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Art Filmmaking

Hey Look! Another Top 10 Movies of 2019 List!

Top 10 lists are all the rage, especially as we begin a new decade.* And as someone who loves to rank things, I couldn’t not participate.

*I know the decade technically ends next year (2011-2020), but… come on.

I love making lists. In fact, it’s been a real bugger trying to come up with ideas for this blog that aren’t lists. So I can’t pass up this opportunity to just let my thoughts fly. Besides, this is the best way for me to succinctly express my thoughts about a number of really solid movies without having to making a butt-ton of different posts.

A quick note about top 10 lists. A lot of people like to think they have the definitive opinion about what the ten best movies of the year are. The operative word being “opinion.”

I’m gonna word this very precisely. Because art is subjective, and because my tastes are unique to only me, I’m not going to call this the Top 10 films of 2019. I don’t have any misconceptions that my opinions are more “correct” than anyone’s. (Then they wouldn’t be opinions.) These are my ten favorite films of the year. This is just my two cents. I don’t claim to know more than anyone when it comes to good filmmaking. Heck, I’m still learning about filmmaking in general.

I welcome you to (respectfully) disagree with this list. As I said, these are just my opinions based off my own unique tastes. I’d love to hear what your ten favorite movies were!

Another quick note, this time about the criteria for this list. I chose to only go with films that were released wide in the calendar year of 2019 – specifically movies released in Dallas/Fort Worth. If a movie had a limited release – even if part of that release was in Dallas – I won’t be counting that on here. So movies like 1917 and A Hidden Life won’t be included. Sorry, bro.

Now that that’s done, on with the list.

10. Richard Jewell

  • Directed by Clint Eastwood
  • Screenplay by Billy Ray, Marie Brenner
  • Distributor: Warner Bros.

(Minor spoilers ahead.)

How Clint Eastwood is still lucid enough to make movies is beyond me. But I’m so glad he is.

This film felt oddly timely. In an era where trust for the news media is in the toilet, a story about how a reporter intentionally forsook journalistic integrity in order to get more readership felt like an indictment on the current speed-over-quality, clickbait-driven “news” landscape plaguing this country (on both sides, politically). Whether this was intentional or not is unknown, but knowing Eastwood’s political leanings, it’s hard to not at least entertain the thought.

I was 3 during the Atlanta Olympics, so I don’t remember the bombing, much less all the windfall that came from it, so the film was fascinating to me. I had no idea any of this happened. All I’ve ever heard was that there was a bomb that went off and people were killed. I never knew that Richard Jewell prevented what could’ve been far more casualties, and was then hounded by the media and FBI for no reason.

Let me address some of the controversy around the film. Olivia Wilde’s character – the person who first broke the “story” that Richard Jewell was being investigated as a suspect, based on no evidence – is portrayed as an unscrupulous journalist who only cares about getting more readers, and will do anything necessary to get information from her sources. It’s that latter part people have a problem with. This is a minor spoiler, but she sleeps with Jon Hamm’s character – the lead FBI investigator, not based on a real person – in exchange for info. Some people didn’t like that stereotypical portrayal, and the Atlanta Journal-Constitution, the paper the real Kathy Scruggs worked at, vehemently denies any such activity ever occurred.

While I don’t necessarily have a problem with how her character was portrayed, I completely get where people are coming from. Artistic license is a tricky thing when adapting a true story. It’s a line I’ve always wrestled with. Some movies bother me with their more liberal use of it, but other movies, like the almost entirely-fictitious Joyeux Noel, don’t bother me nearly as much. What I will acknowledge is that her character was pretty one-dimensional and had very little nuance. So that was a weak facet of the film. And the whole “I’ll do anything” aspect of her character is a rather outdated, stereotypical trait, so that didn’t help anything, either.

But overall, it was a good movie. While nothing groundbreaking, the script was really solid and the performances were fantastic.

Speaking of performances, Kathy Bates was, of course, a revelation, worthy of her recent Golden Globe nomination. But Paul Walter Hauser was the performance that stuck with me the most. He gave, quite possibly, a career-defining performance. He’s been around for a few years now, playing mostly bumbling idiots. He was the bodyguard in I, Tonya, and played a KKK member in BlacKkKlansman, both of which were really solid performances. It was nice to see him play a hero for a change. I hope he not only gets nominated for Richard Jewell (at the Oscars, ‘cause he was snubbed by the Hollywood Foreign Press), but that this really opens up doors for him.

Overall, a really solid film. The storytelling is a little simplistic and straightforward, but there’s something to be said for that.

9. Once Upon a Time in Hollywood

  • Directed by Quentin Tarantino
  • Screenplay by Quentin Tarantino
  • Distributor: Columbia / Sony

A fun, (mostly) light period piece glorifying the golden age of Hollywood is about the last thing I’d expect when I hear the name Quentin Tarantino.

I admittedly have stayed away from the majority of his filmography. While I can handle violence pretty well, his notoriously grizzly films have been too much for me. Still, though, after hearing all the praise heaped on this film – along with glowing word of mouth – I had to see it.

And it was… really good.

As you may tell, I didn’t love it like many critics and cinephiles have. 

First the good. The first half / two thirds is so great. I enjoyed the heck out of it, even thinking to myself at one point, “This is so fun!” The cinematography – specifically the camerawork – the editing, and the music were all fantastic. I loved how snappy it was and how the editing and music enhanced the comedy. And, of course, Leonardo DiCaprio and Brad Pitt are gems in this movie. They steal the show with every scene they’re in, which makes their scenes together all the more enjoyable.

I also really enjoyed the Golden Globe winning screenplay. The writing was just as snappy as the editing. I don’t always enjoy one-off elements that aren’t consistent throughout the entirety of a movie (freeze frames, VO, shifted narrative perspective), but I was digging what Tarantino was throwing at me.

Now for the bad not quite as good. It was about the time Cliff drove that girl home (you know what I’m talking about) that the picture seemed to slow down for me. The last third or so tended to drag. Now, it could very well be that I was fighting a cold, so I wasn’t feeling super great to begin with. It also doesn’t help that the last third was a full hour.

Also, the last 20 minutes were [insert preferred profane adjective(s)] bonkers.

So, all that combined for an enjoyable experience, but not one I would put at the top of my list. Although I’m definitely open to a second go-round. That first half was just too good to not take in again.

8. Emanuel

  • Directed by Brian Ivie
  • Studio: Arbella Studios

Forgiveness is a powerful thing. As Christians, we preach that you must always forgive. But there are some sins that we implicitly believe are too egregious to truly forgive, unfortunately.

This documentary explores the extraordinary story of those affected by the horrific 2015 shooting at the Emanuel African Methodist Episcopal Church in Charleston, South Carolina. Many family members of those murdered made headlines by publicly forgiving the man who murdered their loved ones. Not only that, they forgave him to his face in the courtroom. When anyone else would’ve taken the opportunity to vent their hatred on him, they chose to forgive.

It’s a truly inspirational story that is beautifully shot and well edited. On a personal note, it’s encouraging to see a film filled with Christian references that is also such a high-quality production.

This film unfortunately flew under the radar (it was a Fathom Event, so it was only in theaters for two nights), but it’s absolutely worth a rent.

7. The LEGO Movie 2: The Second Part

  • Directed by Mike Mitchell
  • Screenplay by Phil Lord, Christopher Miller
  • Distributor: Warner Animation Group

I’m a huge fan of the LEGO movies. (Well, I had no desire to see Ninjago…) Both LEGO and LEGO Batman are among my favorite animated movies of the decade. These movies are imaginative, hilarious, and take what should be a shameless, cash-gab marketing ploy and turn them into delightful films with great themes. While the official sequel to the essentially perfect LEGO Movie doesn’t live up to the standard of the first two films in the series, its heart and charm are still there.

Much of that has to do with the screenplay, once again from Phil Lord and Christopher Miller. The difference between The Second Part and the “first part” is that they didn’t direct this one. And you can definitely tell. But having Lord Miller (as they’re colloquially called) still write the movie keeps it (and the series) from becoming a shell of its former self – something that is, unfortunately, quite common in comedy sequels.

Like The LEGO Movie, there’s a clever twist in the third act, which also ties into a great life lesson for kids. The difference this time around is that the twist copies the first film’s a little too much, and doesn’t try enough to be its own thing. However, there were still elements that made it unique and stand out. For the sake of spoilers, I won’t go into any of them here.

Unlike the first film, this is a musical (which I didn’t see coming). Some of the songs are great (the peppy version of “Everything is Awesome” and “Catchy Song” being two highlights), others were more forgettable. But they took a swing, and I appreciate that.

The performances in this are great, as well. Most of the main cast returns for this one, and they all do a great job. But it’s the newcomers that really shine, particularly Tiffany Haddish. Her well-known charm is on full display here, and she really makes this role her own. This is definitely another highlight of the Haddishsance.

All in all, this was a solid movie. The comedy is kind of hit and miss, but when it hits, it really hits. And while it’s a little derivative of its predecessor, there’s enough heart to make it stand out. And above all, it’s a thoroughly enjoyable film.

6. The Farewell

  • Directed by Lulu Wang
  • Screenplay by Lulu Wang
  • Distributor: A24

(Minor spoilers ahead.)

Tonally, my favorite style of movies are the quiet, thoughtful ones. Generally speaking, these kinds of films are often some of the deepest, most relatable and emotional portrayals of life. Enter The Farewell. This is one of the most genuine, personal films I’ve seen in a long time. 

It may be my own bias or ignorance, but it seems that movies portraying the importance of family – particularly from the eyes of a tight-knit, relatively functional one- are few and far between. So it was refreshing to see a film that focuses so much on the familial unit, particularly cross-generational relationships.

Thematically, this is maybe one of the deepest films of the decade. Because the whole premise is predicated on a lie – albeit, out of love – the struggle Billi endures throughout the film, coupled with the family’s collective sadness, is extremely powerful. Truth, love, and grief are just some of the themes tackled in this film. And it does it in less than two hours. A pretty impressive feat, if you ask me.

The main dynamic between Nai Nai and Billi is wonderful. Seeing how important her grandmother is to her is beautiful and inspiring. Maybe it’s because I always love seeing a grandparent-grandchild relationship, but I found myself really moved by their relationship and how they approach each other. To see how earnest Billi is toward her grandmother and how much she cares about protecting her was very profound.

Then again, the entire family dynamic is great. The way Billi relates to her extended family is extremely engaging, and to see how Nai Nai interacts with each member provides a lot of drama, as well. Though not every character gets an ample amount of screen time, they each have their own personalities that drive how they all relate to each other and to Nai Nai. Too often, fleshed out main characters dominate screen time, and supporting characters are pushed to the sidelines without giving them much depth. So it was refreshing to see a three-dimensional supporting cast for a change, even with the little screen time they received.

Also, I can’t stress enough how impressed I was with Awkwafina’s performance. This is only the second movie I’ve seen her in (the first being Ocean’s 8), but to see someone generally known for more comedic roles give such an emotional, subdued performance was inspiring. This furthers my belief that comedic actors can be some of the best dramatic actors. (A topic I may touch on at a later date.) I’m so happy she won the Golden Globe for her performance. It was absolutely well deserved.

In a seemingly never-ending sea of loud, giant spectacles, quiet, thoughtful films feel like a vanishing breed. This was a beautiful, thoughtful breath of fresh air, and a great example that a good script doesn’t need explosions, sex, or giant CGI skybeams to leave an impact.

5. Avengers: Endgame

  • Directed by Anthony Russo, Joe Russo
  • Screenplay by Christopher Markus, Stephen McFeely
  • Studio: Marvel

Yes, I see the irony in putting this right above The Farewell.

Let me say this from the outset: I’m not a huge fan of Marvel movies. Marvel has settled into a formula that they like and is proven to work, so every one of their films feature virtually the same story beats. But there are a handful of movies that shuck that formula – or at least build on it. Avengers: Endgame is one of those films.

That can be seen from the opening frame. The film doesn’t start with a heist or a chase or a big, loud moment. It starts with Hawkeye enjoying the outdoors with his family at their country home. It’s an extremely quiet beginning to the film, yet is one of its most memorable scenes. Hawkeye was absent in the previous film, so to see how Thanos’ actions affect him is a really powerful moment, and sets the tone for the rest of the film.

The fact that the film forgoes the classic disaster / villain set up for a slower, more character driven opening act is a big reason why this is not only on the list, but so high up. Comic book/superhero movies are at their best when they’re character driven. Great films like The Dark Knight, Spider-Man 2, Captain America: The Winter Soldier, and another film that I’ll talk about shortly are all character-driven as opposed to situationally-driven. That will always result in a deeper, more three-dimensional movie. And will ultimately make it more memorable. And the Russo Brothers understood that when collaborating on these two final Avengers movies.

I will say the last half or so of the film settles into a more familiar (boring) Marvel formula, and some of the emotional stakes don’t feel quite as deep or powerful as earlier in the film. Also, while that final battle was admittedly pretty great, it did feel a little too fan servicey at times. That’s why I personally prefer Infinity War to Endgame.

But this is still a really solid superhero movie. It focuses on the characters’ emotional response to the events of the previous film, which is a welcome change of pace to these types of films, and puts a nice bow on a unique era in cinema history.

4. How to Train Your Dragon: The Hidden World

  • Directed by Dean DeBlois
  • Screenplay by Dean DeBlois, Cressida Cowell
  • Studio: Dreamworks Animation

Trilogies are a tricky thing. Many times, they’re mandated by a studio in order to cash in on a popular movie. Making each film feel like a natural and necessary progression can be a tall task.

That’s what makes Dreamworks’ excellent How to Train Your Dragon trilogy so impressive. The films not only range from good to great, each one feels like a natural story progression for Hiccup (and, in this case, Toothless).

Dreamworks isn’t really known for good writing or three-dimensional characters. Too many of their movies go for the least common denominator approach, making something loud and colorful that appeals to kids in a way that doesn’t require anyone to think. And when I saw the trailer for The Hidden World, I was concerned that this was the approach Dreamworks mandated from Dean DeBlois and his team. The comedy looked broad, the action looked the same as the previous two films, and the big reveal looked like a retread of the second film. This series, that had always featured both fun action for kids and deep themes for adults, appeared to be going full-on kids movie for its conclusion.

Boy, was I wrong. And ecstatic to be so.

Not only was a well-written story, the conflict and climax were some of the best elements of the trilogy. I don’t really want to go into specifics because I don’t want to give anything away. But trust me, the last third of this film may be the best act of the entire series.

The animation is also fantastic. This series has always had impressive visuals (in part because of their collaboration with Roger Deakins), but the team really topped themselves with this one. All the dragons look great, and their movements when they’re airborne look fantastic. Again, the climax is such a visual treat. And while I won’t spoil the big reveal (though you can see hints of it in the trailer), I will say that it’s easily the best animated sequence of the trilogy.

And of course, the trilogy ended on an absolutely perfect note. I don’t have a personal attachment to this trilogy like I do with the Toy Story franchise. And yet, I found myself getting teary-eyed at the end of this film. This is a textbook case of excellent character resolution, and is a great final chapter of Dreamworks’ best franchise.

3. Knives Out

  • Directed by Rian Johnson
  • Screenplay by Rian Johnson
  • Distributor: Lionsgate

This was the most fun I’ve had in a movie theater in a very long time. If you’re going to make a mystery movie that hearkens back to classic mysteries of ole, it’s going to feel like a fun homage, no matter how serious you try to make it. Thankfully, Rian Johnson leaned all the way into that, making a full-on black comedy. So many moments in this film are straight up hilarious. Nearly every character was a marvelous caricature of a classic mystery trope. And many of the performances were intentionally over the top and ridiculous.

Daniel Craig – suave, James Bond himself – had the best Kentucky fried accent. There were moments where I could’ve sworn he was Frank Underwood. (Maybe he should’ve replaced Kevin Spacey on House of Cards? Anything other than that atrocious final season…) Chris Evans was delightfully mischievous. Jamie Lee Curtis, Michael Shannon, and Toni Collette were collectively the worst of humanity, and they were hilarious. And Lakeith Stanfield played a great straight man to Craig.

The music and editing were great, too. Musically, this movie starts with very genteel, upper crust music one would find in the intro to Masterpiece Mystery! But if there’s one thing Rian Johnson isn’t, it’s predictable. So he, of course, throws in some classic rock, just to throw you off. The music choices work well with the pacing and editing. This is a very snappy movie, so having upbeat music helps keep that peppy nature of the cut. Speaking of the editing, the way this film is cut enhances the comedy. I always love when the director joins in the comedy. The way Johnson uses smash cuts is fantastic, and matches the tone of the film perfectly.

But the crowning achievement of this film is its brilliant screenplay. Rian Johnson loves playing genre conventions, and this film is no exception. This has all the trappings of a fun, classic whodunnit mystery. They even wink to the camera at one point: “They all live in a giant Clue board.” Normally, I hate that kind of humor. But it just works here. 

But this isn’t your typical mystery movie. And Johnson makes that very apparent after the first act. The complete shift in expectations and genre conventions made me focus even harder on the film. I spent the whole time trying to figure out what he was going to do next to justify his story choices, which made it even more mind-blowing when he fooled me.

A friend of mine gave a very short, but perfect review of this film: “How do you make a murder mystery that fools people expecting to be fooled? You make this movie.”

Couldn’t’ve said it better myself, Jake.

I was expecting a good movie. I wasn’t expecting a friggin’ great one. Bravo, Rian Johnson. Dab on the haters. (Actually, don’t do that. I immediately regret everything…)

2. Joker

  • Directed by Todd Phillips
  • Screenplay by Todd Phillips, Scott Silver
  • Studio: Warner Bros.

(Minor spoilers ahead.)

This was the hardest of the ten to write about. There’s so much to say about this movie that it’s been hard to organize my thoughts succinctly.

This might be the deepest, most thought provoking comic book film I’ve ever seen. Todd Phillips could’ve gone in a plethora of directions with this film and it probably still would’ve been a success. Instead, he made the bold choice to try something completely different from the source material.

And he friggin’ knocked it out of the park.

What makes this film a game changer is the mental illness angle. By showing Joker as a disturbed individual struggling with mental illness, one can better understand him. Now, that doesn’t mean he’s portrayed as the hero (a point I’ll come back to in a moment). It’s similar to a law enforcement agency bringing in a psychiatrist to help with their investigation. If they can get in the mind of a criminal and understand what makes them tick, they can more quickly apprehend them.

This is what Phillips does. He helps us understand Joker’s troubled nature a little bit more, while understanding the reprehensibleness of his actions. (Yes, that’s a word.)

Let me be clear: Phoenix’s Joker is not a sympathetic villain. I try not to speak in superlatives and absolutes when it comes to opinions, but thinking otherwise is the wrong take.

There’s an extremely important difference between a sympathetic villain and an empathetic one. A sympathetic villain is someone we pity and want to see succeed; an empathetic villain is someone we understand, though may not agree with. That’s a crucial distinction to make with this movie, because Phillips brilliantly portrays the Joker as an empathetic villain, not a sympathetic one, as some want you to believe.

By portraying Joker in an empathetic way, Phillips masterfully portrays a man tormented by mental illness and his descent into darkness, while never portraying his actions as heroic.

Some other elements I liked: The score is haunting in all the best ways. To me, that’s the best indicator that Phillips was not telling a heroic story. The score is extremely dissonant. It makes you feel (rightfully) uncomfortable. It’s the exact opposite of John Williams’ triumphant Superman score. You don’t give a hero a score like the one Golden Globe winner Hildur Guðnadóttir composed.

The production design and cinematography are superb. Phillips fantastically captures the beginning of Gotham’s descent into madness. As we all know, when Batman came on the scene, the city was overrun by crime and essentially run by criminals. Many portrayals of early Gotham call it the most violent city in America. It had to get that way somehow. Highlighting the garbage strike, which leaves bags of trash literally littered through the street, perfectly marries Joker’s ascent to folk hero in a time of civil unrest. Gotham was a powder keg ready to explode, and the cinematography and production design captured that perfectly.

And, of course, Golden Globe winner Joaquin Phoenix. Need I say more?

This was a daring film. So many things could’ve gone wrong. It was mired in unsubstantiated controversy, and thinkpieced to death. And it overcame all of that. Artistically speaking, nearly every note it hits is done perfectly. A truly haunting and unforgettable cinematic experience. Here’s hoping more comic book movies choose to be just as creative, original, and daring.

1. Toy Story 4

  • Directed by Josh Cooley
  • Screenplay by Andrew Stanton, Stephany Folsom
  • Story by Rashida Jones, John Lasseter, Andrew Stanton, Josh Cooley, Valerie LaPointe, Will McCormack, Martin Hynes, Stephany Folsom
  • Studio: Pixar

(Toy Story 2 spoilers & some Toy Story 4 spoilers ahead.)

Easily the biggest surprise of the year. I went into this movie skeptical as all get out. How could they top the perfect ending of 3? Why was Pixar, renown for their creative purism, making an unnecessary cash grab? Did Disney finally brainwash them?

Then I saw the film.

To say I was blown away would be the understatement of the year. This might piss off a lot of people, but I actually like this one more than Toy Story 3. I’ve never loved the third movie like so many people have. The third act? Absolutely. Quite possibly the best act Pixar has ever written, in my view. (It’s right up there with Up’s opening act.) But the rest of the film never grabbed me like the first two movies.

What struck me most was how this film actually felt necessary. Many will probably disagree with me, but as the film progressed, it became clear that every character had a satisfying conclusion to their respective arcs in the previous film… except Woody.

One reviewer I follow mentioned how Woody-heavy this movie is. He felt as though the rest of the ensemble doesn’t get adequate screen time. While I understand his line of thinking, and agree to an extent, I come at it from a different angle.

This is Woody’s story. As mentioned, the rest of the gang got  their closure in the third film. Woody, however, never got that proper closure. It appeared that way, but when you think about it, that ending didn’t ring true to his character. It’s well documented that he needs an owner to protect. He fiercely protected Andy, temporary lapse in judgment notwithstanding. 

What’s he’s not used to is his owner pushing him aside, which is what he struggled with most in 3. And while it looked like Bonnie would give him what Andy no longer could at the end of 3, the writers made the brilliant choice to have her attention be drawn to her familiar (and newer) toys. She doesn’t have the attachment to Woody that Andy did, so an old outdated cowboy doll would only keep her attention for so long. I think any parent could relate to that.

With Woody relegated to the sideline, he has no reason for being. That opens up an existential can of worms that Pixar felt obligated to take on headfirst. 

So Toy Story 4 was a needed film to give Woody the proper closure he deserves. And in the end, he gets it. With his arc finally at a close, we can now say that everyone got their happy ending.

And dang it, I didn’t think the end of 3 could be matched, but the ending of 4 did. Curse you and your wonderfully emotional films, Pixar!

I would be remiss if I didn’t mention how stunning the animation is. Since 1995, every Pixar film has upped the ante, and Toy Story 4 feels like the studio’s crowning achievement, visually. From the colors, to the textures, to the lighting, to how they use focus, everything is meticulously and painstakingly detailed down to the pixel. There are no shortcuts. Because that’s not how Pixar operates. (That’s Dreamworks’ and Illumination’s M.O.) Pixar truly lives up to their belief that “art challenges technology, and technology inspires the art.”

So those are my ten favorite movies of the year. While I personally didn’t feel like it was a very strong year overall, it still featured some great films. I was pleasantly surprised by the crop of quality big-budget features. It was still dwarfed by garbage cash grabs, but it felt like a positive, if not tiny, step forward.

I also felt like this was a strong year for animation. Three animated films were in my favorite ten, with Netflix’s I Lost My Body narrowly missing the cut. I always get excited for quality animation, and this year didn’t disappoint.

And with films like A Hidden Life and 1917 already getting rave reviews, I’m already excited to see what 2020 brings!

You can find every film I saw this year, and where I ranked them, on Letterboxd.

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10 of ’10(s): My Favorite Animated Shows

Everyone knows the 2010s were a second “golden age” of television (cuz that’s how it works, apparently). But what some may not realize is that this new standard of quality has also carried over into animation.

Funnily enough, I haven’t seen nearly as many recent animated series as I have live-action. Odd for someone who considers himself a TV connoisseur.

Regardless, I love cartoons. Always have, always will. Just because a show is aimed at kids doesn’t mean it can’t be high-quality or thought-provoking. I’ve always loved quality cartoons like Batman: The Animated Series, Animaniacs, Freakazoid!, and The Spectacular Spider-Man, among countless others. And though I haven’t seen many adult-oriented cartoons, I’d still argue that this past decade also raised the bar for what we thought was possible in adult animation.

So with that in mind, I’m going to count down my ten favorite animated shows of the 2010s. If your favorite show isn’t on this list, I probably just haven’t seen it. (I’ve heard Steven Universe, We Bare Bears, and Adventure Time are all great, but I haven’t seen a single episode of those.)

Before the list, though, here are some other shows that deserve a shoutout.

Anohana: The Flower We Saw That Day (2011) – Like another anime series you’ll see on this list, this is a heartfelt series about high school friendships, except this has a far more tragic framing device that cranks the emotion (and the melodrama, which keeps it off the list) up to eleven.

Attack on Titan (2013 – present) – I’m not usually into action anime. I find the vast majority of shows to be all flash, no substance (One-Punch Man and The Promised Neverland to name two recent ones). But I found myself oddly drawn to this series and its premise. Between the balls-to-the-wall action, there’s actually some really solid character development, especially in the stellar third season. If you can get through the horrendously boring second season, the show is one of the stronger anime series out there right now. I can’t wait to see how it all wraps up.

Erased (2016) – A really interesting premise: A boy discovers that he can jump back in time right before the infamous murder of a child. He now has to figure out how to stop it. While that premise sounds tense, there are a lot of emotional elements of the show, giving it almost a quasi-slice-of-life feel to it. A very unique show.

The Looney Tunes Show (2011 – 2014) – Yes, there’s almost none of the slapstick humor that Looney Tunes is known for. Yes, everyone is domesticated. (Like, really domesticated. As in, they’re all roommates in the suburbs.) But I can’t deny the brilliance of the writing. This show is HILARIOUS, and plays off the characters we all know and love. HBO Max just picked up the streaming rights, so give this one a try if you can. I know it’s hard to see these characters in a classic sitcom setup, but go into it with an open mind. You just might be surprised.

Milo Murphy’s Law (2016 – present?) – The team from Phineas and Ferb bring their patented witty, surreal, non-sequitur comedy to this series about one of the namesake descendants of Murphy’s Law. Though you know everything’s gonna go wrong in each episode, you keep tuning back in to see how they up the ante. Oh, and there are also time cops. PLEASE renew this, Disney. Make a decision based on quality for once.

Over the Garden Wall (2014) – Full disclosure: I actually wasn’t a huge fan of this show. The writing just wasn’t my taste, and I felt like the character development was lacking. However, I wanted to give this miniseries a special shoutout strictly for its aesthetic. I can’t really explain it in words, so here’s the first episode. The show’s unique storybook/steampunk/Roaring ‘20s/traveling roadshow look is unlike anything I’ve ever seen. Though the humor was a little too surreal for my taste, I found myself watching through to the end just to see more of its unique style. It’s worth a watch, and the whole miniseries can be binged as a two-hour movie.

Sym-Bionic Titan (2010 – 2011) – All you need to say is “Created by Genndy Tartakovsky” and I’m sold. Cartoon Network did poor Genndy wrong with this completely mishandled gem. The story of a princess, a robot, and a young soldier sent to Earth to escape invasion, this series boasts some truly great character development to compliment the stunning visuals and great action. A wonderful follow up to Samurai Jack that was cut far too short only ‘cause Cartoon Network didn’t know how to sell toys based on the show. You suck, CN. (PLEASE give this show some love on Netflix!)

Terror in Resonance (2014) – I’m slowly making my way through Shinichiro Watanabe’s masterful filmography. This short but tense thriller, following two domestic terrorists and the detective chasing them, shows that Watanabe is one of the best storytellers in Japan right now. (More on him later.)

10. Hilda (2018 – present)

Developed by Luke Pearson

Showrunner: Luke Pearson

Network: Netflix

Charming. Delightful. Adorable.

This adaptation of the popular graphic novel is like a warm blanket. Not everything needs to be wacky, zany, borderline-drug-induced humor, or super dark, serious action with grave stakes. Sometimes a charming, quiet, light-hearted series is just what the doctor ordered. And Hilda is the perfect prescription.

Set in a world where magical creatures and humans are segregated, this British series follows Hidla, a girl who’s lived her whole life in the rural plains surrounded by magical woodland creatures. When her mother abruptly moves her to the city of Trollberg, Hilda pines for the days of adventure with her magical friends. 

This series is an interesting blend of The Many Adventures of Winnie the Pooh and DuckTales. It has some adventure, but it also stops to breathe, bask in the surroundings, and enjoy the moment. But more than anything, it takes wonder in the world. Hilda loves to just sit in the woods and draw. She loves trees, mountains, clouds, sky. She just loves nature. This isn’t a heavy-handed after school special about the environment, though. This is a genuine love of God’s creation. It’s fascinating to me to see a mainstream series take joy in His creativity. I wish more Christian media did the same.

All in all, this is a delightful series that’s perfect for kids, but can also be enjoyed by adults who are in the mood for something warm and light that puts a smile on your face and brightens your day. Highly, HIGHLY recommended. I can’t wait for season two!

9. Usagi Drop (2011)

Showrunner: Kanta Kamei

Network: Fuji TV (Japan)

I love slice of life anime. Heck, I love slice of life television in general. But I feel like this genre works especially well in anime, particularly in television. I think it’s ingrained in the Japanese people and culture to stop and admire the quiet beauty of life. Many of slice of life anime shows are simple, yet thought-provoking. And Usagi Drop is one of the best.

A simple, but heartwarming story, a thirtysomething single man more or less adopts a young girl that turns out to be his recently-deceased grandfather’s lovechild. He, of course, has no clue how to parent, and must learn how on the job. Hilarity and abundant cuteness ensues.

The writing in this show is excellent. Where most shows would lean too much into cuteness and manipulate you into saying “AWWWWWWW” every second, much of the show’s situations feel motivated. The series deals heavily with anxiety, but in a more subtle way than most American shows do. Both Daikichi and Rin are learning from each other in their own ways. They’re both learning each other’s ticks and how to relate to them, which feels very natural. The whole series has an air of authenticity and earnestness that most series don’t, making the payoff at the end feel earned instead of forced.

I also want to highlight the animation, particularly the cold opens. The series is unique in that the animation varies slightly with each cold open. The CO’s showcase a more storybook style of animation, with colors that look more like watercolor, and unfinished backgrounds with white vignettes around the frame. It almost looks like a dream. The rest of each episode features more standard animation, but it looks almost as beautiful as the cold open. Production I.G. did a really great job with this one.

For all the feel-good anime I’ve seen, this is near the top of the list. You can’t watch a single episode without feeling warm inside and smiling from ear to ear. It’s just a friggin’ wholesome show and a wonderful palette cleanser for all the crap life throws at you.

8. Violet Evergarden (2018)

Showrunner: Taichi Ishidate

Network: Netflix (US)

Despite how it may sound after the previous entry, I have a love/hate relationship with anime.

Many of the most popular series right now are action-based. While these series often boast stunning visuals, the vast majority of them are light on story or character development. In fact, melodramatic and expository writing is often my biggest frustration with anime, particularly when it comes to television. Even good shows aren’t immune. Fullmetal Alchemist: Brotherhood is painfully slow at times. Death Note frustrated me beyond belief with its endless expository inner monologues. And Your Lie in April (not an action show) felt like a spinoff of Degrassi at times. Ok, not quite. But still… It leaned heavily into high school melodrama.

This is what makes Violet Evergarden so incredibly refreshing. The series is not just well-written, it’s a beautiful and oftentimes deep character study. And not just when it comes to Violet herself. Some of the most compelling and sympathetic characters are one-off minor characters that only appear in a single episode.

The trend with anime is big, flashy serials that try to one-up the competition when it comes to visuals. Violet Evergarden takes the opposite approach. It’s a quiet, episodic period piece that takes its time in all the best ways. It’s brilliantly paced, and spends its slower, methodical moments developing the minor characters in a way that not only lets us – the audience – relate to them and their situations, but services Violet’s story.

On top of great writing, the animation is beautiful. I often found myself actively putting my phone away when I would put on an episode because it’s such a treat to look at.

But by far my favorite non-writing aspect of the series is its score.

HOLY COW, the score is incredible. Far and away the best television soundtrack I’ve ever heard. This series forgoes modern-sounding score featuring guitars, drums, and synth for a full orchestra. It harkens back to sweeping scores of cinema ole. It’s absolutely worth a listen. While not available on Spotify, it can be purchased on iTunes (highly recommended) or streamed here.

My one complaint about the score is that composer Evan Call (fun fact: he’s American) composed it before animation began – apparently a common practice in Japan – so the music doesn’t always mesh with the pacing and visuals. But that’s a very minor complaint.

All in all, this is one of my favorite anime series I’ve seen in a while. It’s available on Netflix and it’s a light commitment. It’s absolutely worth checking out.

7. Kids on the Slope (2013)

Showrunner: Shinichiro Watanabe

Network: Fuji TV (Japan)

Shinichiro Watanabe is the television Hayao Miyazaki.

As established, so many anime series are melodramatic, meandering, and/or action porn. If you look below the surface, a surprisingly small amount of shows have truly compelling stories with strong character development. And even the ones that do can be needlessly meandering.

That’s why I so appreciate Shinichiro Watanabe. He knows how to tell a good, concise story. He doesn’t spend five straight episodes on the same fight or conversation. His shows move and breathe. Too many anime series seem to do one or the other. And that brings me to this excellent series.

Kids on the Slope is a charming story about friendship and how music brings people together. Set in 1960s Japan, the series follows Kaoru, an exchange student in a new town. A loner, he’s resigned himself to the fact that he won’t have any friends at his new school. He keeps his head down and focuses on his studies instead of socializing. That is, until he discovers that the school bully, Sentaro, is a drummer. Himself a pianist, Kaoru finally sees someone he has common interests with, really for the first time in his life.

As the series progresses, he and Sentaro strike up a friendship, and Sentaro teaches him about jazz. Ristuko, the clerk at the local record store they practice at (and the object of Kaoru’s affection), helps him find good jazz records to listen to so he can not only hone his piano skills, but can also have an ear for jazz. They add a couple members to their friend group along the way, and the series becomes all about the lives, loves, and music of their high school friendship. (And on a personal note, it was really refreshing to see a respectful portrayal of Christianity in anime – perhaps the only one I’ve ever seen on a series not made by CBN.)

Watanabe somehow takes teen melodrama and makes it earnest, genuine, realistic, and even beautiful – no small feat in an art form renowned for its hyper melodrama. This is maybe the quietest anime series I’ve ever seen. Watanabe keeps the exaggerated humor common in the art form to a minimum. This is a realistic coming-of-age drama; there’s no need for any gimmicks. It’s a series that has no reason to be animated, but I’m so glad it was, and that Shinichiro Watanabe’s creative genius was able to be put on full display. This is such a refreshing series in general, but especially in a medium that is very loud. It’s so nice to see a quiet series that takes a moment to observe the beauty in everyday life. I can’t recommend this show enough.

6. Rick and Morty (2013 – present)

Created by Justin Roiland, Dan Harmon

Showrunners: Justin Roiland, Dan Harmon

Network: Adult Swim

It was an interesting decade for television comedy.

Where in decades past, sitcoms served as a reprieve from the struggles and worries of everyday life, comedies of the 2010s shed the “sit” of sitcom and instead leaned into those struggles and anxieties, creating richly flawed characters that drove the comedy, as opposed to wacky, zany situations.

One of the most prominent examples is Rick and Morty.

On the surface, it looks like a classic situationally-driven premise: A riff of Back to the Future where mad scientist Rick takes his awkward grandson Morty on crazy adventures all throughout the galaxy.

But the show is so, so, so much more than crazy space travels, weird alien planets, and fart jokes.

This animated series is one of the most character-driven shows I’ve seen in quite some time. Beneath all the silly humor and antics is a whole airplane’s worth of baggage. You quickly realize that there’s deep, deep motivation for every wacky decision Rick makes. He’s a deeply broken person, trying to find meaning in what he believes is a meaningless world. And he uses alcohol and adrenaline to self-medicate his extreme nihilism.

But Rick is far from the only deeply broken character. Literally EVERY SINGLE lead character is broken. Beth has some insane daddy issues (fitting, as Rick is her father), Jerry is deeply insecure – something he passed on to Morty – and Summer struggles with trust issues and cynicism. Each is desperately trying to hold their lives together, and they’re a gust of wind away from watching it all crumble.

And wrapped around all this is some of the most hilarious comedy you’ll ever see. Simply brilliant.

Dan Harmon is known for being an excellent writer, and he perfectly translates his patented balance of three-dimensional characters and ridiculous comedic situations to animation. Throw in Justin Roiland’s one-upmanship and brilliant voice work, and you have one of the best shows to ever come out of Adult Swim.

And you don’t even need acid to understand it!

5. TRON: Uprising (2012 – 2013)

Devloped by Edward Kitsis, Adam Horowitz

Showrunner: Charlie Bean

Network: Disney XD

Many will disagree, but I absolutely LOVED the world building in TRON: Legacy. So when I heard Disney commissioned a prequel series set between the two films, I was sold. Though, being Disney, I had my misgivings. Thankfully, Disney took a very un-Disney, hands-off approach to the series. And, as we’ll see in the next couple entries, when Disney does that, something magical always happens.

Set between the two TRON films, the series tells the story of Beck, a young program whose section of the Grid is overtaken and occupied by CLU’s soldiers. In an effort to fight back, Beck disguises himself as the legendary – and presumed derezzed – security program TRON, and becomes a folk hero among the people. After an eventual encounter with the real TRON, who confides in Beck that he’s significantly damaged, Beck decides to take up the mantle of TRON in an effort to restore freedom to the Grid.

Obviously, the series draws heavily on the themes of TRON: Legacy. It continues – or, technically, establishes – the story of CLU’s tyrannical rule, and the programs’ fight for freedom. While the premise isn’t the strongest, the writers do an excellent job running with it and creating a compelling world and compelling conflict with compelling characters. The villains aren’t just power-hungry maniacs. Well… some of them are. But some of them are well-rounded characters – with many of their backstories slowly being revealed as the series progresses. The writers made the excellent decision of showing us WHY some of the villains chose to devote themselves to CLU, as opposed to just portraying them as evil for the sake of being evil.

Another strong element is the music. Though the score obviously isn’t composed by Daft Punk, composer Joseph Trapanese – who arranged Daft Punk’s original film score – takes many of the same cues and rearranges them, along with some originals, to make an excellent Legacy soundalike. “Borrowing” from a previous entry in a franchise is always a risky move. But when you’re trying to imitate one of the best scores in recent memory, even your imitation will sound great. And that’s exactly what happens here. The score not only perfectly captures the tone of the series, it, much like the film it draws from, is inherently glued to the world it portrays. This music IS the Grid. It wouldn’t work in any other series, and the series wouldn’t work with any other score.

Other than the writing, the strongest aspect of the series is its cast. But unlike other series that boast a strong cast of well-established voice actors, this show is unique in that it features an incredible cast of well-known screen actors. Elijah Wood voices Beck, Mandy Moore plays his co-worker and crush, and Entourage actress Emmanuelle Chriqui voices Beck’s main antagonist. And though he’s not necessarily well known, as a lifelong Family Matters fan, I always got a kick out of hearing Reginald VelJohnson’s play Beck’s boss. But if that wasn’t enough, among the recurring actors are Donald Faison, Paul Scheer, John Glover, Kate Mara, Aaron Paul, Lance Reddick, and Olivia Wilde, reprising her character from Legacy. This series truly has one of the best casts in recent memory.

Though Disney allowed for creative freedom, they just couldn’t butt out completely. The show was never a ratings juggernaut, so Disney XD messed with its timeslot throughout its run. By the end, new episodes premiered Monday nights at midnight eastern. That’s the kids’ equivalent of the Friday night death slot. So we were unfortunately treated to just nineteen episodes of this stellar series. And, naturally, a cliffhanger never to be resolved.

I know I sound like a TRON: Legacy apologist, but even if you didn’t care for the movie, there’s still so much to like in this series. Though the, um… *unique* animation style takes some time to get used to, it’s more than worth it at the end of the day. It’s not a large commitment. In fact, it’s one of the shows where you’ve watched four episodes in a row before you’ve realized it. If you have Disney+, it’s absolutely worth your time.

4. Gravity Falls (2011 – 2012)

Created by Alex Hirsch

Showrunner: Alex Hirsch

Network: Disney XD

How this got on Disney, I’ll never know.

There’ve been a lot of adult cartoons masquerading as kids shows – Batman: The Animated Series, Regular Show, and Ren and Stimpy, to name a few. But no show – that I’ve seen, at least – has skirted the line more than Gravity Falls. (Granted, I haven’t seen Ren and Stimpy.) The humor is full of crass double entendres. Any attempt at a lesson is often tongue-in-cheek. This show is like Seinfeld:  “No hugging; no learning.”

That’s not to say there’s no character development. In fact, aside from the humor, that may be the strongest aspect of the show. While the series seems rather standard at first, it doesn’t take long before the ruse of wacky, supernatural situations gives way to character-driven storylines. Everyone will obviously – and rightfully – point to Gruncle Stan’s arc, but Dipper’s arc is just as sophisticated. Through the series’ relatively short run, he learns to be more like Mabel with each scary situation, and she learns to be more like him. As the summer goes on, the two become closer, and the standard sibling bickering that litters every cartoon begins to fade away (to a degree) as they grow to understand each other and how they interact with the world around them. Even a side-ish character like Soos has his moments to shine.

The show balances serialized and episodic storytelling really well. Like certain seasons of Cheers or X-Men: The Animated Series, the show has an overarching narrative that has little crumbs sprinkled throughout each episode, but isn’t strictly a serial, like 24 or House of Cards. But, almost as impressive, no episode feels like a filler. Sure, some are better than others, but you never feel like Hirsch and his team phone it in. Though there are “monster of the week” elements to it, you could never fully figure out the show’s formula. It always threw you off just enough to keep you guessing.

And, of course, everyone talks about the masterful foreshadowing. More than that, the show in itself is a mystery. Every credits sequence features a clue at the end. The final frame before the Disney logo after the credits features a picture to decipher. And Hirsch weaves subtle clues throughout the backgrounds of each episode that one never would’ve picked up on upon their first viewing. Hirsch is right up there with Mitch Hurwitz as one of the masters of foreshadowing. But unlike Arrested Development, Hirsch uses this foreshadowing to encourage the viewer to become a participant. And in that, the show becomes more than just a TV series. This is one of the few texts I’ve seen that transcends its medium to become something new. It becomes a shared experience between creator and viewer. It’s unlike anything I’ve ever seen.

In my mind, this show rates right up there with Sherlock when it comes to TV mysteries. The way Hirsch weaves clues into the most unexpected places is a stroke of genius, particularly when you see how it all comes together in the explosive three-part finale. The show is hilarious, poignant, and keeps you on the edge of your seat. A truly brilliant series.

3. Phineas and Ferb (2007 – 2015)

Created by Dan Povenmire, Jeff “Swampy” Marsh

Showrunners: Dan Povenmire, Jeff “Swampy” Marsh

Network: Disney Channel

Matt, did you just put Phineas and Ferb on here because you love non-sequiturs?

Yes. Yes, I did.

Well… kinda.

So yeah, I’m a sucker for non-sequitur humor. It’s why I love Airplane! and the Police Squad! franchise. There’s something about a joke, transition, or reference coming out of nowhere that always gets me. That said, it can be incredibly hard to pull off. Unbreakable Kimmy Schmidt, an undoubtedly great series, felt as if it was written through madlibs its final two seasons. So when it’s well done, it can be uproariously funny. And two masters of this brand of humor are Family Guy veterans Dan and Swampy.

Nearly every episode follows the same formula: Phineas and Ferb decide to invent or build something to pass the time during summer, their sister, Candace, tries (and inevitably fails) to bust them, and their pet platypus (naturally), Perry, an undercover agent (of course), thwarts his sworn enemy, inept evil scientist (sure) Doffenschmirtz from using his own invention to take over the tri-state area.

Every single episode follows this formula to a T. And yet, you never know what’s going to happen.

This show is impossible to predict. It’s not if Candace will fail to bust her brothers, or if Doofenshmirtz will be thwarted. You already know both will happen. It’s how they’re going to happen that keeps you tuning in. Having Doof’s girlfriend dump him for a whale is completely normal. Seeing one of Phineas and Ferb’s inventions get up and dance away, or doing a backyard musical number from Clay Aiken and Chakka Khan are just regular days. Lines like “I’m calling Mom… and I am not using the banana this time,” make complete sense in context. The show is so bonkers, it never feels formulaic.

Now, that’s not to say the show only employs non-sequiturs. The show is rife with puns, movie references – including a beat-for-beat retelling of the first Star Wars movie – and enough running gags to make Mitch Hurwitz proud. To say the series is clever would be an enormous understatement. From the jokes, to the plots, to the musical numbers, everything about this show is brilliant.

This is a kids show in the truest sense. It’s nowhere NEAR serialized. It features little character development, and when it does, it’s a billion percent comedic. The show is focused on one thing and one thing only: getting laughs. While this goal can often make a show’s humor feel forced, it works tremendously well here. This is one of the best-written cartoons I’ve ever seen. It’s absolutely hysterical, and its humor brings generations together. And I’m speaking from experience. This is the rare show that my younger brother, dad, and I can all watch, laugh, and enjoy together. It’s hands down the best Disney show they’ve ever made.

2. Young Justice (2012-2013, 2019-present)

Developed by Brandon Vietti, Greg Weisman

Showrunner: Sam Register

Networks: Cartoon Network (2012-2013),

DC Universe (2019)

Like Genndy Tartakovsky or Shinichiro Watanabe, all you need is to mention Greg Weisman and I’m sold. I’m going through Gargoyles right now, and I’m loving it. And The Spectacular Spider-Man is one of my favorite animated series of all-time. So when I heard he was developing another superhero cartoon – for DC, no less – I was HYPED. And Greg once again didn’t disappoint.

Though children’s television has quickly become as sophisticated as primetime and streaming programming, it’s still somewhat uncommon to see a full-season story arc. Weisman, however, is no stranger to this (see his magnum opus, The Spectacular Spider-Man). Each season builds on the last, both in terms of the overarching narrative and each character’s respective arc, resulting in each season being better than its predecessor. I’m not even halfway through the third season and I can confidently say that it’s topped the stellar second year, a feat I didn’t think possible.

The writing – in typical Weisman fashion – is fantastic. Unlike most superhero cartoons, which usually follow a standard villain-of-the-week format, Young Justice is HEAVILY character-driven. It takes only a couple episodes to understand the dynamic of each character and what makes them tick. That’s no small feat. But with Greg Weisman at the helm, it’s not surprising. And there are very few filler episodes, so while there’s often a different villain in each episode, they almost always ultimately tie into the overarching arc, giving each episode a purpose.

On that note, the action is great. Weisman knows how to use compelling action; that is, action with a purpose. As just described, the (mostly) serialized nature of the series means every battle has a greater stake than the immediate 22-minute conflict. The ramifications of each encounter are often in the back of the viewer’s mind with every punch. Weisman rarely has characters beat someone up just because it’s an action show. There’s always weight and intention behind every battle. And with compelling characters like these, you’re invested in every fight.

I want to pause and say a quick thank you to DC and Warner Bros. Though DC Universe is a pretty trash streaming service, I’m incredibly grateful this series was given a second wind. Cartoon Network did a horrible job handling the series, and it didn’t deserve its initial fate. Though it’s weird to see it revived after so many years, I’m so glad to see Weisman and his crew haven’t missed a beat.

This is a truly special series. It’s more than just cool superheroes saying witty things and beating up bad guys. This series is right next to some of the masterpieces in the storied pantheon of DC animated television. It harkens back to the fantastic Justice League and Justice League Unlimited series of the 2000s. It’s violent, mature, and incredibly well-written. Though technically a “kids’ show,” this is really for the adults (especially its third season, which takes advantage of its new streaming home by ratcheting the violence and sexual references ALL THE WAY UP). You’re doing yourself a disservice by skipping this one.

I. BoJack Horseman (2015 – 2020)

Created by Raphael Bob-Waksberg

Showrunner: Raphael Bob-Waksberg

Network: Netflix

“Oh look, an anthropomorphic horse wearing human clothes and doing people stuff. How original.” That was my attitude toward BoJack Horseman its first two years. I refused to watch such a derivative show, despite my friends telling me how great it was.

I don’t know what it was, but I finally caved in 2017 and gave the show a try. And I’m so glad I did.

It’s been so hard to succinctly articulate why this show is brilliant; not because its brilliance is difficult to describe, but because there are just so many aspects that make it so. Its hysterical comedy, its biting satire, its subtle background jokes, its rich character development, its deep, philosophical moments. All these work together to create one of the most incredible viewing experiences of the decade.

I guess now that I say it, it’s the writing. Everything great about this show lies in its brilliant writing.

As I mentioned with Rick and Morty, the 2010s was the decade where comedy and drama merged. Tragicomedy has quickly become chic. Fun, light-hearted comedies like I Love Lucy and, more recently, Parks and Recreation are seemingly relics of the past. While the idea of tragedy and comedy becoming intertwined seems counterproductive to the very nature of comedy, there’s something so profoundly genuine about laughing one moment and crying the next. It makes tough topics far more palatable.

And tackling difficult themes with humor and shocking honesty is this show’s bread and butter. Depression, addiction, loneliness, narcissism. These aren’t one-time themes touched on in “very special episodes;” these are main themes that permeate throughout the entire series’ run. 

One of my favorite aspects of the show is its biting satire of Hollywood. It’s no real secret that the film industry is rampant with power hungry execs and greedy agents who take advantage of their clients for personal gain, and turn them into egomaniacs who act like they’re God’s gift to film. And Hollywood (the geographical area) is a breeding ground for this kind of mindset. (Though it should be mentioned that this isn’t unique to Hollywood. It happens everywhere. Heck, I’ve dealt with my fair share of domineering producers here in Texas. But Hollywood does exacerbate the problem.)

Enter BoJack, which takes full aim at the industry. Everyone – EVERYONE – is an a-hole. More than that, the agents, the execs, the directors, and sometimes BoJack himself abuse their power for personal gain. And the writers weren’t taking advantage of the culture zeitgeist when they made this decision. The show debuted a few years before the #MeToo and #TimesUp movements, so it was ahead of the curve. This was a conscious decision to expose the sad realities of the industry to those who are still blissfully unaware of how unglamarous this business is.

And it’s with this backdrop that the series employs some of the best character development I’ve ever seen. BoJack knows he’s a douche. He knows he makes everyone around him miserable. He knows he needs to change. But he doesn’t know how. And he’s afraid that if he does change, he won’t know how to cope with his crippling depression and self-hatred. So he drinks, he takes drugs, he acts out – because he doesn’t know anything else. And that’s not unique to BoJack. Almost every character deals with that same mindset in some form. Some more than the others (Todd and Mr. Peanutbutter are wonderfully ignorant most of the time), but everyone does face it at some point in the series.

And I think that’s the real beauty of the series. Yes, it’s hilarious. (I know I’ve made it sound like a never-ending sadfest, but trust me, it’s absolutely hysterical.) Yes, it can be wacky and zany. But at the heart of it, it’s an exploration of how intrinsically human we all are. The show makes no attempt to hide the fact that we’re all broken in some way(s). And while it doesn’t celebrate that brokenness, it does remind us that we’re not alone in that brokenness. That there are those who understand exactly how we feel because they’ve gone through the same thing. In a kind of roundabout way, the series is actually a great allegory for Christ. Because we have a sympathetic High Priest, He can help us in our every need because He understands us. (Side note: Watch the season 4 episode “Stupid Piece of Sh*t” for the best portrayal of spiritual warfare I’ve ever seen on screen.)

This series is truly astounding. It transcends animation, and pushes the boundaries of what the artform can achieve. It forgoes big, visual spectacles common in the medium for rich, deeply authentic writing and storytelling that is sadly not as common in animation, especially when it comes to portraying mental health. I don’t know if we’ll ever see another series quite like this one.

So there ya go. Like I said, I haven’t seen every acclaimed cartoon from the 2010s. But these were my ten favorites. I’d love to hear what your ten favorites were! Feel free to drop a (respectful) comment, and let’s talk about it!

Categories
Art Music

10 of ’10(s): My Favorite Albums

I’ve always had a strong connection to music – even before I was born.

My parents have told me stories of how my dad would sing to me while my mom was pregnant. Every time he would do so, I would start moving. My mom affectionately says I was dancing.

Though I’ve never played an instrument and can’t sing worth crap, I’ve always loved music. I spend the vast majority of my days listening to music. I follow countless artists. I own dozens of albums and thousands of songs (yes, I still buy albums and singles). It’s an art form that’s always fascinated me. And one that I treasure.

So, naturally, I have some thoughts about the last decade of music.

Now, let me say from the outset, I’ve only very lightly studied musical theory. Like, I’m-only-taking-this-class-’cause-I-need-more-electives lightly.

But what I do know is how music makes me feel, and how lyrics make me think. So I’ll be highlighting my ten favorite albums of the decade that made me think and feel the most.

I should also be upfront about one more thing – the majority of what I listen to is Christian music; mostly because I don’t have to worry about profanity or songs about drugs or butts. So the majority of the records on this list are Christian albums. I’m sure many secular artists released fantastic albums last decade. I just haven’t heard them. (It also doesn’t help that I hate pop music and mainstream rap. But that’s a discussion for another time…)

So with that, let’s begin with some albums that I’d like to give a shoutout to:

We Kept It Alive (EP), Lights Go Down (2015) – If you’re only gonna release five songs, make them as perfect as this EP. Oh what could’ve been…

The Breakdown and the Fall, At the Wayside (2017) – I’ve followed this indie pop punk band for a number of years now, and every one of their releases has gotten better and better. Can’t wait to see where they go from here!

Engine of a Million Plots, Five Iron Frenzy (2013) – Full disclosure: FIF is one of my all-time favorite bands. So of course I’m gonna give their reunion record some love. While the album lacks the patented humor we’ve come to expect from the band, Reese replaces it with truly deep and thought-provoking lyrics that sound straight out of his side project, Brave Saint Saturn. The arrangement of the horns has never sounded better, and the guitar arrangements add a whole new range the band has never had. The group clearly matured a lot during the eight-year breakup.

Between the Pavement and the Stars (EP), Five Iron Frenzy (2015) – A really solid companion piece to Engine of a Million Plots. Most notably, the record features a little experimentation, with a sea shanty and a piano ballad breaking up the otherwise full-on ska-punk record. Lyrically, the record is richly introspective, touching on fear, trust in God, and hatred in the name of God.

Solar, nobigdyl. (2018) – Agonizingly close to making the list. I only heard this for the first time a few weeks ago, but DANG. Dyllie is very quickly becoming one of my favorite rappers in the game.

Christmas, Michael Buble (2012) – If the ghosts of Bing Crosby or Perry Como put out a Christmas record, it would sound like this. Along with the classic-sounding arrangements, Buble mixes it up a bit, with Latin, ‘20s-era swing, blues, and New Orleans jazz arrangements on certain songs. This record just feels like Christmas.

Cinematic, Owl City (2018) – A lyrical return to form. Adam’s most earnest record since All Things Bright and Beautiful. “Be Brave” is one of the most beautiful songs he’s ever put out, which is an incredibly high bar.

F, Kemuri (2015) – Really, really great ska punk.

Crazy Love, Hawk Nelson (2011) – A welcome – though sadly short-lived – return to form, and a great swan song for Jason Dunn.

That’s Christmas to Me / A Pentatonix Christmas / Christmas is Here!, Pentatonix (2014 / 2016 / 2018) – Pentatonix has become a Christmas staple, at least for me. Their covers are incredible, and their talent is off the charts. Honestly, if the other ten albums on here weren’t so great, at least one of their Christmas records would’ve made the list.

Rehab, Lecrae (2010) – A really great record with some of my all-time favorite songs of his.

Rivers in the Wasteland, NEEDTOBREATHE (2014) – The only album on this list that I haven’t listened to all the way through. But I wanted to highlight it because “Difference Maker,” “Brother,” “Wasteland,” and especially “Multiplied” are some of the best songs the group has ever put out.

Title, Meghan Trainor (2015) – A really great melding of modern pop, classic pop, doo-wop, and jazz. I wish she’d go back to this sound.

The End is Where We Begin, Thousand Foot Krutch (2012) – A near-masterpiece to follow their magnum opus. 2009-2012 was a great time to be a TFK fan.

Zion, Hillsong United (2013) – The beginning of their change sonically and lyrically. “Oceans” is massively overplayed, but you can’t deny how powerful it is.

Home for the Holidays, Darius Rucker (2014) – A really great album that merges country, jazz, and Bing Crosby-esque arrangements. This album more than any other in the last twenty or so years (except maybe Michael Buble’s) harkens back to the classic Christmas recordings of our grandparents’ era. And I love it.

Ilia (EP), Ilia (2014) – A really solid rocker from a promising band who called it quits far too early.

An Airplane Carried Me to Bed, Sky Sailing (2010) – Adam Young’s acoustic project. Basically Owl City with acoustic guitars and piano. What more could you want?

This is Where We Are, Seryn (2011) – An indie filmmaker’s dream. Indie folk music that sounds straight out of the ’60s, and is just begging to be used in an A24 film. A truly fantastic album. Also, a neat little side note: This band is from DFW. Support local music!

10. New Horizons, Flyleaf (2012)

A masterpiece can be both a blessing and a curse. While it’s great that something you’ve made is so well received, it puts that much more pressure on your next project.

That’s the mountain Flyleaf faced after their 2009 sophomore offering, Memento Mori. While not as critically acclaimed as their stellar self-titled debut, Memento Mori is still a triumph in rock music, concept albums, and Christian music in general. It told a beautiful story with amazing music and rich, deep lyrics. It’s one of the best albums I’ve ever heard. (Undoubtedly in my top 5.)

So how do you follow up something like that? Especially when your lead singer announces just a week before the record’s release that she’s leaving the band?

Well, Flyleaf did what they always did: put out a stellar record.

While not as good as their first two offerings, New Horizons blends the best of their previous efforts into a beautifully merged sound. Every ballad has hints of crushing guitars, and every rock anthem has its quiet moments. And, of course, the lyrics are all beautifully crafted. One in particular that always gets me is from the bridge of “Stand.” The song is a great reminder that the Holy Spirit is with us through everything. Then, the group contemplates during the bridge: “How long did You bleed for us?” That line always gives me chills.

As I interpret the album, the group alternates between calling people to live out their faith, as opposed to just talking a good game, and basking in the awe of God and His creation. The opening track “Fire Fire” beautifully addresses hypocrisy. Lacey Sturm utilizes James 3:6 to perfection, repeating during the bridge, “What you confuse for Glory’s fire is fire from the tongues of liars.” The driving guitars of “Call You Out” harken back to the band’s 2005 debut, and the lyrics are very direct: “I know this language of yours / I used to speak it so well / A fire meant to be pure is not the fire of hell / It is written long before you / Your time’s up now / That’s enough now / Shut up, get out / Truth called you out.”

“Bury Your Heart” talks about the emptiness of a life only concerned with chasing money. Lacey cries out for God’s grace and mercy in “Saving Grace.” It’s a little more generically Christian than I’d like, but it’s still a solid track with really good lyrics. (Flyleaf can even take boring CCM music and make it good.) After arguably the most hard-rocking song the group every put out, “Green Heart,” the record transitions to its perfect, highly emotional finale, “Broken Wings.”

It’s pretty clear Lacey knew that this was her last record with the group. Her voice, while always emotionally charged, feels even more so this time around. Many times, it sounds as if she’s about to burst into tears midsong. Knowing the context of her departure makes songs like “New Horizons,” “Cage on the Ground,” and “Broken Wings” all the more emotional. This record is the perfect closing chapter to a near-perfect trilogy of records.

Standout tracks: “Fire Fire,” “New Horizons,” “Call You Out,” “Cage on the Ground,” “Great Love,” “Bury Your Heart,” “Saving Grace,” “Stand”

9. Of Beauty and Rage, Red (2015)

I should probably be upfront: Red is one of my all time favorite bands. So I’m biased. Now that that’s out of the way…

This was certainly an eventful decade for Red. After their debut and sophomore albums saw unprecedented success in the latter half of the 2000s, the 2010s were primed to be the Redaissance.

Well…

After a solid, but somewhat underwhelming third effort in 2011, Red decided to truly shake things up in 2013 with Release the Panic. Known for being a symphonic rock band, the group made the puzzling decision of almost completely stripping the strings from each track, instead going for a more poppy, synth heavy sound.

Whether it was label pressure to make a safer, more generic record, or the band trying something different artistically, fans clearly weren’t digging the RTP sound.

They tried to course correct with their EP Release the Panic: Recalibrated a year later, with new string arrangements “recalibrating” certain songs from the original record.

It was… fine.

So to say I was nervous about 2015’s Of Beauty and Rage is a massive understatement. Another dud like Release the Panic and I was gonna seriously consider not following one of my all-time favorite bands anymore.

But one track in and my fears were put to rest.

Thank GOODNESS the band went back to their roots. The strings were not only back, but back with a vengeance. Gone were the generic synth elements. The cheesy lyrics were replaced with the deep, spiritual-warfare driven lyrics of their previous efforts. The whole album felt cinematic, and a triumphant return to form.

“Impostor” and “Shadow and Soul” see a return of the signature haunting strings that Red is known for. Of easily their most cinematic album yet, these are, in my view, the most cinematic tracks on the record. The strings on these two tracks are absolutely stunning. And Michael Barnes’ voice is as emotional as ever, singing about the internal struggle and temptations of the enemy.

One thing I’ve always appreciated about Red is that they actually treat Satan as a being instead of some mystical force. Songs like “Impostor” speak of an actual being that Michael is struggling against. This makes Satan and his attacks more real to the listener, which I feel is much needed these days.

“Darkest Part” harkens back to previous offerings like “Fight Inside” and “Already Over,” talking about the struggle to live in the light while feeling the temptation of the darkness. “Fight to Forget” and “Falling Sky” follow, and are just dang good rockers.

One thing that surprised me most about the record was the ballads. Red’s ballads are known for being big productions with heavy strings. And while they have those on here, each ballad is different. Where “The Ever” is one of the record’s harder ballads, “Of These Chains” is one of the quietest, most tender songs the band has ever released. Michael beautifully sings about the struggle that spiritual freedom can bring. He’s happy to be free, but also feels some sadness that that sense of familiarity is going to be gone. He struggles with the thought of letting go of every chain that keep him in bondage, even asking God in the chorus “Of these chains / Let this one remain.” It’s a powerful song that beautifully highlights a side of spiritual freedom most people don’t talk about.

Aside from the beautiful instrumental “Ascent,” the record wraps up with “Part That’s Holding On,” one of the most gorgeous songs the band has ever released. Possibly the biggest ballad they’ve ever written (though “Best is Yet to Come” gives it a run for its money), the strings absolutely soar and only add to the emotion in Michael’s voice as he sings about love, loss, and hope. It’s an absolutely beautiful song.

Though their follow-up release Gone trended back to the Release the Panic sound, Of Beauty and Rage was a wonderful release that showed any and all doubters that Red was not only here to stay, but, more importantly, they hadn’t lost their edge. Going into the new decade as a newly-independent band, let’s hope they continue that upward trend.

Standout tracks: “Descent,” “Impostor,” “Shadow and Soul,” “Darkest Part,” “Of These Chains,” “Falling Sky,” “Yours Again,” “The Ever,” “Part That’s Holding On,” “Ascent”

8. Neon Steeple, Crowder (2014)

“Worship music” has become such a muddled, vague, cookie cutter genre. I have a lot of issues with it – who decides what is and isn’t considered “worship music?” – but the main one I’ll talk about here is the lack of originality.

As I’ll address later, many people blame Hillsong Church and its many musical offshoots for introducing monotony, redundancy, and unoriginality to church music. With their use of only one repeated verse, simple, generic chords, and endlessly repeated bridges – usually only consisting of one or two lines – their meteoric rise to the top of Christian music chagrined many music purists.

And, to be fair, they have a point.

That’s why I have such respect for David Crowder. He’s been a pioneer of excellence and originality in worship music for over two decades now, while still creating music that churches feel comfortable performing themselves. He’s figured out how to walk that tightrope – no easy feat.

In his first venture since his legendary David Crowder*Band split, Crowder attempts to both capture the magic DC*B had, while at the same time establishing his own unique voice.

And he friggin’ nailed it.

It takes a lot for me to say a worship album does something original and unique. But Crowder put together something unlike anything I’ve ever heard. DC*B records always had a tinge of bluegrass and southern gospel, particularly in their later releases, but Crowder leans into that sound more than ever before… but with a twist – he mixes EDM music.

Banjos and synthesizers. What a time to be alive.

As weird as folktronica may sound, he actually mixes the two influences exceptionally well, as he explodes out of the gate with “My Beloved.” This song doesn’t ease you into this odd mixture at all. The song opens with Crowder singing the chorus over some banjo, before going full electronica. It’s a musical delight for the listener.

The most well known track off the record is, of course, “Come As You Are,” and it’s not hard to see why. The song is a poignant call to non-Christians – as well as a wonderful reminder to Christians – that Jesus will take you just the way you are. You don’t need to do anything to “fix yourself;” He’ll take you right now. The chorus – particularly the lines “So lay down your burdens / Lay down your shame / All who are broken / Lift up your face” – always gives me chills.

One of my favorite tracks is “My Sweet Lord.” This quiet, tender ballad features country icon Emmylou Harris, and is such a sweet song of love and worship. The song is almost entirely just a single acoustic guitar and a banjo. Crowder and Harris earnestly ask the Holy Spirit to come walk beside them and remind them that He’s there in the midst of fear. It’s a simple, powerful song that’s meant a lot to me over the last six years.

A couple other tracks that are just a blast are “Hands of Love” and “You Are.” Both feature some delightful banjo, and just put you in a dang good mood!

The deluxe edition of the album closes with a folktronica remix of the Bill Gaither standard “Because He Lives…” featuring Bill Gaither himself! It’s such a fun reimagining, and it’s such a neat treat to have Gaither re-record his most famous tune.

This is far and away the most unique blending of musical styles I’ve ever heard. And to do it to worship music, no less! Crowder’s subsequent releases – though not as good as his debut, in my opinion – have continued to experiment with different styles. He’s a shining light in an industry content with mediocrity. Thank God for David Crowder.

Standout tracks: “My Beloved,” “Come As You Are,” “Hands of Love,” “My Sweet Lord,” “This I Know,” “You Are,” “All This Glory,” “Because He Lives”

7. Anomaly, Lecrae (2014)

This decade was a game changer for the game changer.

Crae’s been a mainstay in Christian hip hop for well over a decade, completely redefining it in his stead. He came into an industry that was sorely lacking in quality talent and blew the doors off it. And after so much hard work and success, the mainstream industry finally began taking notice. “Tell the World” off of Gravity turned heads; Anomaly opened doors.

One of my favorite tracks off the record is the cutting “Welcome to America.” Though it’s not the opening track, it sets the tone for the record, and shows that this is a different Lecrae album. In just three verses, Crae embodies every critique of American culture that people on all sides have. He tells the stories of three different people: a drug dealer in the projects, a veteran returning home, and an immigrant. Each person gives their own powerful perspective of America as they see it. By the end, the song leaves you questioning how you view America, and drives you to get out of your bubble.

“Say I Won’t” is another favorite track. Crae’s never been one to stay inside the box or cave to social pressures, whether they be from the mainstream or Christian realms. He operates in his own way, and takes pride in being himself. He brings another wonderfully authentic person, Andy Mineo – who will have another feature on this list – to encourage people, specifically in the rap game, to be different and themselves, instead of trying to imitate everyone else. Along those lines, “Nuthin’” is another great track where Lecrae calls out mainstream rap for all sounding the same and not being creative or original.

“Dirty Water” is a deep, thought-provoking banger highlighting impoverished communities around the world. (Bet you never thought you’d read that sentence.) And “All I Need is You” is one of his best love songs. The record wraps with the penultimate track, “Broken,” with a feature from my church’s own Kari Jobe, so I’m obviously biased. But it’s a really great track reminding us that none of us are righteous and all of us are broken and in need of a Savior.

For all the great albums Lecrae’s had (before and since), Anomaly is my personal favorite. It feels like his most mature, complete, and thought-provoking release to date. He’s had more provocative releases since, but none, in my opinion, have married thoughtful lyrics with great beats like Anomaly.

Standout tracks: “Welcome to America,” “Say I Won’t,” “Nuthin’,” “Dirty Water,” “All I Need is You,” “Broken”

6. The Beauty Between (EP), Kings Kaleidoscope (2017)

Kings Kaleidoscope could very well save Christian music if we let them.

The ten-piece, multi-instrumental group defies genre, and continues to redefine what worship music truly is. Their first LP was an eclectic worship album, in the more traditional sense. Their second was an experimental record. Between their second and third LPs – the latter of which may or may not be found later on this list – the group put out a hip-hop infused worship EP.

Read that again. Hip-hop infused worship music. This group is incredible.

The group really drives home the hip-hop element by featuring contributions from rappers on four tracks. The first of those tracks is “The Beauty Between,” featuring one of my personal favorites, Andy Mineo. The infectious track is an excellent reminder that whether times are terrible or fantastic, Jesus is always in the middle of it. Musically, it’s one of KK’s more electronic-heavy tracks, but also features funky guitars and even a tuba at one point. (I love this band.)

The next track is one of my all-time favorites. “Alive” is a song of spiritual warfare, written at Satan. Not to him or about him – at him. It reminds him that he has no power over us because we’re under the covering of Christ, and then aggressively reminds him that he’ll never feel the hope, joy, or love that we will because he chose an eternity without God. It’s such a powerful track, and I felt like running through a wall the first time I heard it. Musically, it takes you on a bit of a journey. Beleaf and Braille absolutely murder their verses out of the gate, then the song transitions into some harder guitars before a quiet verse that crescendos into triumphant victory. It’s a standout track, and one of the group’s best.

One more track I want to highlight is “Safe Retreat.” I was going through a really rough season not long ago. In the midst of it, I found the live EP of this album, and this track became my anthem. When I felt like God didn’t see me or care about what I was going through, this song came into my life at the perfect time. Its lyrics vividly paint a picture of a Father scooping us up and holding us close to His heart, comforting us when life has hurt us. Braille’s verse is absolutely incredible, particularly when talking about coming to the Lord in prayer: “God already knows my longing, my yearning, my groaning, my burning, my scars, and my hurting.” It’s a fantastic reminder that Jesus always understands what we’re going through, no matter what. Other lines that still hit me are “None of this is wasted” and “When the storms clouds fly, ‘til they pass me by, I’ll hide in Your safe retreat.” Every time I hear this song, I find myself thinking “yes, and amen” by the end.

While it’s a stellar record, it’s not perfect. “Sometimes Phoenix” isn’t my favorite song of theirs. I could also do without the three interludes. But one sub-par track out of seven (if you don’t count the interludes) is a pretty strong offering. From infectious tracks like “The Beauty Between” and “Sticks and Stones,” to deep, powerful tracks like “Alive” and “Safe Retreat,” Kings Kaleidoscope is like a fine wine – they get better with each release. And this one is not to be missed.

But it’s not their best… (That, boys and girls, is called foreshadowing.)

Standout tracks: “The Beauty Between,” “Alive,” “Safe Retreat,” “Sticks and Stones,” “Rain”

5. Mansion, NF (2015)

Authenticity is sorely lacking in most Christian art, especially music.

Record labels choose to forego anything raw, personal, or genuine for generic inoffensiveness, repeating the same tropes and cliches that have been done thousands of times in order to sell more records. (Don’t be misled – Christian record labels are all about their bottom line. Being “Christian” doesn’t change that.)

That’s what makes NF so incredibly refreshing. And why he’s become a crossover phenomenon.

The hard-hitting rapper burst on the scene in 2015 after years of building an underground following. He was an immediate success with Christian audiences because he spoke about his flaws, his hurt, and his baggage with refreshingly unflinching honesty. There’s something so potent about someone’s uncensored testimony.

He gained further exposure in the mainstream hip-hop scene after his 2017 single “Let You Down” when triple platinum. Things haven’t been the same for him since.

Aside from his incredible talent, the trait that makes NF stand out from other rappers – Christian or mainstream – is his insane work ethic. NF’s discography in the last five years makes every other artist look lazy. Of the four records he’s released in five years, his 2015 debut still strikes me as his strongest, most consistent album.

I remember where I was when I first heard “Intro.” It wasn’t the first NF track I’d heard. His radio single “I’ll Keep On” drove me to listen to more of his stuff. “Intro” is the polar opposite of that track. And I remember sitting in silence after the song was over, in complete disbelief at what I’d heard. I immediately knew that NF was the future of Christian rap.

“Mansion” is the perfect companion piece to “Intro.” Where “Intro” highlights his fast-paced delivery and ingenious writing, “Mansion” is slower, emotional track that gives the listener a Spark-notes version of his testimony. A physically abusive father, a mother who O.D.’d, depression, trust issues, fear, insecurity, mental health struggles. He touches on all these with astonishing honesty. It’s one of the most incredible songs I’ve ever heard.

The album would be flirting with #1, but a weaker second half keeps it in the middle of the pack. Now, a weaker NF track is still better than most rappers’ best tracks. But songs like “Turn the Music Up” and “Motivated,” while good, aren’t as strong as the rest of the record. But that doesn’t detract from other highlights like “Paralyzed” and “Notepad.”

The closing two tracks are noticeably different from the rest of the record. As I mentioned, the first NF track I ever heard was “I’ll Keep On,” on, of all places, Air1. The song is probably the most uplifting track he’s put out to date. Amid all his struggles, fear, and insecurities, NF realizes that his strength comes from God, which keeps him going every day. It’s a really great track for anyone going through a rough time. I personally feel like it should’ve been the finale of the record, especially since “Can You Hold Me” is such a stark contrast to the previous track. It’s a darker, more emotional track, where NF begs for the loving embrace of God in the midst of loneliness. It’s a great track, and Britt Nicole’s vocals are fantastic (as always), but I feel like it would’ve worked better if it and “I’ll Keep On” had been flipped. But it doesn’t detract from the enjoyment of the track at all, so what do I know.

This is an absolutely stellar record, and one that I think was a game changer. Since Mansion, we’ve seen more Christian rappers than ever before be transparent and talk about more practical issues, as opposed to just theology. (Not that that’s not important, but it also helps to talk about other things.) Where most Christian artists are frustratingly vague about their struggles, NF is an open book – something we as a body should all aspire to be.

Standout tracks: “Intro,” “Mansion,” “Wait,” “Wake Up,” “Face It,” “Paralyzed,” “I’ll Keep On,” “Can You Hold Me”

4. All Things Bright and Beautiful, Owl City (2011)

Owl City is one of my favorite artists. I think Adam Young is one of the most creative minds in music today. His first two major label records were utter masterpieces – this being the latter of those releases.

The thing that initially drew me to Owl City – other than “Fireflies” being an absolute BOP – was the fact that, at least at the time, no two of Adam’s songs sounded the same. That talent is on display here, as he makes full use of his creative powers, creating eleven songs that are unique not just to themselves, but from anything else on the radio at the time… or since, for that matter.

Adam’s music just puts me in a great mood. His dreamscape lyrics take you to another world where there aren’t any problems and everything is wonderful. His music is very sweet and earnest. Songs like “The Real World,” “Alligator Sky,” and “Plant Life” don’t make much lyrical sense or provide a ton of depth. But dang it, they’re musical masterpieces.

One song that I absolutely love is “Honey and the Bee.” His duet with Breanne Duren in Ocean Eyes was a match made in heaven, so I was ecstatic to hear them together again. (I wish he would bring her back, as this was her last appearance on one of his records.) This song is such an adorable love song that, similar to “Bird and the Worm,” highlights the perfect match Adam and Breanne are, like honey and a bee. This is the kind of song I’d want to have played at my wedding.

Other than the title of the album, “Angels” and especially “Galaxies” are the first time Adam’s faith was on display. “Angels” reminds us that we’re never really alone, and “Galaxies” takes awe in God’s creation, while reminding the listener where our hope is found.

This is a stellar record full of unique and original songs. Unfortunately, Adam’s creative freedom would be restricted after this record, for reasons I understand but still vehemently disagree with. There’s truly no one like Adam Young. No one has the creative capacity that he has. This record is an absolute masterpiece.

Standout tracks: “The Real World,” “Deer in the Headlights,” “Angels,” “Dreams Don’t Turn to Dust,” “Honey and the Bee,” “Galaxies,” “Hospital Flowers,” “Alligator Sky,” “Plant Life”

3. I: The Arrow (EP), Andy Mineo (2018)

The 2010s were the decade of deconstruction.

Whether it be political events, hypocrisy in the church, or personal struggles, it seems like Evangelicals have been deconstructing their faith at a record level. While that can be an incredibly difficult season of life and can oftentimes come from a place of hurt or distrust, it can lead to newfound vigor, passion, and zeal for Christ. (I can say this with confidence as I myself came out of one of those seasons about a year ago. But that’s another story for another time.)

If anyone had reason to feel at the top of their game, Andy Mineo did. His breakout hit “You Can’t Stop Me” went gold, he was in high demand at churches and other Christian events, and had quickly moved to the top of the Christian hip hop scene.

But not even he was immune to deconstruction.

His excellent two-part EP came during that season. He’s stated that he wanted to write something in the midst of that season, not on the other side. That’s an incredibly risky feet in the Christian music industry. Many radio stations, churches, and Evangelicals Fundamentalists don’t want to hear any semblance of doubt. As one reviewer excellently put it in his review of Rend Collective’s debut, “instead of expressing who we are before the Lord, we end up hiding our faults, struggles, and issues under masks of praise.” That was in reference to “worship” music, but the idea rings true in all genres of Christian music. ‘Cause, ya know, no one in Scripture ever had doubts…

That idea is what makes The Arrow such an astounding achievement of vulnerability. In my opinion, the best song Andy’s put out to date – though “I Don’t Need You” is dang close – is “Clarity.” You can hear that wrestling and frustration all throughout the song, as he not only reassesses what he truly believes, but desperately searches for clarity and truth. He also perfectly utilizes clips from an interview with A Wrinkle in Time author Madeline L’Engle, who touches on the positives of spiritual doubt. It beautifully compliments the theme of the song. Lyrically, this song is perfection. I could highlight nearly every line in this masterpiece, but some of the ones that stick out the most are: “Built my life on this / Half my adult life unlearning lies that I heard in a dumb sermon,” “Rather have a tribe than unity, so you and me divide,” “Lost / All my faith in white Jesus,” and “All I, all I want is clarity, clarity / ‘Cause all of my heroes are frauds, just like me / They’re just like,me / So let every man be a liar / Let only God be true / And all of your heroes are frauds, just like you.” Just incredible.

That vulnerability isn’t limited to his relationship with God. The incredible “Family Photo” highlights Andy’s strained relationship with his father, framed around his wedding day, which his father skipped. The song paints a perfect picture: Andy anxiously anticipating his father, trying to stay focused on his bride while being distracted with the possibility of him showing up, coming to the realization that he won’t show, and angrily pouring out his feeling to him (in his mind, as we all do). He does an excellent job of making the listener first empathize with the situation, then sympathize with how he feels. In particular, the line “I hate the fact I still love you” always gives me chills. Just a stellar track.

“Anxiety” is a great track, and “I Ain’t Done” SLAPS, though it’s a little more boastful than I’d like. The record closes with “…Lost,” a wonderfully introspective song where Andy reflects on his deconstructions and how he’s grown from it. The song starts with a callback to “Clarity” before throwing in the excellent line “Traded fear of being nothing for being a replacement.” He also references his debut EP Never Land when he paints a picture of his faith progression: “I was so high, though I’d never land / Now, I wanna come down / We just hit some turbulence, but if I let go now / How far will I fall? / I can’t see at all.” The song takes a triumphant turn in the second and final verse, as Andy puts it all in perspective: “So, betcha if I never had a pain / Betcha that I never would pray / Trust Him even when I don’t see / That’s the definition of faith / I know I’ve got a problem with control / Arrow gotta fly, let it go / You never said I wouldn’t go through it / You just said I wouldn’t be alone.” He’s deconstructing his faith, yes, but in the end, he’s coming through the other side with more fervor and zeal than ever before.

Andy’s other two releases since this EP – II: The Sword (EP) and his Work in Progress mixtape – have further given him the reputation as one of the most transparent Christian rappers today. This release was a game changer for him. He went from the guy with that banger “You Can’t Stop Me” who had fun and joked around, to someone using his art as therapy. He became even more relatable just by being himself. I think we’re going to look back on his discography and see this release as a landmark moment in his career.

Bravo, Andy. Keeping being yourself. Keep respecting your opinion.

Standout tracks: Literally every track. But especially “Clarity,” “Family Photo,” and “…Lost”

2. Zeal, Kings Kaleidoscope (2019)

Creativity. As I’ve touched on, it’s a sadly foreign concept in Christian music. Which is great for people who are fine with the status quo, but is incredibly frustrating for people who want something more from their music. (It’s not like Jesus was creative or anything.)

In a dull, bland landscape of cookie cutter Christian music, Kings Kaleidoscope is a shining exception.

Now, they’re definitely an acquired taste. Heck, it wasn’t until my third try that I fell in love with them.

And let me tell you, I fell HARD.

No two songs in KK’s entire discography sound the same. Three LPs, three studio EPs, five live EPs. No two songs sound the same.

That incredible feat continues in my personal favorite of their trio of LPs, Zeal. 

I don’t know if it was an intentional, artistic choice, but I’ve always viewed the record as a concept album about someone deconstructing their faith and coming out on the other side with more zeal and confidence than ever. (I’m actually working on a screenplay based around this record. So if Chad Gardner is reading this… hit me up, man. I’ve got ideassssss.)

The album starts with harder tracks that both musically and lyrically sound as if they come from a place of frustration and disillusionment with American “Evangelical” culture. But the artist acknowledges that he’s not exempt from this frustration. “Hero Over My Head” features a great line: “I’ve been starving in the garden hiding garbage in my heart. Is it too late?” This is more or less the inciting sentiment that sets him on his journey of spiritual reflection, deconstruction, and, ultimately, awakening.

There’s a turning point with “Aimless Knight.” The lyrics are both reflective and exasperated. The artist is tired of striving for naught. He’s come to a place where he realizes that the only way forward is by surrendering everything to the Holy Spirit. The final minute and a half of the song, the music almost stops completely, save for a lone guitar. The artist sings a prayer of surrender, ending with “Settle my spirit. Spirit, abide in me.”

From then on, the rest of the record is pure joy. The stunning three-movement song “The Rush” documents the joy of finding your faith again. “Oxygen” reminds the listener that life doesn’t get easier just because you’ve given the Holy Spirit control of your life, but that it does give you peace in the wandering. And “A Little Bit of Faith” is a joyful song told from the perspective of Christ, as He takes pleasure in His son returning to Him with more zeal than ever before.

One could easily argue that any and all of Kings Kaleidoscope’s releases are masterpieces. But I feel this is what all their previous releases have been building toward. This is their magnum opus. The band, through both Chad’s incredible lyrics and fantastic arrangements, documents the life of a Believer from disillusionment, to searching for meaning, to a deep joy and zeal for Christ on the other side.

The Christian walk in thirteen tracks. Simply astounding.

Standout tracks: “The Coma,” “Hero Over My Head,” “Naked Feet and Holy Fire,” “Backwards,” “About to Break,” “Aimless Knight,” “Same Blood,” “The Rush,” “Oxygen,” “A Little Bit of Faith”

1. Empires / Of Dirt and Grace: Live from the Land, Hillsong United (2015 / 2016)

Everyone has an opinion of Hillsong and its different offshoots. A lot of people love them, (erroneously) proclaiming them the innovators of modern worship music. Others can’t stand them, citing repetitive melodies and derivative lyrics. Both camps make excellent points. I’ve always been a fan of Hillsong United, but I admit that looking back, their older material isn’t as strong as I remember it.

It seems as if Hillsong Church, and the members of United specifically, took the criticism to heart, because this decade has seen a great progression in innovation and creativity for the group.

The band mostly traded in big, arena sounds for smaller, intimate, studio records, starting with 2011’s Aftermath. While it sounded much like their older material, you could tell that something different was happening with the group. This was only heightened with the synth-heavy, atmospheric Zion two years later, the standout track, of course, being “Oceans (Where Feet Meet Fail).” But if you listen to the rest of the record, there are some very creative songs both sonically and lyrically that took the group to places they’d never gone before.

It’s with this background that the group released their highly-anticipated follow up in 2015. And what we got was nothing short of extraordinary.

Leading up to its release, everyone wondered if the group could duplicate the unprecedented success of “Oceans.” In fact, everyone was quick to call “Touch the Sky” the next “Oceans,” and – unfairly, in my opinion – compare the two tracks.

But to just compare these two tracks and look at Empires as Zion: Part 2 is to do the album a great disservice.

An issue I and many others have with modern worship music is that many songs seem like all the same one-liners from previous popular songs put to a simple, repetitive beat. The lyrics are meant to be inoffensive and the music a placebo feeling to fool the listener into thinking heaven has come to earth.

Empires is different because it makes you think. It’s poetic. The lyrics are written from past experiences, hurts, and time spent in the presence of God. It’s a highly personal record.

The lyrics also pull heavily from the psalms. The group makes an effort to proclaim their worship in new and innovative ways.

Two of my favorite tracks are excellent examples of this. “Prince of Peace” frames salvation as a storm that takes over the heart, with Christ leading the charge. And “Heart Like Heaven” takes delight in the fact that all we can offer God is a broken heart… and that’s all He ever wants.

I chose to also include the live acoustic companion record, Of Dirt and Grace, released the following year. Recorded entirely outdoors in different areas of Israel, the group could have very easily just recorded the same songs with no changes in order to make a buck.

But that’s not what Hillsong United does.

They chose to rearrange nearly every song, going so far as to completely change the tempo of a couple songs. It breathes new life into every track and makes each song new all over again. I’m not usually a fan of live albums, but this is a fantastic exception. There are certain tracks where I prefer the Empires version, and others where I prefer the live version. And that’s an incredible testament to the band’s creativity.

Side note: You should also watch the accompanying film. It’s gorgeously shot and beautifully edited. It’s one of my favorite “concert films.”

This ain’t your parents’ Hillsong United. Heck, it’s not even my generation’s Hillsong United. And I think we as a church are all better off for it.

Standout tracks: Every track, but especially “Heart Like Heaven,” “Captain,” “Street Called Mercy,” “Prince of Peace,” “When I Lost My Heart to You (Hallelujah),” “Touch the Sky,” “Here Now (Madness)”

So there ya go. It was so much harder than I thought to narrow this list down to ten. There were so many great albums that cut through the bullcrap that dominated the charts. Hopefully Christian music can continue this trend of honesty and transparency in music, and inspire a new generation of artists to express themselves creatively in new and different ways. And hopefully mainstream artists will go back to the creatively expressive days of the ‘60s and ‘70s.

I’d love to hear some of y’all’s favorites from the ‘10s! Drop a (respectful) comment, and let’s talk about it!

And be on the lookout for more 10 of ‘10(s) coming soon!

Here’s a prize for reading all the way to the end.

Categories
Filmmaking

Coming Soon…

The 2010s were quite the decade for modern art (film, TV, music). Mainstream cinema is at an all-time low in terms of quality, an all-time high in terms of quantity, and will be entirely owned by Disney in the next five years.

On the flip side, indie cinema released some of its best movies possibly ever. And on that same side of the coin, TV had arguably its best decade ever, with countless incredible shows making their debut.

And music… also happened.

And I have thoughts about it all.

So I’m going to be doing a series all January long (and possibly February depending on how slow I am) about each of those fields. I’ll be highlighting ten of my favorites in each field (TV, music, and various aspects of cinema).

I’m calling it… 10 of ‘10(s).

‘Cause… ya know… they’re all top 10 lists… from the 2010s…

Anyway…

These will be my personal – if not pedestrian – thoughts on the things that inspired and moved me the most. They’ll be far from the definitive top 10s of the decade, ‘cause… ya know… that’s impossible ‘cause all art is subjective. Just my ten favorites in each category. (Please don’t hate me if I don’t include something you love.)

So yeah. That’s pretty much it. At the moment, there’ll be seven of them, although that might change as I flesh them all out. Be on the lookout for those this month. 

And here’s a funny video, just so this wasn’t a complete waste of your time.

Ok bye.

Categories
Filmmaking

A Love Story

It was a dreary, foggy evening. The ground was still wet from a fresh rain. Nothing too abnormal for London. A wealthy banker walked the empty streets alone. He was dressed in his customary suit, top hat, and cane. He never left the house without them for fear that he wouldn’t be recognized.

To the untrained eye, it may appear that he was just out for a leisurely stroll. But there was a purpose behind this weeknight outing. He was on his way to work well after hours. He was just called in by the head of the bank and the board of trustees, who requested an immediate meeting with him.

He knew exactly what this meant. He was being sacked.

Banking was his life. He loved money, and the prestige of wealth. This drove him to devote his entire life to his career. All other pursuits were a waste of time – including his family. A sacrifice, yes, but a worthy one. Just look at the benefits. He had a large house in a nice neighborhood, and could provide anything his wife or children could have ever dream of. All thanks to his devotion to banking.

It was his life. His entire identity. And he was about to lose it all.

He walked the streets alone, contemplating everything that led to this point. He felt alone. Scared. He didn’t know how he could go on. His life as he knew it was about to end.

He was a dead man walking.

This is one of the most pivotal moments in Walt Disney’s masterpiece, Mary Poppins. Not only that, but it’s one of the most important scenes in cinema history.

Ok…maybe not.

But it was a life changing moment for a young boy in Texas.

I’ll explain later. But first, let’s break down this scene.

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It’s a simple sequence. We follow Mr. Banks from Cherrytree Lane to the Fidelity Fiduciary Bank. He walks the barren streets alone. He passes many beautiful English Baroque matte paintings buildings on his way – including the St. Paul’s Cathedral that Mary Poppins mentioned in “Feed the Birds.” He eventually reaches the bank, which appropriately dwarfs him as he makes his way up its stairs.

And that’s it. It’s a short sequence; not even two and a half minutes. It could very easily be overlooked. After all, it’s just some shots of everyone’s least favorite character walking to work. But if you look deeper than its face value, it’s one of cinema’s most beautiful sequences.

To start, every element in this sequence is perfect. From the shot choices, to the familiar cue from “Feed the Birds” – that’s somehow both hopeful and foreboding – to David Tomlinson’s brilliant performance, conveying Mr. Banks’ despair without ever uttering a single syllable. The cinematography, score, writing, and acting all work harmoniously to convey the weight of what is about to happen.

The incredible thing about this sequence is how intimate it feels, despite its lack of intimacy. We can feel Mr. Banks’ despair by the environment around him. Nearly the entire sequence is shot in wide shots; there’s only one closeup (but what a closeup it is). And yet, it feels so intimate. The director relies on the other aforementioned elements of the scene to convey Mr. Banks’ emotion. He feels small, so we see wide shots of massive London buildings towering over him. He feels alone, so the camera is kept far away from him. His life feels dark, and he doesn’t know what lies ahead, so the scene takes place at night and is lit with blues and purples that magnificently compliment the night fog of London. This sequence is an incredible example to young filmmakers like myself that you don’t need to rely on closeups and emotional performances for an audience to feel what a character feels.

But the crowning achievement of this short, fourteen-shot sequence comes in its second shot. It’s a simple, static shot of Mr. Banks walking away from camera. He walks through the park where Bert does his pavement drawings – where Jane and Michael spent the day in one of his drawings. The park is empty and sparsely lit, and Mr. Banks walks toward a wall of fog on the other side.

The director chose to hold on Mr. Banks for fourteen seconds. On the surface, this may seem like an odd choice, as the only movement in the shot is Mr. Banks walking away from frame. It may seem this shot lacks emotion because we can’t see his face. In actuality, this is perhaps the most emotional shot in the entire film.

Mr. Banks’ future is one giant question mark. He has no idea what his future holds. In that vein, we, the audience, don’t know what lies on the other side of the fog – it’s too thick. But Mr. Banks has no choice but to press on to what lies on the other side. This, combined with the score and other cinematographic elements in the frame, make this simple, shot one of the greatest in cinema history.

But I’m biased. Because this shot changed my life.

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Art credit: Katie Leppke

I don’t remember how old I was when I first watched Mary Poppins. This movie has always been a part of my life. My mom absolutely (and rightly) adores this film, so she made sure to show it to me as early as possible. And I can’t ever thank her enough for it.

You see, before Mary Poppins, movies and TV were just pictures and sound to me. Like any young child, I was enamored by the colors, the sound, the visuals, etc. It kept me still so my mom could rest. 

But that all changed for me one day as I watched this beautiful scene from this beautiful movie. For the first time ever, I wasn’t just watching a movie; I was feeling it.

I could feel Mr. Banks’ pain. Being so young, I obviously couldn’t articulate everything I’ve written so far, but I always subconsciously knew and understood the weight of this scene and the beauty of that shot of him walking through the park.

From the moment I first saw that scene, I realized movies and TV were so much more than just something to binge after a long day. They didn’t have to require you to turn off your brain. They were something that could convey emotion and meaning to people. And my life has never been the same.

And that’s one of the reasons I decided to start this blog.

————

I’d be lying if I said my life has gone how I planned.

I’m 27, (hopelessly) single, and still trying to figure out my place in this world. I believe God has called me to work in television. I’ve always been drawn to the idea of being a showrunner. I’ve spent the last decade chasing that goal, but I’ve had very limited success so far.

That’s not to say I’m not working in TV. I just started a full-time position on a talk show. I love my job and the people I work with. I thank God for it constantly. But I still feel as if He’s called me to work as a showrunner on a scripted show.

Eventually.

At least, I hope. I’ve been hoping for the better part of a decade now. And the fact that I haven’t gotten anywhere close to that goal is frustrating.

As is life as a Christian. Promise, wait. Promise, wait.

The hardest part of letting the Holy Spirit lead you is the waiting. But that’s another blog for another time.

I bring all that up because I need a creative outlet. I need somewhere where I can get my thoughts on visual art out. And I need to force myself to be creative on a more regular basis.

(And I don’t have the experience/talent to create visual essays, so this was the next best option. Writing’s more my forté, anyway.)

You see, I used to practice screenwriting every afternoon. I did that for nearly two years, growing & honing my craft, & even beginning to find my voice. But through a series of circumstances I won’t go into here, I’ve fallen off the wagon. It’s been roughly 4 months since I last tried writing on a consistent basis. Hopefully, through this blog, I can strengthen that muscle again.

This isn’t easy for me. I am very insecure about expressing myself. Case in point, I’ve started and stopped writing this at least a dozen times. I’ve been meaning to start this blog for months. Part of that is procrastination; most of it is fear.

Now, I have no misconceptions of my analytical prowess. I’m not under any delusions that this blog will be anything groundbreaking. This is just a creative avenue for me to get my thoughts about film and television out. Nothing more. You may see my opinions as asinine or juvenile. And that’s okay. Absolutely no disrespect intended – this blog isn’t for you; it’s for me.

That’s why I need to do this. Whether ten people read this or ten thousand, I just need this outlet to express myself.

So how’s all this gonna work? If I’m being honest, I’m not really sure. I have some ideas, but nothing super concrete yet. (Except for a series I’m planning to do recapping the decade. Be on the lookout for that in January!) For right now, I’m planning to write about the movies and shows that mean the most to me or stir up something in me. Or both.

Most of my knowledge is in visual art (‘cause, ya know, that’s what I’m trained and educated in), but I’m not counting out talking about other topics, like music and religion. I care very much about those areas, and they each play an important part in my daily life. If y’all are willing to indulge someone who’s not an expert in those fields, you might see a blog here or there about them. But my main focus will be film and TV, what I think about them, and how my faith plays a roll in how I interpret them.

That’s the plan, anyway.

————

Whew. Ok.

I know that was a lot to digest. I don’t really have anything to add, so I guess that’s a good place to stop.

If you read all the way to the end, thank you. Truly. It really means a lot.

And if you didn’t, I’m not mad. Just disappointed.

lol jk (Did I use that right? Am I cool now?)

In all seriousness, I hope you’ll come on this journey with me. I don’t really know what it’s gonna look like or where it’ll take me, but I can’t wait to go on it with you.

HUGE thank you to my good friend Katie for the amazing artwork! She’s incredibly talented, & you should give her a follow on Instagram.

If you’re curious to see what I’m watching, follow me on Letterboxd.

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