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Wednesday, Jan 13, 2010
by PopMatters Staff
by Emily Nussbaum
New York (4 December 2009)

“You could easily memorialize the aughts as the Decade of Reality TV, that wild baby genre conceived in some orgy of soap opera, documentary, game shows, and vaudeville—it was reality, after all, that upended the industry’s economic model and rewrote the nature of fame. Or you could mark this as the era of the legal procedural, or the age of Hulu and DVRs and TWOP. But for anyone who loves television, who adores it with the possessive and defensive eyes of a fan, this was most centrally and importantly the first decade when television became recognizable as art, great art: collectible and life-changing and transformative and lasting. As the sixties are to music and the seventies to movies, the aughts—which produced the best and worst shows in history—were to TV. It was a period of exhilarating craftsmanship and formal experimentation, accompanied by spurts of anxious grandiosity (for the first half of the decade, fans compared anything good to Dickens, Shakespeare, or Scorsese, because nothing so ambitious had existed in TV history).”


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