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The series focused on the fictional LGT network and network president Rob Malone’s (Brian Kerwin) efforts to increase its flagging ratings. Perhaps this short-lived series-it ran just two seasons from 1999-2000-was ahead of its time. Stars: Brian Kerwin, Charlotte Ross, Tuc Watkins, Sherri Saum, Keegan Connor Tracy and Christina Henricks Roxanne SanctoĬreators: Peter Lefcourt and Brandon Tartikoff I mean, he’s probably left booby-traps up there like the Vietcong”-worth tuning in for. But even as Californication came to an unsatisfying end after seven seasons, each episode had at least one character and a killer one-liner-Marcy: “I don’t want to go where Hank’s been. It was one of many shows that long outstayed its welcome, with Moody’s usual antics growing increasingly tiresome and repetitive, and the on-off relationship between him and Karen soon lost its depth. Continuously finding himself intoxicated and “knee deep in a river of pussy,” he self-sabotages his chances of ever snapping out of the writer’s block holding him hostage, let alone experiencing a harmonious family life.Ĭalifornication may have been clichéd in its depiction of a boozing, womanizing writer with a rock’n’roll lifestyle, but in delving deeper into the complexities of Moody’s character, and those of his chaotic friends, Charlie (Evan Handler) and Marcy (Pam Adlon), the series offered brilliant character work and a great deal of rowdy and biting comedy up until about Season Three. Hank Moody (David Duchnovy), the tortured writer and protagonist of Californication is “so desperate to feel something… anything” that he jeopardizes his relationships with the two people in his life that actually mean something to him, in constant search of his next (literary) high: his baby mama, Karen (Natascha McElhone), and his daughter, Becca (Madeleine Martin). Stars: David Duchovny, Pamela Adlon, Natascha McElhone, Evan Handler Here are Paste’s picks for the 25 best Showtime series of all time: 25. (We can argue about whether The Return is really a continuation, or actually its own thing, or in fact an 18-hour movie, another time.) One note: We restricted the following to fictional series (sorry, not sorry, The Circus) and excluded programs that continued on Showtime after originating on other networks-so, adaptations of British series such as Queer as Folk and Shameless were fair game, but you won’t find The Paper Chase, which debuted on CBS, or Twin Peaks, which began on ABC. The network’s more recent output has tended toward inconsistent dramas and quirky comedies, but against their flaws, series such as Homeland, Dexter, Shameless and Nurse Jackie have produced innumerable memorable moments, and suggest that Showtime retains the appetite for artistic risk-taking that’s defined it all along.
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In particular, the Showtime of yore found space for gay and lesbian perspectives ( Queer as Folk, The L Word, dramas focused on black and Latino families ( Soul Food, Resurrection Blvd.) and women-centered comedies ( Rude Awakening) that count as pioneers in the call for TV to represent the full spectrum of society.
Showtime’s best series may not hold a candle to HBO’s, which ushered in and sustained the so-called Golden Age of Television, but the premium cable channel has developed a house style all its own.
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