Ranking Every TV Show of 2023: #s 80-66

Alan Ritchson in Reacher; Reese Witherspoon in The Morning Show; West Duchovny in Painkiler; Rosario Dawson in Ahsoka; Freya Allan in The Witcher

We’re ranking every TV show that we watched in 2023. If you missed Part I, you can find it here.

80. The Continental (Peacock, Season 1). I get the idea. The John Wick universe is appealing in part for its intricate mythology, so it’s theoretically possible to derive further entertainment from its lore, even without the grounding presence of Keanu Reeves. The problem with The Continental is that, aside from Mel Gibson’s shameless scenery-chewing, nothing about it is remotely memorable. Its cast feels second-rate, its plotting is perfunctory, and its action, while occasionally kinetic, never comes close to approaching even a third-tier set piece from the Wick flicks. Those movies are about one man’s desperate attempts to fight back against the High Table—the invisible institution that inflexibly dominates his world and restricts his autonomy. Yet The Continental feels like a servant of the Table itself: a piece of corporate property, fulfilling its duty without deviating from its superiors’ instructions. It isn’t a revolutionary, it’s a slave. Read More

Ranking Every TV Show of 2023, Part I: #s 94-81

Lizzy Caplan in Fatal Attraction; Madeleine Madden in The Wheel of Time; Lily-Rose Depp in The Idol; Elizabeth Debicki in The Crown; Tom Hiddleston in Loki

Is TV getting worse, or am I just getting grouchier? This is my tenth straight year conducting this exercise, which has typically functioned as an opportunity for me to flaunt my indecent enthusiasm for television. Movies and TV aren’t a zero-sum game—it’s possible to admire both forms of storytelling without denigrating one in favor of the other—and while I spend the vast majority of my time writing about cinema, this is the one week where I can pay proper homage to the small screen.

So why, in assessing the TV of 2023, am I gripped by a powerful sense of malaise? It hasn’t been for lack of viewing options. True, from a certain self-loathing perspective, the amount of television I consumed this past year was substandard: a mere 94 shows—my lowest figure since 2018 and down dramatically from my pandemic peak of 124 in 2020. That said, watching every episode of nearly 100 different TV shows in a single year probably seems outrageous to your average, healthy, not-completely-obsessed-with-art individual. What’s relatively meager for me is surely obscene for most. Read More

Oscars 2023: Nominations and Analysis

Annette Bening and Jodie Foster in Nyad

The Oscars are a whipping boy. Despite their ostensible function of celebrating the year’s best movies, their real value lies in what they get wrong—the so-called “snubs,” the head-scratching inclusions, the rhetorical shrieks of “How did they choose him there but not her there??” We like following them because we like kvetching about them.

To that end, the nominations for the 96th Academy Awards did their job in both senses of the phrase. Sure, there were the usual infuriating exclusions (nothing for Asteroid City?!) and puzzling replacements (that sound you just heard was every boomer trying to figure out their Netflix login in order to watch Nyad), plus one genuine shocker (we’ll get to that). But otherwise—and as is usually the case—most of the nominations were, well, pretty good. Sure, no category perfectly aligned with my personal dream ballots (all of which shall be revealed at a later date!), but it’s unrealistic to demand perfection from the Oscars. Besides, if they got everything right, they would have no reason to exist. Read More

Oscars 2023: Nomination Predictions

Sandra Hüller in Anatomy of a Fall

Movie critics love telling people how little we care about the Oscars, which is why we spend every year rigorously predicting, analyzing, and castigating them. It is true, of course, that the blessing of the Academy of Motion Picture Arts and Sciences confers no special level of excellence upon the chosen films; it certainly doesn’t change personal opinions of them. But if the Oscars are meaningless, they are at least meaningless in a meaningful way. Even as the Academy has diversified its membership such that it’s no longer exclusively run by old white guys, the Oscars still function as a form of fossilizing—preserving in amber the tastes and trends of a particular cinematic epoch. They allow future generations of movie-lovers to look back and ask in puzzlement, “What the fuck were they thinking?”

There are worse questions to ask, and to have answered. And so, per tradition, we here at MovieManifesto now embark on our annual scrutiny of the Oscars—a ritual characterized not by scientific precision or sober reasoning, but by random guesswork and snotty resentment. It’s fun! Read More

American Fiction: By Book or by Crook

Jeffrey Wright in American Fiction

Writing is a task infected with misery and failure: an endless cycle of staring at a blank screen, deleting reams of gibberish, and questioning your life choices. (Am I speaking hypothetically? Reader, I am not.) So it was with a mixture of envy and disbelief that I watched Thelonious Ellison (Jeffrey Wright), better known for obvious reasons as Monk, sit at his desk and confidently compose an entire novel in what appeared to be a single night. What’s his next trick, building Rome?

Not that Monk is an especially successful artist. The flailing hero of American Fiction, Monk is a mythological scholar whose fearsome intellect has failed to translate into financial security or critical renown. (When he appears at a book panel, he scratches a missing vowel onto the placard that misspelled his name.) His latest text, a meticulous analysis of Aeschylus’ The Persians, hasn’t attracted the slightest nibble from publishers, given that it’s miles removed from the zeitgeist. “They want a Black book,” explains his agent, Arthur (John Ortiz). Monk’s frustrated response—“I’m Black, and it’s my book”—betrays not only his stubbornness, but his woeful ignorance of consumer demand. Read More