This post is part of the Music of Star Trek Blogathon hosted by Film Music Central so check out the amazing music posts that others have already contributed. When I first heard about the blogathon, I wasn’t sure that there was much I could add to the discussion, since most people seemed to be focusing on the original Star Trek series, The Next Generation, and their movies. However, I decided to shine a spotlight on the musical moments in my favorite series in the franchise: Voyager.
For those who don’t know, Voyager is Star Trek‘s incarnation of the Odyssey. Two crews are hurled into the unexplored Delta Quadrant, 70,000 light-years from home: the Federation starship Voyager led by Captain Kathryn Janeway (Kate Mulgrew) and a Maquis ship of rebel freedom fighters, led by Chakotay (Robert Beltran). After their initial encounters with the native aliens leave them stranded, the two crews band together to make the long journey home. Like Next Gen, the somewhat stiff early episodes yield to better and better seasons, and it’s truly gratifying to see all the characters grow into a family. Many episodes rival the very best that Star Trek has to offer, but we’re not here to discuss every little thing I love about this series; let’s talk about the music.
One of the most obvious musical achievements is the opening theme song. While Next Gen recycled Jerry Goldsmith’s incredible score from Star Trek: The Motion Picture for its opening theme, Goldsmith provided an original theme for Voyager, which won an Emmy for Outstanding Individual Achievement in Main Title Theme Music. The soft trumpet and drums immediately set a mood of spacey grandeur, and the brass and strings mingle together as the essence of audible majesty, complemented by lofty shots of the title ship swooping through stellar phenomena. Between the music and the visuals, I firmly consider it the best opening of all the Trek series.
So, that’s the theme. What about the music in the series itself? All of it is excellent, but the most memorable new theme was introduced in the season 3 finale Scorpion, which was a turning point in the series and could be considered Voyager‘s “Best of Both Worlds.” The Voyager crew find themselves in the middle of the Borg’s losing war against an unbeatable super-race known as Species 8472. The music by Jay Chattaway is loaded with bombast, reminding the ear of the high stakes, and the seven forceful notes mix with the background music for a terrific small-screen action piece. You can hear it for yourselves here.
In addition to the instrumental scores, music played a special role in several episodes, particularly for the holographic Doctor (Robert Picardo), who developed a passion for opera. In addition, both Jeri Ryan as Seven of Nine and Tim Russ as Tuvok showed their singing chops on occasion, and Garrett Wang as Ensign Harry Kim periodically played the clarinet. Here are some of the most notable musical highlights:
In the season 2 episode “The Thaw,” Harry Kim and Tom Paris debate where Harry should practice his clarinet without disturbing his neighbor.
In the season 2 episode “Innocence,” Tuvok is stranded on a moon with three alien children and soothes them to sleep with a Vulcan “lullaby” of sorts called Falor’s Journey.
In the season 3 episode “Remember,” Janeway is telepathically taught to play an ethereal-sounding new instrument.
In the season 4 two-parter “The Killing Game,” a hunter race called the Hirogen brainwash the Voyager crew and make them take part in historical holographic violence. One holodeck is set in Nazi-occupied France, and Seven of Nine is a crooning serenader in a French bar.
In the season 5 premiere “Night,” Voyager travels through a vast area of starless space, and in his boredom, Harry performs his own concerto called “Echoes of the Void” while on the bridge.
In the season 5 episode “Counterpoint,” a paranoid, anti-telepath race repeatedly boards and searches Voyager, and its charismatic inspector flirts with Captain Janeway while blaring Mahler’s First Symphony during every inspection.
In the season 5 episode “Bride of Chaotica!,” the show indulges in the classic cheesiness of the old Flash-Gordon-style science fiction and the exaggerated score reflects the over-the-top histrionics.
In the season 5 episode “Someone to Watch over Me,” the Doctor tries to teach Seven of Nine social skills and seems to realize his attraction to her while they sing “You Are My Sunshine” together. During the poignant final scene, the Doctor also sings “Someone to Watch over Me,” alone.
In the season 6 premiere “Equinox Part II,” a reprogrammed evil Doctor performs surgery on Seven of Nine, sadistically making her sing “My Darling Clementine” with him.
In the season 6 episode “Barge of the Dead” (probably the worst episode of the series), we get to hear a traditional Klingon drinking song.
In the season 6 episode “Riddles,” Tuvok becomes mentally damaged, and Neelix plays him a Vulcan funeral dirge, as well as jazz, which Tuvok surprisingly enjoys.
In the season 6 episodes “Fair Haven” and “Spirit Folk,” the crew enjoy a holodeck program of a quaint Irish village, with accompanying Celtic background music.
In the season 6 episode “Virtuoso,” the Doctor becomes a celebrity when he introduces music to a race that has never heard it before. Lots of opera in this one.
In the season 7 episode “Homestead,” Neelix dances to some classic rock ‘n’ roll, and eventually Tuvok indulges him with a parting dance step.
The series finale “Endgame” also won Jay Chattaway an Emmy for Outstanding Music Composition For A Series. Here‘s a taste of the underscore from both the pilot and the final episode.
There you have it. Star Trek: Voyager excelled at utilizing music both in the score and the storylines, continuing the musical legacy of The Original Series and Next Gen. I leave you now with the funniest musical moment from the series in which the Doctor’s operatic daydreams take a comical turn in Season 6’s “Tinker, Tenor, Doctor, Spy.”
A night on the town can be thrilling or fun,
When you know what you’re doing and not on the run,
But if you’re unprepared for the city at night,
I’d highly advise that you do as I write.
Don’t chitchat with strangers or pull someone’s leg,
Unless you need money, in which case just beg.
Do not leave your car, unless you have no choice;
Don’t take a stage unless you have a good voice.
Don’t steal magazines or pet cats you can’t see
And try to avoid any known felony.
And whatever you do in your probable mess,
Don’t bring kids along, unless you like stress.
__________________________
MPAA rating for 1987 version: PG-13
Rating for 2016 version: G
Adventures in Babysitting is one of those movies that could have well been on my original list, but it took a more recent viewing to remind me of this fun ’80s classic and convince me to add it to my list, which I updated all the way back at the beginning of the year. I do want to review all the films I added last year, and the recent Disney Channel remake gave me the perfect opportunity to revisit this one as a Version Variation.
Released by Disney’s Touchstone label, the original Adventures in Babysitting from 1987 was the first lead role for Elizabeth Shue, who plays Chris the babysitter, and I dare say it wasn’t just Keith Coogan’s Brad who had a crush on her. Singing along to “Then He Kissed Me” in the opening credits, she’s the ideal girl next door, soon thrust into extraordinary circumstances when her friend Brenda (Penelope Ann Miller) begs for rescue from an ill-conceived attempt at running away. Forced to bring Brad, his sister Sara (Maia Brewton), and his friend Daryl (Anthony Rapp) along for the ride, Chris holds herself and her under-age entourage together surprisingly well as they ramble from one Chicago danger to the next.
A coworker of mine told me she doesn’t see what makes Adventures in Babysitting a classic, but while it isn’t on the level of Ferris Bueller’s Day Off, it’s a film in which individual moments outshine the whole. There’s the scary hook story and its unexpected punchline, the gang confrontation on the L train, the tense climax high on a skyscraper, and the disarming payoff for Sara’s obsession with Thor, long before anyone thought Marvel would give him his own movie. (It’s still hard to believe that hunky mechanic was Vincent D’Onofrio, you know, the scuzzy bad guy in both Men in Black and Jurassic World. No wonder he’s known as a chameleon.) And of course, the film’s high point is its impromptu musical number where Chris and the kids sing their own babysitting blues on stage. Even if you don’t see the film as a classic, that scene certainly is. Through all their risky ordeals, the easily likable main characters ensure Adventures in Babysitting is likewise easy to enjoy.
As for the remake…. Perhaps to capitalize on the boom in ’80s nostalgia and to give its 100th Disney Channel Original Movie some name recognition, Disney decided to give Adventures in Babysitting a kiddie makeover this year, and the results were mixed to say the least. The film features Disney Channel stars such as Sabrina Carpenter from Girl Meets World, Sofia Carson from Descendants, and Kevin Quinn from Bunk’d, and like their shows, it’s a juvenile mix of humor and heart that will appeal far more to tweens than to anyone much older. I used to watch and enjoy Disney Channel Original Movies while growing up (I still love the High School Musical series), but having drifted away from DCOMs and now watching this one, my older self can’t help but wonder if the quality has gone down or my perceptions have simply matured. Maybe both.
Either way, this new Adventures in Babysitting comes up way short of the original even as it seemingly tries to outdo it. Instead of one babysitter, we get two, one a deeply responsible good girl (Carpenter) and the other an unreliable sitter-impersonator (Carson). Instead of three kids, we get five from two different families, ranging from an aspiring chef to a would-be fashionista. Instead of a car-stealing ring with genuine danger implied, we get a couple of bumbling smugglers doing something illegal with a spray-painted ferret.
Yet for all its changes, it’s still recognizably the same general story, hitting the same beats and notable scenes, yet mirroring my main complaint about Maleficent, every scene from the original that they try to recreate is consistently worse. Most atrocious of all is the “musical number,” which has morphed from a blues anthem to a rap battle with dreadful lyrics like “we ain’t no quitters; we’re the babysitters.” It’s enough to make me gag.
Yet even with all the ways the newer version of Adventures in Babysitting falls short of the original, it’s hard to totally disparage. It’s likely far more engaging to its target age group than to me and, for them, probably captures some of the same fun that ’80s kids felt in 1987. For the most part, it’s decent; perhaps someone someday might consider it a classic, but I doubt it. The most the remake has going for it is its kid-friendliness (i.e., “Don’t mess with the babysitter!” as opposed to the original version), since the original was more intended for teens and up with its occasional language and talk of Playboy. If it has to exist, I suppose the latest version of Adventures in Babysitting can act as an introduction to younger audiences before they see the far better original. Now enough already with the lackluster remakes!
Best line (from the original): (Brad) “Where we gonna get 50 bucks?” (Sarah) “We could sell Daryl. You think?”
Rank for 1987 version: List-Worthy
Rank for 2016 version: Dishonorable Mention
(Today’s NaPoWriMo prompt was to involve a family portrait. I went a little unorthodox and saw a movie heirloom as a different kind of portrait.)
Photographs fade with the passing of time.
Families usually settle for that.
But one family has a sturdier portrait:
A weathered piano where fathers have sat.
One gifted forefather made art from the wood
And carved images of his daughter and wife
And kept right on carving as long as he could,
Remembering many a long-faded life.
There that piano sits, solid as ever.
The faces hewn into its surface still stare,
And when someone plays on those ivory keys,
The faces almost seem to whisper a prayer.
Now some fail to see that piano as more
Than a heavy old relic with stale memories,
But portraits, pianos, and relics can store
Significance only their family sees.
____________________
MPAA rating: PG
The Piano Lesson is a Hallmark Hall of Fame movie adapted from the all-black Broadway play by August Wilson. Several of the actors from the play grace the screen as well, including Charles S. Dutton and Carl Gordon (who also co-starred on the ‘90s TV show Roc). Dutton plays Boy Willie, who visits his sister Berniece (Alfre Woodard) in Pittsburgh in order to sell her antique piano for land.
What The Piano Lesson has is a debate-worthy dilemma of the best kind. As I described in the poem, the piano is carved with images of their ancestors, dating back to slavery, the kind of keepsake that Berniece could never imagine parting with. Yet Boy Willie views its worth in monetary terms: if he can sell it (and the truckful of watermelons he brought along), he can return to the South and buy the very land their ancestors once worked as slaves. The piano is a gift, but is it one to be kept and admired, or used to benefit the family? Both Berniece and Boy Willie have good points, so who’s right?
The Piano Lesson is also a warm picture of African-Americans in the 1930s. At first glance, the politically correct might disapprove of the poor dialect and grammar spoken, names like Boy Willie or Wining Boy, or the sight of black people with watermelons. Yet August Wilson himself was black and included such elements for a reason. After all, Boy Willie is showing initiative and business savvy by selling the watermelons and seeks to keep on progressing away from slavery. Religion, superstition, and music are also elemental to the story, with an a cappella rendition of “Berta, Berta” being a highlight.
All of the actors give great performances, but the story itself doesn’t quite know how to resolve its provocative argument. The culmination of the dispute takes a supernatural turn that is not well visualized and ends up just confusing. Even so, I’m glad the playwright sided with my opinion on how the piano ought to be used. The Piano Lesson might have ended better, but it’s a thought-provoking portrait of African-American heritage.
I love good television, whether it be a comedy, a drama, science fiction, or even a cartoon, and any movie lover is bound to have numerous favorite shows. That being said, I will mention up front that I have not seen nearly as many as the pop culture experts, mainly because of how time-consuming catching up on a show can be. I’ve never seen Buffy or Breaking Bad or Bonanza, and my aversion to violence has prevented me from checking out acclaimed but notorious shows like Game of Thrones or The Walking Dead. Still, when I find a show I like, I enjoy watching and rewatching it and tend to know it inside and out. I can thank my parents for introducing me to many of the older shows on this list, while others I stumbled upon as a pleasant surprise. I may not be the most well-versed TV viewer, but I can say for a fact that all of these are great television.
TIE: Little House on the Prairie (1974-1983)/ The Waltons (1972-1981)
I’m probably one of the only guys my age who can see the merit in these two old-fashioned shows. I grew up with reruns of both of them on Hallmark Channel, and even as more modern and edgy shows have replaced them, I still carry a special fondness for rural family dramas.
Little House on the Prairie is based off of the book series by Laura Ingalls Wilder and similarly paints a lovable picture of frontier life from the viewpoint of young Laura (Melissa Gilbert). Michael Landon as her wise Pa is one of the quintessential TV fathers, and while the show grew stale in its later seasons, most of its run was deeply endearing, whether it be Laura’s quarrels with mean Nellie Oleson or the sad season where sister Mary went blind.
The Waltons is also based on the youth and work of an author, producer Earl Hamner, Jr., replaced by John-Boy Walton (Richard Thomas). Growing up in Depression-era Virginia with his parents, grandparents, and six siblings, John-Boy faces moral questions and personal challenges as he becomes a writer, goes to college, and also depends on the wisdom of his father (Ralph Waite). Again, later seasons degraded in quality, but The Waltons built an enduring family and community that faced financial difficulty and still came out happy. Both of these shows may seem boring and saccharine by today’s standards, but they serve as reminders to me of the simple comfort of the simple past. The first notes of both opening themes make me feel like I’m going home to visit old family and friends.
TIE: Phineas and Ferb (2007-2015) / Gravity Falls (2012-present)
Recent shows like these have confirmed that cartoons can be enjoyed by adults just as much as by kids. Both of these are Disney Channel shows (probably the best in its history), which take place over one very eventful summer. Both have attracted adult fan bases and many talented voice actors.
Phineas and Ferb is very formulaic. Stepbrothers Phineas (Vincent Martella) and Ferb (Thomas Sangster) and their friends go to crazily fun lengths to make the most of the summer, while their sister Candace (Ashley Tisdale) tries to “bust” them to their mother, while their pet platypus escapes to fight an evil scientist. First, it’s odd; then it’s utterly familiar. Yet the showrunners find every opportunity to alter expectations and make it fresh with consistent humor and surprisingly impressive songs in every single episode. You know what to expect, but you never know what will change. The show sadly ended just this year, but even in the final episode, they were toying with the space-time continuum and making one of the funniest spoon jokes ever. Am I a fan of this show? Yes, yes, I am. Here’s one of the best musical numbers:
Gravity Falls was another surprise, as it’s quickly surpassed my expectations with its addictive mystery. Twins Dipper (Jason Ritter) and Mabel (Kristen Schaal) are sent to Gravity Falls, Oregon, to stay for the summer with their con artist Great Uncle Stan (show creator Alex Hirsch). Small, silly mysteries give way to huge ones, with cleverly hidden clues and hints sprinkled throughout each episode via background details and encoded backwards messages. (That whispering at the end of the theme song below is a backwards message for how to decode another message during the end credits.) Gravity Falls has some of that modern cartoon weirdness (anyone who’s seen Cartoon Network’s current lineup knows what I mean), but it works, with spoofs of movies like The Thing, The Exorcist, or those horror anthologies. Think, childish antics one minute and possessed mounted heads bleeding from the mouth the next. Yeah, on a supposed kid’s show (not so much). The early episodes don’t fully prepare you for how epic Gravity Falls becomes. It’s also hilariously written, and recent cliffhanger episodes have left me craving more.
St. Elsewhere (1982-1988)
Predating the more recent hospital dramas like ER or Grey’s Anatomy, St. Elsewhere was one of the best dramas of the 1980s. Doctors and nurses at Boston’s unprestigious teaching hospital St. Eligius dealt with all kinds of current issues, from bombers and rapists and missing children to cancer and organ transplants. It also featured an amazingly talented ensemble cast, including many actors in before-they-were-famous roles, such as Denzel Washington, Howie Mandel, Ed Begley, Jr., David Morse, Alfre Woodard, Bruce Greenwood, and Helen Hunt, not to mention two-time Emmy winner and five-time nominee William Daniels as irascible Dr. Mark Craig. Full of memorable, often heartbreaking episodes, this show is one not to be forgotten.
Gilligan’s Island (1964-1967)
From an acclaimed drama to a silly favorite, I could not not put Gilligan’s Island on this list. Again, I grew up watching reruns, and the slapstick interactions of those seven people trapped on an island (without polar bears, hatches, or smoke monsters) never cease to be entertaining. Anyone who’s anyone has to know the easily singable theme song. From the odd couple antics of Gilligan and the Skipper to the pompous vanity of the Howells to the ridiculously inventive contraptions made by the Professor, Gilligan’s Island has a timeless quality, and I expect to be laughing at it with my grandchildren many years hence.
Sherlock (2010-present)
I hesitated to include Sherlock since it is essentially a series of TV movies, but it qualifies well enough. Benedict Cumberbatch and Martin Freeman are terrifically watchable actors on their own, but putting them together in a modern-day take on the famous detective was downright genius. The writing, humor, and editing are phenomenal, but it all comes down to their chemistry and delivery. Cumberbatch nails the self-assured, single-minded intensity of everyone’s favorite high-functioning sociopath, while Freeman’s down-to-earth Watson offers the perfect contrast with his quick wit and muted reactions. The show continues to deliver constant inventiveness and intrigue. Like Sherlock himself, it’s clever, and it knows it’s clever, and it relishes being clever in all the best ways. Can’t wait for the Christmas special!
TIE: Firefly (2002) / Cowboy Bebop (1998)
I’m not the first to compare these two shows, and I just couldn’t resist combining them here due to their many similarities. Both are about thirteen hours long and feature believable, occasionally violent, space-faring settings with a mixed Western vibe; the crew of a rundown spaceship seeking their next job; an awesome lead character who can shoot hostage takers in the head; a young girl genius who acts weird and adds little to individual episodes; and a spinoff movie to satisfy fans’ demands for more.
In truth, Firefly is the better of the two shows. Joss Whedon’s retroactively popular science fiction deserved a much longer lifespan than just half a season. With impressive special effects for the time and Whedon’s shrewd dialogue, which can only be described as “shiny,” Captain Mal Reynolds and the crew of the Serenity turned Firefly into more than just another canceled show. They became a ragtag family aboard that ship, while the combination of futuristic technology and old-fashioned shootouts clinched Firefly as something truly unique.
As unique as it is, though, there were forerunners. I’ve heard that another anime show called Outlaw Star had a frozen girl in a box a few years before Whedon did. Cowboy Bebop may not have directly influenced it, but it’s still an excellent show with fantastic music. Hailed as one of the best anime shows ever, Cowboy Bebop follows the small crew of the Bebop, bounty hunters (not the Jubal Early kind) who catch bad guys while coming to terms with their pasts. Spike Spiegel is as cool as they come, and his kick-butt adventures with ship owner Jet Black, amnesiac femme fatale Faye Valentine, and a girl named Edward typically start slow and build to an action-packed finale. Whereas Firefly has a more explicitly Western tone, Cowboy Bebop incorporates more crime drama, jazz, and film noir, with subtle characterization and artsy editing. Each episode is distinct (one episode is like space-age Midnight Run, while another is a serio-comic version of Alien), but major plot threads tie together (for the most part) for an exceptionally sad conclusion. The worst thing I can say about the show is that each 30-minute episode is so full of plot that it easily could have warranted an hour runtime to avoid feeling rushed. Still, Cowboy Bebop is concise storytelling at its best.
Quantum Leap (1989-1993)
Time travel is a concept full of possibility, and Quantum Leap was the first show to do it justice. Amnesiac Sam Beckett (Scott Bakula) “leaps” into other people’s bodies throughout modern history, solving problems and righting wrongs with the indirect aid of his friend Al (Dean Stockwell), who appears to him as a hologram. Sam gets to know the family or acquaintances of his host body and resolve the minor setbacks of history, and though he typically only bumps into famous people, sometimes he leaps right into them, whether for awkward humor (Dr. Ruth) or drama (Lee Harvey Oswald). Right when you think the writers have run out of ideas, they come up with some brilliant or silly variation of the main concept, and the result was always entertaining. Oh, boy.
M*A*S*H (1972-1983)
TV dramedy doesn’t get any better than M*A*S*H, a show that garnered eleven seasons, eight Golden Globes, fourteen Emmys, and more than one hundred Emmy nominations. Through the motley bunch of surgeons and soldiers at the 4077th Mobile Army Surgical Hospital, viewers got an eleven-year look at the three-year Korean War, which perhaps seemed just as long to those who fought in it. M*A*S*H was at the forefront of innovative television, whether it be an episode filmed in real time or one from the first-person view of a patient. For such a long-running show, it surprisingly got better with time. The first couple of seasons were more generally comedic, while later seasons cranked up the drama, even killing a main character offscreen. From Alan Alda’s likable joker Hawkeye to Harry Morgan’s stoic but soft-hearted Colonel Potter, viewers truly got to know and love these characters, making the historic finale a genuine tearjerker.
Avatar: The Last Airbender (2005-2008) / The Legend of Korra (2012-2014)
Predating James Cameron’s similarly named blockbuster, Avatar: The Last Airbender was quite a surprise. Nickelodeon up to that point was known for pure silliness like SpongeBob or The Fairly OddParents, yet Avatar mingled its comedy with a startlingly awesome world with elemental superpowers called bending and an ongoing storyline that became more serious with each season. The last surviving airbender is discovered as the lost peace-bringing Avatar, and with Katara and Sokka of the Water Tribe, he sets out to master Water, Earth, and Fire and defeat the evil, warmongering Fire Lord. I’ve heard Avatar compared with Star Wars, another franchise with a young protagonist learning to master mystical powers to topple a dark tyrant. The characters are lovable and surprisingly deep, while the action and elemental showdowns are all levels of cool. Despite some mysticism, I consider Avatar the best animated show ever. (I’m also including The Legend of Korra here since it continues the story and world of Avatar seventy years later. It’s not quite as good, but it has a similar blend of fantasy and excitement while tackling more mature themes.)
Star Trek: The Next Generation (1987-1994)
Star Trek is a staple in my house. From television to movies, it has been a consistent source of thought-provoking science fiction for nearly fifty years now. While I still very much enjoy the original Star Trek with Kirk and Spock and McCoy, it’s a bit dated, and The Next Generation helped to reinvigorate the Trek universe for yes, the next generation of fans. Next Gen started slow and had its cheesy moments too, but it’s a prime example of a show’s actors and writers finding their groove over time. As much as I like Kirk and Spock, I learned to love Captain Picard (Patrick Stewart), Data (Brent Spiner), Dr. Crusher (Gates McFadden), Geordi Laforge (LeVar Burton), and the rest of the new Enterprise crew even more. Now that another Star Trek show is in the works, I can only hope it will have a similar effect on another “next generation” of fans.
Star Trek: Voyager (1995-2001)
I may be in the minority (and I haven’t fully explored Deep Space Nine and Enterprise), but I am convinced that Voyager is the best Star Trek series of them all, breaking ground with its strong female captain and exploring questions of identity, truth, and principles. It follows something of the same exploration theme as the three Enterprise shows but hurls the titular ship to the Delta Quadrant, allowing the entire show to be a sci-fi Odyssey, a mission to get home. Again, the actors take time adjusting to their roles, but once they do, they become almost like family. From the contrast between logical Tuvok (Tim Russ) and gregarious Neelix (Ethan Phillips) to the warm rapport between Captain Janeway (Kate Mulgrew) and Chakotay (Robert Beltran) to the endearing ego of the holographic Doctor (Robert Picardo), the characters grow on their journey, amid all manner of alien attacks and ethical quandaries. Science fiction provides an opportunity to ask moral questions that aren’t as feasible in real-life scenarios, and Voyager (and Star Trek in general) excels at just that. This is probably the show I’ve seen the most frequently since I never get tired of it.
Lost (2004-2010)
J.J. Abrams, you’re my hero. This ranking should come as no surprise to anyone who’s read more than a few of my posts. I’m grateful for the words “in my opinion,” because with them I can gush to my heart’s content. In my opinion, Lost is the greatest show ever made. IMO, no other show can compare with the level of character development reached through all the flashbacks and flash-forwards. IMO, Lost is an addictive drug of a show right from the explosive opening, with ongoing mysteries and intense emergencies and character deaths both unexpected and heart-rending. I know J.J. Abrams and the writers did not preplan Lost in its entirety, but that only makes the end product an even more incredible feat of storytelling. Characters pop up in others’ flashbacks, details nearly forgotten reassert their importance, and no other show has made me and my family cry because we became so attached to this diverse ensemble of beloved characters. Even if many did not like or understand the final season, it wrapped everything up well enough to leave the perfect bittersweet glow that the end of a great show should. Now I have to go rewatch it. J
Runners-Up
Arrow (2012-present) – Further proof that Marvel rules the box office, but DC excels with TV.
The Bugs Bunny Show (1960-2000) – My VC insisted I included her favorite cartoon, even if it was a collection of shorts rather than a typical TV show.
The Cosby Show (1984-1992) – Despite all the Bill Cosby scandals, I still enjoy the original show that made him a household name.
Everybody Loves Raymond (1996-2005) – Ray Romano’s dysfunctional family still puts a smile on my face.
Full House (1987-1995) – It seems overly sweet now, but it was one of my favorite sitcoms growing up.
Good Eats (1999-2012) – Alton Brown’s quirky cooking show with many movie references. I’ll never make coq au vin, but it’s fun watching him do it.
Hey, Arnold! (1996-2004) – A likable and down-to-earth cartoon with admirable morals.
Jeopardy! (1964-present) – Everyone’s favorite game show is mine too. I’m still insisting I’ll be a contestant one of these days.
Marvel’s Agents of S.H.I.E.L.D. (2013-present) – Proof that Marvel can excel at TV too, especially with Joss Whedon’s involvement.
The Mary Tyler Moore Show (1970-1977) – There’s something about Mary and her TV station coworkers that still wins hearts all these years later.
Star Trek: The Original Series (1966-1969) – Dated yet classic, this is the Trek show that started it all.
Star Wars: Clone Wars (2003) – Not to be confused with the less appealing CGI show, this short-form series added just the right action and background information in between Episodes II and III.
Taxi (1978-1983) – A classic comedy with Judd Hirsch and Danny DeVito.
Teen Titans (2003-2006) – A fun anime-influenced superhero show that could get surprisingly dark.
The Twilight Zone (1959-1964) – Rod Serling’s classic anthology series ranged from chilling horror to memorable what-if science fiction.
Shows I’ve been meaning to check out:
Alias
Bones
Breaking Bad
Doctor Who
Falling Skies
Fringe
Gotham
Heroes
Once upon a Time
Warehouse 13
The X-Files
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