • Chicago PD
  • Daybreak
  • Once Upon a Time
  • What/If
TV

Did Season 2 Ruin "The End of the F*cking World"?

Did the show do itself a disservice by not ending after Season 1?

The End of the F*cking World

Netflix

If you're a fan of Charles Forsman's graphic novel, The End of the F*cking World, then you were probably at least a little pissed off to see they were making a second season of the Netflix show based on the comic.

It's impossible to discuss the second season of this Netflix dramedy without spoiling the end of the first season, so if you have yet to catch up on this highly bingeable show, we recommend you stop reading now.

Essentially, Season 1 ends the same way the graphic novel does, with Alyssa and James finally getting tracked down by the police and James subsequently getting shot while trying to save Alyssa. In the novel, that moment of supreme sacrifice is how the story ends, and it's made clear James did not survive the encounter. But, as James says flatly in a voice over at the beginning of Season 2, "It was a fitting end, a doomed love story. A perfect tragedy. And then I didn't die." Indeed, viewers soon learn that writer Charlie Covell left his source material behind completely in writing the second installment of the series and James not only survived in this version, but soon reenters Alyssa's life.

End of the F*cking worldAn excerpt from the original graphic novel. End of the F*cking World


This left many viewers, this writer included, feeling conflicted. On one hand, the first season of the oddball series was a nearly perfect set of episodes. Deeply moving and hyper-realistic almost to the point of surrealism, it was a triumph in the genre of coming-of-age stories. It was made all the more perfect by the seemingly definitive ending: a bold, tragic end that tied up the story neatly and, in its original form, left no room for a sequel. On the other hand, saying goodbye to the deeply alive characters of Alyssa and James seemed unimaginable. But maybe that hard goodbye was part of what made the first season so perfect.

But then, it turned out it wasn't goodbye at all. And as much as we were happy to learn we'd get a whole other season of The End of the F*cking World, the very fact of the second season cast a shadow on the excellence of the first. Summarily, the second season has a difficult task to perform: prove to its audience that its existence is worth the loss of our perfect, tragic, poetic ending.

So, the question is: Did it succeed? Well...yes and no.

First, it's impossible to overstate the brilliance of this show's script. The inclusion of the character's inner monologues combined with the sparse, direct, and deadpan interpersonal dialogue serve to immerse the audience in a story both bizarre and deeply familiar. The audience gets the feeling that, thanks to these soliloquies, they know Alyssa and James just as well as they know themselves; but, given their adolescence and various struggles, that's to say hardly at all. Indeed, the combination of impulsivity and child-like innocence with the very adult grief and trauma these young characters bear creates a heartbreakingly realistic portrait of adolescence. All of this remains true in Season 2.

But, in many ways, Season 2 explores areas Season 1 already conquered. A third central character comes in the form of Bonnie (played by Naomi Ackie), a college-aged woman determined to exact revenge against Alyssa and James for killing her "boyfriend," Clive, whom James stabbed when he tried to rape Alyssa in Season 1. Bonnie is quite obviously "strange," as Alyssa puts it, and we learn in the first episode that this is at least in part because of an abusive childhood. While Ackie's performance is brilliant, she adds little besides a central source of conflict. Much of her character seems to be an exploration of themes Season 1 already covered: generational trauma, unhealthy attachments, and anger.

Bonnie (Naomi Ackie)Netflix

Still, in the final confrontation of the season we see James and Alyssa held at gunpoint in a diner by Bonnie, and what transpires is a scene about trauma and forgiveness as effecting as anything that's ever been on TV. When it's finally revealed to Bonnie that Clive tried to rape Alyssa, and Bonnie insists that they "still need to be punished," Alyssa delivers a brief monologue that punches all the harder for her character's usually sarcastic, deadpan manner. "You think we weren't punished? I'm always in that house," Alyssa confesses. "I'm always in that room. I can't get out. Maybe I did some things I shouldn't have, but I didn't deserve that." Finally, we see Bonnie's loathing and grief turn on herself, a poignant testament to the self-loathing inherent in vengeance, and watch as Alyssa and James stop her from ending her own life. Ultimately, audiences are given a much more interesting antagonist in Bonnie than they had with Clive, a serial rapist and murderer, in Season 1. Bonnie is as much a victim of Clive's cruelty as Alyssa is, and as such, she is by no means a true villain, but rather exists in a grey area of sympathy and antagonism that is ultimately more effective in the narrative of the show.

Much like last season, there are also moments of extraordinary wisdom. When James is rhetorically asked by a police man "What can you do?" in regards to Bonnie's mental illness, James responds, simply, "Well, a bit more." It's this sense of hope in the face of overwhelming nihilism that this show captures so beautifully. Perhaps acknowledgement of just how f*cked the world is, while allowing a sneaking suspicion to creep in that maybe the sun will rise some day—that maybe holding hands is worth doing even as the world falls in around you—is exactly what we need from our art in 2019.

While the critic in me wants to argue that Season 2 should never have existed, if I'm being honest, I'm just glad I got to spend a little more time trying to figure it all out alongside James and Alyssa.

Netflix

MUSIC

On "Let's Rock," the Black Keys Resurrect Garage Rock

The Black Keys' newest album is a return to their roots, but it feels designed for our modern times.

The Black Keys

The Black Keys should be an unremarkable rock band. Their arrangements are somewhat formulaic, and their genre is a form of rock and roll that's all but gone extinct in the mainstream sphere.

However, their songs have always possessed a certain underlying tension that sets them apart from the majority of wannabe Strokes impersonators and garage rock bands. That tension is an electric breathlessness that stems from somewhere between the hyperactive drum beats, the gritty wail of the electric guitar, and Dan Auerbach's grainy vocals. It's an invisible X-factor, and it gives "Let's Rock" an internal life that makes even the more laid-back tracks feel threatening, more apropos for a Hollywood car chase scene—or perhaps for the instability of our current moment in time—than for fulfilling any sort of nostalgia for rock and roll bands of the past.

Despite the feeling of anxiety that haunts each of the album's short, concise songs, "Let's Rock" marked a definitive return to the simplicity of the past. It's the band's first album in five years; since the release of Turn Blue, drummer Patrick Carney composed the BoJack Horseman theme and produced several albums, including one for his wife Michelle Branch, and Auerbach founded his label, Easy Eye Sound, and released his second solo album.

Still, there's something uniquely magical about the union of their talents. According to Auerbach, he and Carney both unconsciously decided to return to their roots on their new album, foregoing experimentation for the garage rock that they cut their teeth on as kids. "We got together in the studio and it was like it was already agreed upon, but we hadn't even spoken about it: It was just going to be a guitar and drums record," Auerbach said. "There's no keyboards, no other musicians, no outside producers, just the two of us. After so many years apart, that was the way that it had to be."

black keys album reviewImage via Consequence of Sound

You can sense the duo's automatic, effortlessly synchronized relationship throughout the album. One of the tracks that best highlights this is "Walk Across the Water," a song that could almost pass for an '80s Tom Petty single if it weren't for the impeccable production that makes it feel distinctly modern. Auerbach's guitar sounds like a human voice as it wails out the solo; and each chord feels purposefully placed, hit with the desperation of someone trying to work out old demons with a little thrashing on the six-string.

Sometimes the tracks let a bit of psychedelia creep in via unexpected peals of guitar and layered vocals, as in "Tell Me Lies," or especially on "Fire Walk With Me," a tribute to the David Lynch film of the same name. The album's title may also be a Twin Peaks nod, as "let's rock" is the catchphrase of one of the show's resident demons. Like the show, "Let's Rock" is an album that implies that nothing is as it seems. That the title is in quotes indicates that there's something purposefully artificial about this album, something intentionally transplanted from another place and time. If rock is dead, then "Let's Rock" might just be its zombie, come back from the grave with a sharp, desperate hunger at its core.

Despite its surrealistic leanings, Patrick Carney's brisk, clean drumming keeps everything in check. Carney drums with the urgency of a racing heartbeat, crunching Auerbach's already tightly wound melodies into songs that are perpetually in motion, surging towards an unknown vanishing point in the distance.

Ultimately, "Let's Rock" is dark and tenacious, a cynical and embittered return to traditional rock and roll that feels anything but stuck in the past. If anything, it feels like holding on tight as the rollercoaster of time lurches towards an ever-stranger future.