The crowded circle of television
Note: Every Friday, The A.V. Club, my favorite pop cultural site on the Internet, throws out a question to its staff members for discussion, and I’ve decided that I want to join in on the fun. This week’s question: “What’s your favorite TV show of the year so far?”
There are times when watching television can start to feel like a second job—a pleasurable one, to be sure, but one that demands a lot of work nevertheless. Over the last year, I’ve followed more shows than ever, including Mad Men, Game of Thrones, Orange is the New Black, Hannibal, Community, Parks and Recreation, House of Cards, The Vampire Diaries, and True Detective. For the most part, they’ve all had strong runs, and I’d have trouble picking a favorite. (If pressed, I’d probably go with Mad Men, if only for old times’ sake, with Hannibal as a very close second.) They’re all strikingly different in emphasis, tone, and setting, but they also have a lot in common. With one exception, which I’ll get to in a moment, these are dense shows with large casts and intricate storylines. Many seem devoted to pushing the limits of how much complexity can be accommodated within the constraints of the television format, which may be why the majority run for just ten to thirteen episodes: it’s hard to imagine that level of energy sustained over twenty or more installments.
And while I’m thrilled by the level of ambition visible here, it comes at a price. There’s a sort of arms race taking place between media of all kinds, as they compete to stand out in an increasingly crowded space with so much competing for our attention. Books, even literary novels, are expected to be page-turners; movies offer up massive spectacle to the point where miraculous visual effects are taken for granted; and television has taken to packing every minute of narrative time to the bursting point. (This isn’t true of all shows, of course—a lot of television series are still designed to play comfortably in the background of a hotel room—but it’s generally the case with prestige shows that end up on critics’ lists and honored at award ceremonies.) This trend toward complexity arises from a confluence of factors I’ve tried to unpack here before: just as The Simpsons was the first freeze-frame sitcom, modern television takes advantage of our streaming and binge-watching habits to deliver storytelling that rewards, and even demands, close attention.
For the most part, this is a positive development. Yet there’s also a case to be made that television, which is so good at managing extended narratives and enormous casts of characters, is also uniquely suited for the opposite: silence, emptiness, and contemplation. In a film, time is a precious commodity, and when you’re introducing characters while also setting in motion the machinery of a complicated story, there often isn’t time to pause. Television, in theory, should be able to stretch out a little, interspersing relentless forward momentum with moments of quiet, which are often necessary for viewers to consolidate and process what they’ve seen. Twin Peaks was as crowded and plotty as any show on the air today, but it also found time for stretches of weird, inexplicable inaction, and it’s those scenes that I remember best. Even in the series finale, with so many threads to address and only forty minutes to cover them all, it devotes endless minutes to Cooper’s hallucinatory—and almost entirely static—ordeal in the Black Lodge, and even to a gag involving a decrepit bank manager rising from his desk and crossing the floor of his branch very, very slowly.
So while there’s a lot of fun to be had with shows that constantly accelerate the narrative pace, it can also be a limitation, especially when it’s handled less than fluently. (For every show, like Orange is the New Black, that manages to cut expertly between subplots, there’s another, like Game of Thrones, that can’t quite seem to handle its enormous scope, and even The Vampire Diaries is showing signs of strain.) Both Hannibal and Mad Men know when to linger on an image or revelation—roughly half of Hannibal is devoted to contemplating its other half—and True Detective, in particular, seemed to consist almost entirely of such pauses. We remember such high points as the final chase with the killer or the raid in “Who Goes There,” but what made the show special were the scenes in which nothing much seemed to be happening. It was aided in this by its limited cast and its tight focus on its two leads, so it’s possible that what shows really need to slow things down are a couple of movie stars to hold the eye. But it’s a step in the right direction. If time is a flat circle, as Rust says, so is television, and it’s good to see it coming back around.