Tag Archives: Treme

Ranking the Shows I Watch – 2014 Edition: The Outcasts

14 Jan

Breaking Bad

It’s time for an annual beginning-of-the-year tradition over here at Drug of the Nation, the ranking of the shows I’ve watched during the previous year. This is my fourth annual ranking, and I’ll repeat the caveat I placed atop last year’s ranking introduction:

Because the TV season is no longer the fall-to-spring trajectory that it used to be, I arbitrarily rank things on a calendar basis, and that leads to strange situations where I’m occasionally ranking the end of one season and the beginning of the next season in the same ranking. It’s strange, and not ideal, but I have to pick some point in the year to do the rankings, so I’ll roll with the punches and mention within the article if there was a significant change in quality one way or the other between the end and beginning of seasons covered in the same year.

I’m only ranking shows I watched all of or just about all of the episodes that aired last year; if I’m just two or three behind I’ll rank it, but if I’ve only seen two or three, I won’t. I’m ranking three episode mini-British seasons but not shows with one-off specials (Black Mirror’s Christmas special is the most notable example this year) . These rules are arbitrary, admittedly, but any rules would be. No daily variety programs like The Daily Show and The Colbert Report are eligible either.

The rankings this year were incredibly difficult, and a generally weak fall slate of TV shows had me forgetting just what an utterly strong year on the whole 2014 had been for television. I was forced to put shows I liked a lot towards the bottom of these rankings, and unlike previous years, there are just about no shows on this list that I’m one bad episode away from stopping, or that I’m just stringing out due to past loyalty until they finish. It’s absolutely brutal, and although I was forced to make tough choices, that doesn’t mean I don’t genuinely enjoy just about every show on this list. TV is that good, folks.

We start, as last year, with the shows that made last year’s list but didn’t make this year’s for one reason of another. This year these are almost entirely because they ended or didn’t air in the calendar year, so I’ll just run through them quickly, with some additional notes about the few that didn’t fall off due to simply not airing last year. This year I’m going to additionally throw in where a show ranked last year for context.

Here’s a quick link to last year’s final ranking as well. Now, on to the outcasts…

Breaking Bad – 2013: 1

Treme – 2013: 4

Eagleheart – Last year: 6

30 Rock – Last year: 10

Venture Bros. – 2013: 12

Top of the Lake – 2013: 15

Arrested Development – 2013: 17

Childrens Hospital – 2013: 21

Broadchurch – 2013: 23

Happy Endings – 2013: 24

NTSF: SD: SUV – 2013: 31

Black Mirror – 2013: 36

Family Tree  2013: 37

Siberia – 2013: 38

Luther – 2013: 45

The Office – 2013: 46

Dexter – 2013: 48

Enlightened – 2013: 6.5 (Initially, an embarrassingly mistaken omission)

Ben and Kate – 2013: 23.5 (Initially, an embarrassingly mistaken omission)

Take a deep breath. All of these shows did not air in 2014, so that’s the simple explanation why they’re not on the list. Many of these shows ended, Top of the Lake was a miniseries, several have extended offseasons and will be back in 2015 or later, and a couple are in extended hiatus, waiting to see whether they will return or not (looking at you, NTSF: SD: SUV). Easy enough.

Homeland – 2013: 41


After a season and a half of utter frustration with the show’s inconsistency at best, and downright lousy and lazy writing at worst, I cut the cord, deciding not to watch the fourth season after a third season that really was not a very good season of television. People have told me the fourth season is better, and if a critical consensus emerges I’ll consider coming back, but I’m not that close to it. I got so sick of the show and Carrie and Brody in particular; if I had cut out earlier, I might have been more easily convinced to come back. It’ll always have an absolutely all-time first season, and is worthy fo remembering just for that, reminiscent of an athlete like Mark Fidrych who blows away the league in his first season only to never do anywhere close to the same again.

Under the Dome – 2013: 47


Under the Dome

Oof. Under the Dome’s first season makes the third season of Homeland look like the fourth season of Breaking Bad. It’s still stunning to me that I made it almost to the end of the first season (I never actually watched the season finale; either with only one left, I couldn’t bring myself to). The plot was incredibly stupid, the acting was generally pretty bad, and the characters were horrible. It’s hard to imagine a time when it could have been decent, but alas, a sneakily bad show is bound to end up getting watched sometimes when you watch so many shows.

Ranking the Shows That I Watch – 2013 Edition: 4-1

14 Feb

Here we are, the final four. Two returnees from last  year’s top four, and two new entrants. All four hour longs. Let’s do it. 4-1.

4. Treme

Let the trombones play

David Simon’s post-Wire paean to post-Katrina New Orleans and the people who live there isn’t The Wire, and I think that’s hurt it in the minds of a lot of people. Tons and tons and tons of people who loved The Wire, many of whom came to The Wire late, refuse to even give Treme a chance. I don’t get it. Someone makes a show that you consider great, and you’re unwilling to even make an effort to watch the first couple of episodes of his next show, especially when it’s critically acclaimed. Well, me telling you to watch it now probably won’t help, but I’ll do it anyway. Treme is sadly over before it’s time, but the final season continued doing everything Treme does so well. While The Wire feels like a story where characters take two steps forward, followed by three steps back, Treme is a little more optimistic; characters take two steps back and three steps forward. There’s plenty of being beaten down by the system, but it turns out David Simon can do hopeful as well as depressing. No one constructs shows that feel more like real life than David Simon, no one constructs more full and inhabited worlds, and no one makes characters that are easier to empathize with and emotions that feel entirely earned. Basically, even though the show is just about people living there lives, there’s really nothing else on TV like it and probably won’t be until the next David Simon show crops up.

3. Rectify


The final new spring 2013 drama, three of which made it into the top 10 (what a freshmen class!). Unlike Hannibal or The Americans, Rectify had no problem with originality; I can’t think of any show that was particularly similar to Rectify, in terms of premise and plot. A death row inmate is exonerated after 20 years in prison thanks to DNA evidence, and he tries to fit back in to the real world in a small Georgia town that still believes strongly in his guilt. To say it’s deliberately paced would be an understatement; it makes the early True Detective episodes seem like 24 in comparison. It’s beautiful though, thoughtful, and heartrending. Instead of the deliberate pace being a drain, it’s actually a boon, and the show takes its time to linger and savor; the same way time moves slowly for Daniel, the former inmate, for whom each regular every day experience is new again after 20 years away. Nobody knows how to respond to Daniel; as difficult as it is for him to engage with his family, it’s equally difficult for them to reengage with him. The final scene of the season may have been the most emotional moment I saw watching TV in the entirety of last year.

2. Game of Thrones

In the game of thrones, you win or you die

It’s hard to write these capsules without being a little bit spoil-y but I’ve mostly tried to avoid delivering huge spoilers and I’ll continue to do so here. But I will say no show on TV delivers more shocking moments and huge twists which entirely change the direction of the plot more than Game of Thrones, sometimes turning the entire show on its head. If it was just about plot and aesthetics, Game of Thrones would already be entertaining and a must-watch but there’s so much more. Series author George R.R. Martin, and the writers who translate his work, DB Weiss and David Beinoff, have a talent for creating relatable motivation for almost every character, and making some of the most instantly hatable characters understandable if not likeable. In a world threatened by desperate winter conditions and external threats, Game of Thrones constantly reckons with the nature of power; what are the rules, what are the rights, and what are the responsibilities. The wealthy fight over a throne while the poor struggle merely to survive. Like most great shows, fans can have polarizing opinions about many of the characters and all have credible arguments.

1. Breaking Bad

Breaking Bad, bitch

Well, one last time. Breaking Bad delivered a final season and a finale surely to be considered one of the greatest of all time. Even if not every single moment worked, Breaking Bad simply did so much in eight episodes that the success percentage was still absurdly high, and even the very few decisions I disagreed with, I was able to understand the reasoning behind. Breaking Bad told us right from episode one of the final season that they were done playing it slow and safe, as Walt was on the move after confronting Hank. From there it was a non-stop episode to episode roller coaster ride, which led to one of the rare times where I really felt like I couldn’t wait another week for the next episode, although if each episode had come any faster I might have had a heart attack. The last season was so creative, so much happened, the drama was on such high alert; Breaking Bad went for it in a huge way and won. There are so many many riveting and memorable scenes that there are too many to name, but his phone call with Skyler was maybe the emotional high point of the season, while Ozymandias may go down as one of the best episodes of television of all time. One last salute, Breaking Bad, before I won’t be able to rank you anymore. This is how memorable final seasons are done.

End of Series Report: Treme

8 Jan

The sounds of Treme

You are about to read a nearly unabashed review for Treme, but before I get to the praise I’ll dismiss with the one caveat I believe it’s important to note.

David Simon’s first masterpiece, The Wire, was rich with occasionally heavy-handed political commentary, particularly in the fifth season, mostly along the lines of power corrupts, bureaucracy is broken, the system no longer works. Treme lays this on fairly thick as well; not quite fifth season thick, but at least as much as the rest of The Wire. It’s not a problem for me, but I can imagine some eye-rolling from those who found that aspect of The Wire irritating after a while. Now, moving on.

Nobody, and I mean Nobody, writes real, honest characters, better than David Simon, and proof is located throughout Treme.  All of our best recent television shows explore humanity in a deep and interesting way, but none of them since maybe Six Feet Under explores just regular everyday people in such an honest and authentic fashion.

Mad Men, Breaking Bad, and Game of Thrones are all true to themselves but none of them show real people; they’re exaggerated by their circumstances and place and time; truth through something other everyday life.

Treme deals with characters who are real people facing real problems; on the job, with their relationships, with occasional death and disease (and one pretty big hurricane) struggling to make a difference and just to make it at all. It’s not as grand as all that though. It’s not made out to be more than it is, but you get to know and love the characters that you invest yourself in their lives.

Simon is always putting his characters in difficult situations; when there’s an enemy it’s often some version of the system, which could have been seen as a cheap out but instead just feels true to the reality of the lives that New Orleans residents but even all city dwellers deal with on a daily basis.  Conflict in Treme is authentic rather than forced. Sure, things feel easy compared to The Wire, but not every show needs to have an equally bleak outlook. Like The Wire, Treme celebrates its characters, but unlike the Wire it seems like a couple of them end up in a better place than they started.

A few of the lesser characters don’t really get the screen time to be developed  and stand in more for their roles in other people’s and generla New Orleans stories (Chris Coy’s journalist may be the best example) but even they feel like people, and not stock characters, even with the lack of storyline that they get. A vast majority of the main characters have real in depth character arcs and personalities that resonate strongly whether you like them or hate them, or anywhere in between. There aren’t obvious favorite characters, and when characters get together or break up, the conflicts are complex and not simply one person’s fault or the other (usually). Characters grow, but it doesn’t feel forced. Antoine Baptiste’s ride from occasionally working trombonist to bona fide school band teacher and mentor is tirumpant and feels absolutely earned and true to the character, while Davis more or less ends up right where he started, and that isn’t seen as failure either.

Treme is a love letter to New Orleans in the best possible way. It feels authentic; it’s hard for me to say that with any authority, as a New Yorker who has been to New Orleans once in my life over a decade ago, but everything I’ve read seems to support it. Aside from the authenticity (which I do think matters somewhat in the way Simon is attempting to portray the show but is impossible for me to judge) the show makes me, who has only been to New Orleans once in his life with his family over a decade ago, absolutely fall in love with New Orleans. I don’t particularly care about jazz; it’s one of the music forms I’ve never been able to get into, and many of the forms of pop music featured in Treme aren’t strictly to my taste. Treme is filled with this; music is a huge theme in the show; and if you had described this to me ahead of time, I’d think I’d have no to little interest in the show or at least be bored by the music scenes. But I wasn’t. Instead of my lack of interest in that music turning me off of the show, the show’s sheer love and appreciation of the music won me over. It’s like contagious laughter; the appreciation and love for the music and the rest of New Orleans culture is contagious.

When it comes down to it, the only thing that ties every character in Treme together is their pull and their tie to New Orleans. These aren’t people who are living lives that could just be replicated in any other city. From the musicians, to the culinary world, to the super local Indian culture (that I’ve read about on the internet, watched four seasons of this show and still don’t really get), they spoke to the love-hate relationship of New Orleans residents to their city. They are constantly frustrated about the disappointments of their city, but for most of them (though not all) there’s no other place they’d rather live.

I’m a huge proponent of on-site filming. I admit it’s not always practical or necessary – it wouldn’t make sense or matter for Parks & Recreation to be filmed in Indiana – but it really does make a difference for shows like Treme. Of course, without David Simon and Eric Overmyer’s writing and characters, the setting doesn’t make a whit of difference. But as I’m sure they’d agree, the setting (while not a character – anyone who says the setting is a character should be shot on sight) really places the viewer there into these people’s lives in a way that sets just wouldn’t.

 I’ve made the claim before that people who love Friday Night Lights should love Treme, as they’re both shows that deal with real people helping real people, the good that lies deep inside most people no matter what screwed up things they do, and the strength of the bonds of families, friends, and other relationships to withstand difficulties. I’m unquestionably a big Friday Night Lights fan but sometimes plots felt forced, as if there had to be, say, a steroids arc, because it’s football. Treme does hit on all the obvious big New Orleans post-Katrina subjects, but it never feels forced. The world, one of my favorite parts of The Wire as well, feels so large, as characters fly around in the background; minor characters who would be ignored in other shows get lines that don’t matter for the plot but just make Treme’s world feel bigger. Treme doesn’t feel contained; it feels like the real world, which is one of the highest compliments I can give.

It’s too late, unfortunately for Treme. It’s never coming back, and we’ll never learn more about Antoine and Janette and Ladonna and Annie. Still, I’m thankful I got three and a half seasons of a show absolutely nobody watched.  Please, tell someone you love to watch this show and have the pleasure of enjoying it for the first time..



End of Season Report: Treme

10 Dec

Father and Son Lambreaux

The Wire, my favorite hour long program of all time, is what David Simon’s legacy will always be tied up with, and on balance, The Wire, though it has its share of happy stories, is more soul-crushing than optimistic, especially in the last couple of seasons, with a ballpark ratio of maybe 65% soul crushing to 35% optimistic (note to self:  make a ledger of major season ending events in The Wire and come up with an actual ratio).   The point here is that it’s a great show, but it’s also a depressing show, and David Simon made his mark because of many of the great aspects of The Wire, one of which is that he took on a city, Baltimore, warts, and all, and wasn’t afraid to paint a pretty bleak picture.

Treme isn’t that.  Treme is probably the flip of Wire, optimism-wise, with the results being 65% positive.  There’s plenty of negative, particularly with David Simon’s two favorite areas to hammer on, the police department and politics and government, but there’s far more stories about regular people overcoming adversity, facing down difficult obstacles, and more often than not coming together and triumphing at least slightly more than they fail in the end.

When searching for something or other regarding the show, I came across an Atlantic Wire article bashing Treme.  There were a number of complaints in article, but they ultimately boiled down to the central complaint that Treme is boring and the reason for is this is because it is too much of a love letter to the city of New Orleans; that Simon should have given the The Wire treatment to the city, the way he did to Baltimore.  I think his argument is both wrong and misses the point.  You know what?  Treme isn’t the Wire, and it shouldn’t have to be.

What Treme is is just about everything that’s right with this type of long term serial show, a serial show not based on action or tension or adventure, but built around the everyday lives of an ensemble of largely unrelated characters in a number of professions.  In fact, Treme could easily be boring; and the writer tries to make that point here by using the HBO online plot synopses, which sound like, “Antoine Batiste is doing right by the young people” and “Janette Desautel has found her groove at Lucky Peach” or “Sonny is moving forward on all fronts.”  He’s right as far as these descriptions absolutely do sound boring.  But that’s as far as it goes; it really is the genius of the show, that these boring sound events add up to a full hour episode every week that’s absolutely not boring at all.  About half the plots revolve around New Orleans music, a scene I could not care less about, and yet, it’s still not boring at all.

It’s because the characters are so rich.  There’s lots of emotion and feel-good moments, but it’s earned over the course of getting to know the characters for three seasons; it never feels manipulative.  It’s okay to be happy for characters.  I love The Wire and it’s soul-crushingness, and I like when some things don’t all end well and everything doesn’t work out perfectly but that doesn’t mean that I don’t like for things to work out for characters sometimes.  What I don’t like is when it’s cheap, and when it’s easy or when it happens to characters that I don’t care about at all.

David Simon knows how to make characters that are deep, compelling, and interesting.  It’s a true ensemble show in the sense that there’s really no main character, and most of the major characters get approximately equal screen time.  All of them are treated with care, as are many of the slightly more minor characters and seem like real living people.

Does David Simon have his peccadilloes?  Sure.  Treme too preachy and sanctimonious sometimes, but honestly, far less than The Newsroom in my opinion (obviously, that’s not saying a whole lot).  His characters do tend towards being too good and redeemable maybe sometimes, but that’s a minor sin at best.  He obviously loves New Orleans a lot more than I ever could or ever will but even though I don’t, the infectiousness and enthusiasm rubs off.  I don’t think it means he loves the city too much or that the people within are faultless, and if he romanticizes a little bit, that’s okay by me.  It’s a love letter, but one that’s built on fantastic writing and strong characterization.  If real life New Orleans isn’t really this great, that’s fine; I’m willing to watch a show through the filter of someone who genuinely loves it and I don’t think that takes away from the show’s quality at all.

There’s plenty of great shows on television now, but nobody else right now is making long form TV that invests in regular people real-life type characters in a not overly stylized way as well as Simon (and his partner on this endeavor, Eric Overmeyer) does on Treme (for example, some of the other current best hour longs:  Breaking Bad, science teacher-turned-meth-overlord, Homeland, CIA, Mad Men, crazily stylized ’60s advertising office, Game of Thrones, fantasy kingdom).  I loved Friday Night Lights along with everyone else, but in my mind, distilled to its essence, Treme is a similar show done even better.  Plenty of people loved Friday Night Lights who couldn’t care a whit about football, because it was really about the characters and their relationships and personalities, and the same is true for Treme, but with New Orleans instead of football.  Treme has the touching moments that anchored Friday Night Lights but feels like a full world instead of one with 12 people in it.  Anyway, I don’t really want to get into a full blown comparison, though that’s an idea for another entry.  What I wanted to get at is that fans of Friday Night Lights should give Treme a try.  Treme is the story of a city, sure, but it’s also the story of families and relationships that feel realer than anything else out there and if more than 10 people would ever watch it they’d find that out.

Show of the Day: Treme

2 Dec

I just finished watching the second and most recent season of Treme.  I don’t know anybody else who is interested in watching it and while I can’t say I blame them for not knowing better, I feel the need to do a little bit of proselytizing.

Treme is about a variety of characters in post-Katrina New Orleans, picking up a few months after the storm.  I ironically watched the majority of the episodes as Hurricane Irene swept through New York which hopefully made the show more poignant.  I have never met anyone who watches Treme, and I honestly had no interest in the show except for the outstanding reviews it was getting and the fact it was created by David Simon who created one of my favorite shows of all time, The Wire.

If you think The Wire was rather unsubtle about pointing out the dysfunction of the police and the media in Baltimore (which it was), you’ll have to deal with just as much and more of that unsubtlety regarding the mishandling of government money and the obstacles in the struggle to rebuild in New Orleans.

In most shows the main characters are connected by some combination of three bonds.  The characters are usually co-workers, friends or family (co-workers in particular I am stretching to mean a lot – people stuck together in the same physical location, like prisoners in Oz).  In Treme, many of the characters are not related at all to other characters, or at most come into contact with one another once or twice at chance times during the course of the show.  In theory, this approach means there’s a concern about a lack of cohesion in the show and a worry that there won’t be enough time to tell complex and interesting stories about the number of characters that Simon tends to cram in, even with full hour episodes.

In spite of all these potential problems, creators Simon and Eric Overmyer have a gift for storytelling which transcends all the challenges laid out before them.  Even though there’s plenty of relatively heavy handed lessons about the troubles of New Orleans, Simon and Overmyer generally do a good job of letting the characters show these issues rather than lecturing at us.  Even more importantly, via the excellent writing and acting the characters come to life before us and are three dimensional, interesting, and cause the viewer to actually care about them.  The plots continue to take interesting turns.  There’s nothing sudden and exciting like in Breaking Bad, but these characters’ arcs weave in ways that hit the sweet spot of being not always predictable but feeling consistent with the characters.

Like The Wire in Baltimore, Treme examines a number of different facets of New Orleans culture, but instead of the police, the drug trade, the schools, dock workers and the media, it’s the music world, the restaurant industry, real estate development and well, the police and the schools.  Like The Wire, depression is all around at various times, but there’s just enough hope to keep you from getting too down at any one point.  I might even dare to say Treme is more hopeful than The Wire.  Music is extremely important in Treme; almost half the characters are involved with music professionally one way or another.  The roll call of characters include Davis, a goofy DJ, Annie and Sonny, a pair of street musicians, LaDonna, a bar owner, Antoine, a trombone player, Toni, a civil rights lawyer, Janette, a chef, Albert, a Mardi Gras Indian Chief, and his son Delmond, an esteemed jazz trumpeter, Terry, a police officer, and Nelson, a developer.  I know the list of characters is long, but I wanted to give a sense of the occupations.  I’d love to expand, but talking about the characters in any more depth is going to require additional entries.

As much as anything, Treme is a paean to the city of New Orleans.  I was concerned I wouldn’t care for that.  Not because I don’t care for New Orleans, but because I really don’t understand any of the extremely distinctive bits of New Orleans culture which represent major moments in Treme.  I don’t know anything about Mardi Gras or the Feast of St. Joseph or Jazz Fest or anything about the New Orleans music scene outside of Lil Wayne and I thought that would affect my enjoyment of the show.  I was wrong.  The show is very much about New Orleans, but even more than enjoying the show without knowing anything about New Orleans, you can enjoy the show without caring anything about New Orleans.  Simon’s shows are so successful because no matter how important the messaging is to him, all of this comes in second to strong story.

Ranking the Shows That I Watch – Honorable Mentions

2 Aug

Ranking the Shows That I Watch

As you may or may not know/realize, I watch a lot of TV.  34 programs in fact, I’ve watched a season of in the past 12 months.  I’d taken it on myself to rank these shows, starting at 34 to 1.  First, however, a look at:

Shows That Came Close But Didn’t Make the Cut

Some brief mentions to shows that, for various reasons, almost made it but didn’t:

I want to watch these soon, but haven’t yet:

Cool jackets, but is the skeleton a bit much?

Sons of Anarchy – I read almost nothing but good things, Ron Perlman is just about always awesome, and it comes from the creator of the Shield, another extremely buzzworthy show I’ve never seen.  Compared to The Shield, this has fewer seasons, making it much faster to watch, and my motorcycling friend watches it and I’m eager to talk with him about it.

Treme – It’s created by David Simon, and it has Bunk and Lester Freeman from The Wire. Oh, and Anthony Bourdain is responsible for writing the restaurant sequences. Do I really need anything else? It’s actually good that I don’t, because aside from the people and the great reviews, the intrinsic plot doesn’t sound all that interesting, at first glance anyway.  I’m sure I’ll regret saying that when I’ve watched it, though.

Men of a Certain Age – I didn’t know what to make of this show when it debuted on TNT, but since then I’ve read nothing but good reviews, and heard nothing but good things. I appreciate that it seems to be a concept and an age range that hasn’t been explored as much, and I’ve loved Andre Braugher ever since Homicide: Life on the Streets.  (Update:  sadly, it’d been cancelled – still, I’ll watch the two seasons that exist.)

I’ve seen these intermittently but not enough to rank them:

Fry and friends

Futurama – I’ve kept up here and there with the new episodes – the quality isn’t quite high enough to draw me in to watch it week in and week out, but I have enough fondness for the show to turn it on when I see it, and since it’s Comedy Central, repeats are not infrequent.

Family Guy – It’s crazy to believe that this show, which was cancelled for a couple of years, is now going on its tenth season. I can’t say that the show is perfect by any means, but what I can say is, due to its disjointed, flashback, plot-light nature, even a bad episode is likely to have two or three hilarious parts. That said, I watch it just here and there and on repeats.

Louie – Allow me to be the one out of the loop for a minute. I watched a few episodes of this last year. It was all right. There were some funny parts, and some not so funny parts. Yet, everywhere I read, the show was a work of true comic genius. I think he’s a decent comic for sure – but in the biz he seems to be regarded as the best, and not close. I’ll try it again, but maybe it’s just not my thing.

I watched these shows, but they ended just before the arbitrary cut off I made for this list:

Are we having fun yet?

Party Down – I’ll be honest, I really just added this section to give a much-needed shout out to Party Down, possibly my favorite show of the last five years, which has a critical acclaim to ratings ratio of infinite (or more like not computable – since the ratings were 0, and we all know you can’t divide by that). It didn’t help that absolutely nobody has Starz. Nonetheless, if you haven’t seen it, watch it now.  It’s on Netflix streaming and DVD.

24 – I was an early adapter to this show when it started, and it will always have a warm place in my heart, but I was a bit tired of it by the end, and I watched only occasionally. That said, even though I was no longer a regular, I still have good feelings towards it, and don’t think it became so terrible or anything, just a little repetitive and lower down on my priority list.

Lost – I was also just about finished with this show by its last season, but with much different feelings than 24 gave me – anger, confusion, and frustration chief among them. I didn’t even watch most of the last season, constantly meaning to catch up but also constantly realizing I didn’t want to; I finally consented to read Wikipedia entries about the episodes and realized how glad I was that I didn’t watch the season.