Earlier this week, the /Film team wrote about their favorite TV episodes of all time. We then opened the floor to our readers: what is your favorite episode of television? And you let us know!
We have collected our favorite answers (edited for length and clarity) below. Next week’s question: what is your favorite movie gunfight? Send your (at least one paragraph, please) answer to slashfilmpitches@gmail.com!
Alias: “Truth Be Told”
Hands down, my favorite TV episode has to be the pilot of Alias, “Truth Be Told.” To my knowledge, it was the first network TV episode to air without commercials thanks to Nokia (shout out to the cherry red Nokia brick phone that Sydney so graciously showcases – ah, 2001). Which means this episode, with a runtime of 66 minutes, feels more like a movie than the foundational pilot episode of a show. From the opening scene, we’re dropped smack dab in the middle of Sydney Bristow’s world with zero explanation and only time jumps to help us figure out what’s really going on. Jam-packed with twists and turns at every corner, fight scenes that will knock your socks off (that chair flip anyone?) and editing that is to die for, it elegantly and perfectly sets up what would become one of the best spy/family dramas on television. Simply put, it’s everything a pilot episode should be. It also taught me a very important lesson: nothing good ever happens in parking garages.Jennifer Garner is the girl next door turned badass chick, in tandem. How she is able to convincingly portray both will forever be beyond me. (Side note: I think you could make a good argument that Alias was the catalyst for the badass chick movement of the 2000’s. Black Widow exists because of Sydney Bristow. There, I said it.) And let us not forget about baby Bradley Cooper. Oh baby, Bradley Cooper. If only we knew how famous you’d become. And of course, J.J. Abrams. What to even say about his genius? This was his first baby and it has his fingerprints all over it – I do believe this episode holds the very first “J.J. Abrams lens flare”. What J.J. Abrams envisioned as “Felicity as a spy,” would be the thing that jumpstarted his career. I’ve probably watched “Truth Be Told” close to 25 times and it still thrills me. I became a fan of J.J. Abrams on September 30, 2001 and he hasn’t let me down since. (Jessica Ross)
Better Call Saul: “Pimento”
Carnivale: “New Canaan, CA”
“New Canaan, CA” is the finale of Carnivale’s second season. It became the ex post facto series finale when HBO declined to renew the show. In it, the avatars of good and evil that circled each other for 23 episodes had their first and final showdown, the allegiances of their supporters were in flux around them and the fate of the world hung in the balance. Writer Daniel Knauf and director Scott Winant delivered TV that felt like a ride on an out of control Ferris wheel, but despite the episode’s pace, it allowed for powerful moments from nearly all of Carnivale’s outstanding ensemble. Clancy Brown’s Brother Justin is one of the most imposing villains in modern television. Michael J. Anderson is at his finest as Samson, giving Ben plain-spoken wisdom (“When it comes to livin’, dyin’ is the easy part.”). Clea DuVall’s performance as Sophie and her character’s betrayal of Tim DeKay’s lovable Jonesy are heartbreaking. The family dynamics and romantic relationships on display in the episode grounded the mystical, apocalyptic themes that promised to drive the series forward. It all ends with Ben’s survival uncertain, Sophie’s powers ascendant and her unholy union with Brother Justin apparently consummated. It is a perfect example of an episode that would make you lose an hour of sleep to see what happens next. Sadly, we’ll never get the chance. (Dennis P. Kisyk, Jr.)Community: “Introduction to Finality”
Dan Harmon’s Community has been hailed as a postmodern masterpiece. Throughout its six seasons, it consistently pushed the boundaries of broadcast television with its genre homages and meta-narratives. The show’s best episode, however, transcended its postmodern label and delved into what Abed Nadir himself once called “the post-postmodern world.”The postmodern worldview that informs Community is characterized by relativism and skepticism toward absolute truths. This is what defines Jeff’s character in the pilot when he tells John Oliver’s Professor Duncan, “either I’m God, or truth is relative.” But “Introduction to Finality’s” push toward post-postmodernism is summed up in the “Winger Speech” from the end of the episode: “Guys like me will tell you there’s no right or wrong, there’s no real truths. And as long as we all believe that, guys like me can never lose. Because the truth is, I’m lying when I say there is no truth. The truth is—the pathetically, stupidly, inconveniently obvious truth is—helping only ourselves is bad and helping each other is good.”
Harmon said he wrote this ending for Season 3 because he knew either the show or its creator would be axed before a fourth season (he was right, and it was the latter). But “Introduction to Finality” still stands as the best representation of what Community was all about—its heart. #sixseasonsandamovie indeed. (Jonathan Higdon)
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