The latest episode of the Boiled Leather Audio Podcast takes a look back at the year in television, as Stefan and I review my picks for the ten best shows of 2023. Listen here or wherever you get your podcasts!

2023 was the first full year of my adult life in which I did not suffer from depression and anxiety. That’s pretty much the story of my year, full stop. I spent 365 days feeling happy. That’s unreal to me. I literally didn’t think it was possible for me. Yay!

My depression/anxiety had become quite debilitating in retrospect, and before I took a new med (ask your doctor if Rexulti is right for you!) starting in June last year, one of the biggest problems it caused for me was an inability to feel safe and comfortable experiencing new art. I’m a TV critic, and I’m determined to keep a roof over my family’s head, so I gutted through quite a bit, but this is the first year in a long time where I feel like my heart is open again.

So first I’d like to show off my favorite music of the year: ABSOLUTE BEST OF DAVID BOWIE: STARDUST EDITION, a 110-song playlist I made as an exercise. It covers every era and album, plus the major singles and collaborations, with an emphasis (of course) on the things I like best. I’ve listened to it nonstop since I made it. David Bowie is my favorite musician and the most life-changing artist I’ve ever encountered. I adore him so much but spent years away from his music. It felt like coming home.

(Just note that the original 1965 versio of “You’ve Got a Habit of Leaving,” the all-in-one medley version of “Sweet Thing/Candidate/Sweet Thing (Reprise),” and the Tin Machine song “You Belong in Rock n’ Roll,” which are on the playlist as it exists on my computer, aren’t available on Apple Music and they’re hard to find anywhere else. He’s really purged Tin Machine II for some reason!)

2023 is also notable for being the first (and second, and third) time I watched Cabaret. This film hit me like a freight train, from out of nowhere, like Nightbreed did in my teens and Velvet Goldmine in my 20s. I have never, never, never seen a musical theater performance like Liza Minnelli in that film. She makes even the other greats look like Clapton coming on stage after Hendrix. They’re not even playing the same instrument. I know that I’m corny and sentimental and lachrymose and prone to hyperbole, but watching her sing that final song is like looking at the face of god to me. Utterly poleaxed by this. Can’t get over it.

Since I started watching new/new-to-me movies seriously again late last year, I’ve been keeping a running list. Not Letterboxd, that feels like homework to me and I need at least SOME of my media consumption to be a pastime, but it helps me keep track of what I’ve seen and what I’d like to see. My favorite movies of 2023 are:

1. The Zone of Interest
2. Skinamarink
3. May December
4. Godzilla Minus One
5. Killers of the Flower Moon
6. Oppenheimer
7. Barbie
8. M3GAN
9. Teenage Mutant Ninja Turtles: Mutant Mayhem
10. probably The Outwaters (very mixed on this one but that ending is like nothing I’ve ever seen)

Still haven’t seen Poor Things though, which really seems up my alley.

Which brings us to the thing I’m qualified to talk about: television! Here’s my top 10 for the year. I’m very proud of how little it looks like any other critic’s (none of the big consensus faves are on mine bc i either don’t like or don’t watch them lol), but in general there was a ton of variety this year on critics’ best-of lists, which I think can only be good for TV and criticism. Everybody loves dramedies but me though.

1. Dead Ringers (Prime)
2. The Idol (HBO/Max)
3. Copenhagen Cowboy (Netflix)
4. Foundation (Apple TV+)
5. Billions (Showtime/Paramount+)
6. Fargo (FX/Hulu – reserving the right to raise this if the ending kills)
7. The Fall of the House of Usher (Netflix)
8. The Wheel of Time (Prime)
9. Perry Mason (HBO/Max)
10. Silo (Apple TV+)

I have a piece coming out in the Los Angeles Review of Books about the lurid tone I like in a lot these shows, so that will be exciting.

I also watch AEW wrestling all the time. I don’t really care about its ups and downs, I always have a ball.

Finally, in terms of my own work, here’s what I’m proudest of:

My Los Angeles Review of Books debut, which is also the first time my wife Julia Gfrörer and I have collaborated on a prose piece together. It’s about one of our favorite genres: the sad sex movie, or to use Julia’s term, the Erotic Bummer.

Got my first film-related pitch into the Times, with this piece on Killers of the Flower Moon and Scorsese protagonists.

I got a pretty consistent essay-writing gig at Decider — here I am on Oppenheimer, Barbie, Hostel, and Angus Cloud.

Also for Decider I did a list of ten great recent horror TV shows to check out. I love making up the canon as I go.

I interviewed several showrunners of my favorite shows: Billions’ Brian Koppelman & David Levien, The Wheel of Time‘s Rafe Judkins, and Foundation‘s David S. Goyer.

I wrote about Godzilla a lot, for some reason, in Blood Knife, Welcome to Hell World, and Decider.

I got into Defector with this piece on queer and trans wrestlers dealing with regional anti-LGBTQ+ legislation as practitioners of a traveling business. 

I helped organize the Freelance Solidarity Project strike support campaign for the WGA and SAG/AFTRA strikes. 

Finally, one day I read a New York Times piece on trans kids at school, thought of my own kid at school, got real fucking mad, and sent a DM to the great organizer Eric Thurm. As a result, NYTLetter.com happened and humiliated the most important newspaper in the English-speaking world into (not completely but largely) knocking it the fuck off, no matter what the suits fucking say about it. It’s the best thing I’ve ever done in my life.

Happy new year everyone!

9. The Idol (HBO/Max)

Fuck what you heard. The Idol, 2023’s most hated show, is far and away the TV I’ve thought, and argued, about the most this year. Hype and backlash cycles notwithstanding, Sam Levinson and Abel “The Weeknd” Tesfaye created a sleazy, lurid, funny, fucked-up, incredibly straightforward satire of the starlet factory à la Paul Verhoeven. Unlike, say, Succession, which spoofs the ultra-wealthy without simultaneously trying to feel like Dallas or Empire, The Idol sends up the sex-and-drugs world of pop star Jocelyn (Lily-Rose Depp in the year’s most underappreciated performance) and her grifter svengali Tedros Tedros (Tesfaye in the year’s second most underappreciated performance) while also embodying it. 

The two leads act out their intense and at times humiliating material without a net, but they’re buoyed by a Greek chorus of comedic performances by the likes of Hank Azaria, Rachel Sennott, Eli Roth, Jane Adams, and Da’Vine Joy Randolph (who turns on a dime to deliver genuinely affecting material whenever called for). All of these terrific actors perform in front of a backdrop of lush retro synths and strings courtesy of Tesfaye, Levinson, and composer and super-producer Mike Dean, appearing as himself. In a sane world this would have just been Pop Starship Troopers — gnarly, nasty, sexy, fun, appreciated by those who get it and basically ignored by everyone else. It couldn’t sustain the discourse around it, and shouldn’t have had to, when its meaning was so plain to see, and enjoy

I wrote about the ten best television shows of 2023 for Decider. I’m enormously proud of this list. The variety I’ve seen across TV critics’ best-of lists this year can be nothing but good for both TV and criticism, and I’m glad to have contributed in my own way. Anyway, I believe in all these shows and think they’re worth your time.