A golden age

We are currently living in a Golden Age of television drama – well-written screenplays, innovative narrative techniques, significant themes, gripping stories, mostly true-to-life representations, all superbly-acted, and realized with attention to detail and high production values.  See, for example, the following list (which has been added to, as the years unfurl):

  • 24 (USA)
  • Band of Brothers (USA)
  • Berlin Station (USA)
  • Billions (USA)
  • Bodyguard (UK)
  • Borgen (Denmark)
  • The Bridge (Denmark-Sweden)
  • The Bureau (Le Bureau des Légendes) (France)
  • Call My Agent! (France)
  • Covert Affairs (USA)
  • Damages (USA)
  • Deadwood (USA)
  • Deutschland 83/ 86/ 89 (Germany)
  • Fauda (Israel)
  • Gåsmamman (Sweden)
  • Generation Kill (USA)
  • Gloria (Portugal)
  • The Good Life (USA)
  • The Good Wife (USA)
  • Deutschland 83/86/89 (Germany)
  • Homeland (USA)
  • The Hour (UK)
  • House of Cards (USA)
  • Jack Irish (Australia)
  • Janet King (Australia)
  • The Killing (Denmark)
  • Mad Men (USA)
  • Madam Secretary (USA)
  • Merlí: Sapere Aude (Catalonia/Spain)
  • Messiah (USA)
  • The Newsroom (USA)
  • Pine Gap (Australia)
  • Prisoners of War (Hatufim) (Israel)
  • Rake (Australia)
  • Resistance (France)
  • The Restaurant (Vår tid är nu) (Sweden)
  • Scandal (USA)
  • Secret City (Australia)
  • Shadow Lines (Finland)
  • The Sopranos (USA)
  • Spiral (Engrenages) (France)
  • Spooks (UK)
  • Sports Night (USA)
  • Striking Out (Ireland)
  • Studio 60 on the Sunset Strip (USA)
  • Suits (USA)
  • The Unit (USA)
  • A Very Secret Service (France)
  • The West Wing (USA)
  • The Wire (USA)
  • Young Royals (Sweden)

Like the golden age of Elizabethan and Jacobean theatre, one has to wonder:   Why here? Why now?

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