I’m watching “24” again, something I do every few years. I cancelled my cable a few months back and don’t have any streaming services as I have plenty of things to watch off of physical media. Originally, I started watching “24” during season 4, and then had to go to the video store to rent seasons 1-3, when they were available, and I would go every day until they were if they were rented out. (Like an addict?) After that, every year from season 5-9, I would go to Target on release day and buy the new season on DVD/Blu-ray, and a few times I took three days off to watch it. So much fun!

After spending a lot of time attempting to find some information on the intro track for “V”, I fired off an email to the creator and director of “V”, Kenneth Johnson. I knew he had a web site, so, I might as well. I had a response within the hour, and he said he’d just send me a copy of the soundtrack! Very cool.

And, just for reference, the original four-hour miniseries is an outstanding piece of work. The second miniseries is really good, aside from one plot-line. The weekly series was a goofy joke, due to NBC interference and massive budget cuts. The 2009 re-boot lost the spirit of the original and I’ll never watch it again, very disappointing. Kenneth Johnson was only involved in the first miniseries, and it shows.

I tried to find the intro to Buck Rogers, but amazingly enough, an intact version of it isn’t on YouTube. That is so far back in time, it is easy to forget how great that intro was.

The first four Indiana Jones movies just disappeared from the Disney+ Streaming service. We all know this happens from time-to-time, licensing ends, deals expire, etc. (This is a First-World problem, of course.)

I have experienced and recognize the benefits of streaming, and for most people it is just what they need, but at the same time there is something to actually owning a physical copy as opposed to paying for permission to watch from a limited selection for a limited time under limited terms.

Streaming is wonderful until somebody flips a switch for reasons beyond our understanding, leaving us confused and frustrated. We shouldn’t have to be Indiana Jones just to find the Indiana Jones films.

Of course, that would be okay if that were to happen to the last Indiana Jones movie.

https://screenrant.com/indiana-jones-movies-disney-plus-removed/

This list was intended to be a top-ten, and ended up with more than thirty shows. I cut it to twenty. There is a lot of good stuff out there. A lot of a shows’ ranking has to do with the impact it had on me to watch it; for instance, Band of Brothers always causes emotion one way or another, whether it is “Why We Fight” (Anybody who has watched it knows why this is a big deal), or Captain Sobel running into Winters later in the series, or the church scene where the guys who didn’t make it fade away. Among others.

Game of Thrones is a mixed bag, in that it has some incredible dialog and writing, special effects and design, acting… my favorite scene is where Brienne of Tarth confides in others that she can’t become a Knight; so they in turn make her one. How they wrote and performed this scene was an example of what is missing from most shows. For the most brutal television series ever, that was a fantastic scene that won’t be replicated on common-formula network shows. It barely didn’t make my list, simply because some of it was so incredibly brutal.

The Walking Dead also has some Game of Thrones brutality in it, the upside of which is that there is real risk to the characters; they aren’t protected. In Star Trek: The Next Generation, for example, you knew everybody was going to be fine by the end of the episode, and when someone wasn’t, it was known long in advance (Tasha Yar). And that actress actually came back as a relative. So, there isn’t much at risk, hence not a lot of emotion is involved.

However, although Game of Thrones and The Walking Dead fortunately break established standards to tell a more compelling story, sometimes they just go too far. So far I’m not even going to describe some of what they do, and that is why they aren’t higher on my list. I can’t condone a show that has a pregnant woman stabbed in the stomach, for the sake of entertainment. That is too far for me if it isn’t in a direct historical context (Band of Brothers), and I’m quite numb to a lot of “action” and violence in entertainment. There is such a thing as going too far, and we shouldn’t condone an “Anything goes, so long as we are entertained” standard. At the same time, assuming that this kind of thing actually did happen in the history the show was based on… that is the dilemma.

South Park isn’t on the list, because of the same thing; they go too far with some of their subject matter, but then again, that is what makes the show so good. In the end I didn’t know where to rank it, so I left it off. Beavis and Butt-head has subject matter that is so true, and also “How did they think of that?” moments where we all relate, in places no other shows take their stories. It is less of a witty satire, but is extremely funny and should be on this list, but again, I didn’t know where to put it.

I had a lot of great favorites, that honestly aren’t full of good writing. Such as Airwolf, which is a great show, but admittedly, had a formula for each episode. As great as the actors, theme, at logistics of the show are, it could have been written better if it didn’t have to have a “wrap-it-up-in-fifty-minutes” requirement.

I also liked the original “Equalizer”, but it has been so long since I’ve seen it, I couldn’t put it anywhere.

So, of course, this list is full of facts, such as these shows have outstanding features that make them extremely watchable, but some of the placement is obviously based on my opinion and the impact the show has had on me when watching it.

1 • Band of Brothers / The Pacific
This should be required viewing for everybody; it gives us some idea of what is sacrificed to bring us what we take for granted every day.

2 • Max Headroom
A personal favorite, and cancelled far too soon; unique and well-written.

3 • Breaking Bad + El Camino / Better Call Saul
A perfect show with a perfect prequel show.

4 • Justified (seasons 1-6) (not City Primeval)
The dialog in this show is the best of all of them; I once watched them all with the sub-titles so I wouldn’t miss anything. I need to read some Elmore Leonard books (what it was based on) as he was one of the people behind the show as well.

5 • 24 (seasons 1-9) (not 24: Legacy)
Opinions vary, but I liked this show all the way through season nine; some of the things they did story-wise and logistics-wise broke ground for everybody else.

6 • The Shield
Like the Sopranos, an example of where the lead characters are actually the bad guys, but one gets lost and easily lose sight of this; the bad guys are actually often the good guys. A lot of gray areas.

7 • Dexter + Dexter: New Blood
Like Breaking Bad, what a great premise behind a show.

8 • The Sopranos + The Many Saints of Newark
Talk about becoming involved with the characters, and their development throughout the story. Poor Adriana.

9 • Mad Men
Created by the same people who did The Sopranos, but with less mob violence. Such as, none of it! Another example of investing in a show that pays off down the line.

10 • Downton Abbey
Sure, it is almost a soap opera, but everything about this show is great, and it is a wonderful look at how things were in this aspect of Great Britain during the early 1900’s.

11 • Cheers / Frasier / Wings
All of these shows were run by the same people and part of the same “universe”, and of course well-written. Nobody does this kind of comedy anymore because it isn’t easy to do.

12 • V / V: The Final Battle (miniseries, not the weekly series or 2009 reboot)
Aside from a bit of silliness with one character at the end, this is outstanding. There are two particular scenes that are particularly powerful in a way that nobody seems to write anymore. Also, fun, with a good message.

13 • Star Trek: The Original Series (1966-69 remastered)
I grew up on this series, so seeing it with remastered and refreshed visuals and updated special effects was nice. There are small improvements here and there that weren’t possible back in the day, but as mentioned in the Blu-ray extras, they wanted to keep things to how they would have been done at the time so nothing is out-of-place. There are some weaker episodes, of which I kept track of so I don’t have to watch them again, but also, some outstanding episodes I kept a list of as well. That is what happens when you have a great concept with great writers.

14 • The Office (U.S.)
The last time I watched this all the way through, I had more a sense of family between the characters at the end; I really like how each character ended up, and what a fun journey. I haven’t seen the highly acclaimed British version, but this was created by the same people so I think it would be worth a watch, too.

15 • Survivor (seasons 1-40, 2000-2020)
Before the mandated political correctness of seasons forty-one and on, this show was an extremely interesting and executed concept. The behind-the-scenes and logistics of it, along with post-show interviews add even more value. There are also moments where the show brings more than just entertainment, but real depth to interpersonal relationships, when things get real between people under stressful situations, and moral dilemmas as well as high logistical thinking.

16 • Battlestar Galactica (reboot, 2003-2009)
I never watched the original when it was first run, as that would have been heresy to Star Wars. But this reboot is just amazing example of how reboots should be done. Also, it breaks the idea that if something is a reboot, it is a bad thing. Usually, that is true, but not in this case. A perfect science-fiction show (aside from two episodes in the middle where they were forced to do stand-alone episodes. That clearly didn’t work)

17 • Sledge Hammer!
This show was created specifically for the actor David Rasche to play, and originally intended to be more of an HBO-style comedy. However, it worked great modified from that concept and broadcast on ABC. The Dirty Harry parody was like nothing else on television and hasn’t been replicated since.

18 • Twin Peaks
I found the show during the non-David Lynch-directed episodes, and really liked it. So, when I did watch the ones he directed, wow. Season three, which came out twenty-five years later, was all Lynch. One episode was so off-the-wall I couldn’t get through it, and I really don’t know what to say about it. But the show as a whole is fantastic, and an example of what a real artist can do in the medium if left alone.

19 • The Walking Dead (seasons 1-8) / Fear the Walking Dead (season 1)
This show was brutal and unpredictable, had great character development, and for me, like Survivor, was a great “What would I do in this situation” kind of show. It would really test one’s moral standards and created some outstanding drama. As things became more politically correct in later seasons, I let it go (not as interesting, more predictable), but it was a great ride for the first eight seasons. The sequel show had an outstanding first season, as it did something the original show didn’t; it showed the outbreak as it happened. Terrifying.

20 • Yellowstone
Being #20 looks like this show isn’t that great, but it is. There’s just a lot of goodness on this list and this show is quite new to me. The country music montages aren’t for me, but are appropriate to the subject matter something I fast-forward through, but doesn’t bring the show down. This show does seem to ask a question as to whether a home is worth fighting for, whether it is worth losing family members for.

I’m not an all-out Star Trek fan, but I did grow up on the original series, and have watched The Next Generation, Deep Space Nine, and Voyager several times over the years. Star Trek, the way I would do it, would be more adventurous and less goofy and super-natural, but the Star Trek we got was still (usually) very enjoyable. Over time, I like the Next Generation the least, Deep Space Nine more, and Voyager as a tragedy in what could have been. For instance, there was a Deep Space Nine episode where members of the crew were shrunk down to little size in a shuttlecraft, and they were flying around the station. Goofy, but fun. I’m more of a modern Battlestar Galactica (not the original), Empire Strikes Back, and Wrath of Kahn kind of guy, but at the same time I do like the original Time Machine, War of the Worlds, Forbidden Planet, original Planet of the Apes, Logan’s Run, Twilight Zone, and the Buck Rogers tv series with Erin Gray and Gil Gerard. I like the original Star Trek the way it is, but at the same time, I think all of the Trek series could have been better by not always getting super-natural and goofy so much. This was something that actually had to happen, because of the budget. The genius of the series is that the sets were part of a ship that went to different places, or had things happen on it. In any other series, the sets were more static in nature, and things all had to happen there, whereas the Enterprise travelled to new worlds, which meant they didn’t have to make as many new sets, it was mostly the Enterprise for many of, and sometimes entirety of the episodes.

Over the years, I always watch Trek and think of how things could have been so much better if they could have told more serialized stories, how there could have been more character growth, things like that. Ronald D. Moore, one of the writers of Deep Space Nine, did just that with that series, and then expanded on it with the remake of Battlestar Galactica, which is a case where the remake is far better than the original. I’m always watching and wondering things like, why didn’t they ever do a series with Sulu, or Riker getting his own command? Why aren’t there more secondary characters, why does it always have to be a set number, plus the guest cast? (Deep Space Nine had a crazy-good cast of recurring guest characters throughout it’s run, and it wouldn’t be wrong to say that the recurring cast could have taken the place of the original cast and made the show that much better.) This is one of the problems with Voyager, they had so many opportunities to do neat things, but they didn’t. It was all formulaic. And they had everything they needed, including an interesting cast of characters.

That said, I have a lot of issues with post-original series Trek, and I definitely am never going to watch any of the post-Enterprise (which I’ve only seen six episodes of, I hear it isn’t bad) series. More and more I have identified movies and series that in the past, I would have watched just because of the brand, the name, or the actors involved, but now I have many movies and series on my list that I’m never going to watch again, or never going to watch in the first place. I think it is better to re-watch something of quality, rather than watch something of no quality just to see something new. For instance, I’m never watching the Star Wars sequels ever again. That is an entirely different essay right there.

So, to sum up, I’m not a big Star Trek fan, although I have been in the distant past. I am definitely a fan of the original series and movies, with the exception of Star Trek V and VI. And I’m never going to watch Generations again, I don’t want to watch Kirk die in such an awful fashion, like Han Solo did in The Force Awakens. Nor did I watch more than one episode of Picard, with the way the emasculated the character, something that is a trend these days. Look what they did to Luke Skywalker in The Last Jedi, or Indiana Jones in the fifth movie that came out last year. There is no respect for who those characters are, what they became in their original adventures. These days, it’s all about being gloomy and breaking them down into emasculated shells of what they once were.

Anyway.

I just finished watching all of the original Star Trek series on Blu-ray, which has the option to watch with either the original special effects, or the new and improved effects. After the hit-or-miss improvements to the original Star Wars trilogy, it is understandable for someone to be pessimistic about these changes. I found these changes to be very respectful to the original material, and in every instance, the improved effects actually make things better. The guy in charge of this said that he tried to keep things as they would have been done, had the original effects team had today’s technologies available to them. From little things like clocks and readouts looking perfectly natural, instead of like old car odometers, to phaser blasts being cleaned up, starships and planets looking more realistic… all of the changes look great, and some are expanded a bit because originally, they didn’t have the time or budget to actually show what they were talking about. It looks great, and helps it match the different series that followed it.

That’s not to say that the original special effects were bad; they are just horribly dated, and they don’t have to be. Nothing here is anywhere near as bad as say, George Lucas adding a giant creature waking in front of the camera for a good five seconds, or making Jabba’s band all goofy. What is done here actually improves things, quite a bit.

If one watched this show back in the day, it was every week, with the summer off. So there are a lot of things one wouldn’t really notice, that one does notice on a binge-watch like this. Things like: Blasters and communicators don’t work more than they do work, always because of some all-powerful alien force. I didn’t tally this, but I wouldn’t be surprised if it was actually every other episode that this happens. Or, the Enterprise is being controlled, threatened, or damaged by all-powerful alien threats. Or, the transporters. Things just don’t work that often. This is in a way, conflict, something that Gene Roddenberry didn’t want the crew of The Next Generation to have. They were always supposed to work together without any conflict, which again and again, people involved in writing for The Next Generation always complained about because without conflict, it is horribly difficult to write anything of interest in a drama. By the time Deep Space Nine game about, they did away with that non-workable Roddenberry law.

I didn’t notice that many red-shirts dying, a trope that is pretty popular with this series. It does happen, but there are plenty of blue-shirts and tan-shirts that get taken out as well.

The third season was notorious for being of lower quality, thanks to severely cut budgets, and Gene Roddenberry moving on to do other things. I didn’t find it to be that bad, but there is a difference, for sure. A lot of my tolerance for this has to do with growing up with the series, and some of the episodes were just nostalgic, and just no that bad. But there were fewer quality stories, for sure. They kept using the same, albeit redressed, planetary set over and over, with the same cave entrance over and over, and only one on-location episode.

It was interesting to see Diana Muldaur, the Next Generation’s season two doctor, in two different roles on two different episodes, as well as some of the regular background extras that were in the series from beginning to end. It was also sad to notice how Grace Lee Whitney, who was supposed to be a long-term series regular, was just gone after about ten episodes in. There were episodes that she was clearly supposed to be in, where they substituted someone else. I also never noticed how little Sulu and Uhura were used, and I don’t remember seeing Nurse Chapel so much. I think that the movies that followed blurred out how little they were used in the original series. I also didn’t realize that Chekhov wasn’t in the first season, and that he, Shura, and Sulu were often not in any of the episodes.

I kept a list of my favorites, and the ones that were horribly awful or boring, and there were only about eight or ten episodes that were that bad. All of the others were fine, in my opinion.

My Favorites:

Tomorrow is Yesterday • The Enterprise is sent back in time to Earth in the 1960s, where the US Air Force detects it, and an F-104 pilot brought aboard the Enterprise.. The crew must correct the damage to the timeline and find a way to travel back to the future.

Space Seed •  The Enterprise crew encounter a sleeper ship holding genetically engineered superpeople from Earth’s past. Their leader, Khan Noonien Singh (Ricardo Montalbán), attempts to take control of Enterprise. The episode also guest stars Madlyn Rhue as Lt. Marla McGivers, who becomes romantically involved with Khan.

A Taste of Armageddon • Two societies that have a sterilized way of conducting war.

This Side of Paradise • The Enterprise visits a planet where the inhabitants are under the influence of strange plant life flowers that shoot spores which provide protection from deadly Berthed Rays.

Operation – Annihilate! • The flying flat creatures that attach to people’s backs and kill them.

Miri • Only survivors are kids who, when they reach a certain age, they go nuts and die.

The Devil in the Dark • The Enterprise is called to investigate deaths at a planetary mining facility. Spock and Kirk go on an away mission to the facility, leading to them facing off against a deadly subterranean creature.

Mirror, Mirror • The episode involves a transporter malfunction that swaps Captain Kirk and his companions with their evil counterparts from a parallel universe (later dubbed the “Mirror Universe”) in which the Enterprise is a ship of the Terran Empire, a conquering and murdering organization where officers are assassinated as punishment and as a means of promotion.

The Apple • A paradise that turns out to be deadly, and run by the snake-mouth computer god. The natives live only to serve a machine.

The Trouble with Tribbles / DS9 Trials and Tribble-ations • The Blu-ray set includes the Deep Space Nine episode (which is one of the best Trek episodes ever) where they go back in time, and integrate into the original episode. It is brilliant in concept, story, and execution.

Balance of Terror • The first appearance of The Romulans, by way of battle.

Shore Leave • An empty planet gives a much heartier shore leave than anticipated.

By Any Other Name • The majority of the crew are turned into cubes so that the humanoid aliens can use the Enterprise to go back to their own galaxy.

The Omega Glory • Kirk Spock, and McCoy are infected on a planet with warring tribes ruled by a rogue Starfleet captain.

Patterns of Force • A planet has adopted Nazi ideology and the Enterprise crew attempts to find out why.

Day of the Dove • An alien menace forces the Enterprise crew and the Klingons fight each other.

Wink of an Eye • Beings that live faster than can be seen take over the Enterprise.

Elaan of Troyius • Kirk must teach a petulant woman ruler some manners while fending off sabotage and Klingons.

The Cloud Minders • A society in the clouds abuses the land-dwellers, leading to a problematic transaction of life-saving minerals.

BAD EPISODES:

The Alternative Factor • the crew of the USS Enterprise encounters a “reality jumping” madman. It is the first Star Trek episode to deal with a parallel universe. The constant cut-scenes to the inter-dimensional fighting between two characters was so boring and on, every time they did it. Over and over, and over again.

The Galileo Seven • First Officer Spock leads a scientific team from the Enterprise aboard the shuttlecraft Galileo on an ill-fated mission, facing tough decisions when the shuttle crashes on a planet populated by aggressive giants. This episode made me temporarily dislike Spock.

Assignment: Earth • Engaged in “historical research”, the USS Enterprise travels back through time to 1968 Earth, where they encounter an interstellar agent planning to intervene in 20th-century events. Kirk and Spock are uncertain of his motives. This was supposed to be a back-door pilot, and maybe it would have been a good show, but as a Star Trek episode, it didn’t do it for me.

The Paradise Syndrome • An alien device on a primitive planet erases Captain Kirk’s memory, and he begins a new life with the planet’s indigenous people modeled on Native Americans. This is the only on-site episode of season three, and the monolith they built is a pretty impressive set. This could have been a good movie, but to me it was just a boring episode.

Is There in Truth No Beauty? • The Enterprise travels with an alien ambassador whose appearance induces madness. Diana Muldaur in her second, although a different character, Original Series appearance. They grabbed her when the original actress became unavailable. This was one of those entirely Enterprise-set episodes with few special effects, because they didn’t have enough money. I just found this one boring.

The Empath • While visiting a doomed planet, the landing party is subjected to brutal experiments by powerful aliens. Minimalistic sets, due to third season budget constraints. Another one I found boring.

The Lights of Zetar • Strange incorporeal aliens threaten the Memory Alpha station and the Enterprise.

The Way To Eden • Space hippies. The Enterprise is hijacked by a hippie-like group obsessed with finding a mythical paradise. I didn’t like this episode when I was a kid, either.

One of my classic VHS labels from maybe 1983 or so.