What's Happening?
Ben Shapiro, Editor Emeritus of The Daily Wire and host of The Ben Shapiro Show, has publicly criticized The New York Times' recently published list of the 100 best television shows of the 21st century, calling it 'actively bad.' Shapiro expressed his
disapproval on his show, stating that many of the Times' top 10 selections do not deserve their high rankings, while other deserving shows were significantly undervalued. He specifically called 'Mad Men' one of the 'most overrated shows in the history of television' and dismissed 'Succession' as essentially a sitcom. Shapiro also questioned the inclusion of 'Fleabag,' 'Veep,' '30 Rock,' and 'Atlanta' in the Times' top tier. In response to his dissatisfaction, Shapiro presented his own list of top television shows, beginning with 'Band of Brothers' as the 'best thing that has ever been aired on TV.' He largely agreed with the Times' placement of 'Breaking Bad' and 'The Wire' in the top three but diverged significantly on other rankings, such as placing 'Chernobyl' at No. 4 (compared to the Times' No. 19) and 'Downton Abbey' at No. 9 (compared to the Times' No. 52).
Why It's Important?
This critique from a prominent conservative media personality like Ben Shapiro highlights the ongoing cultural discourse surrounding media consumption and critical evaluation. Shapiro's platform, The Daily Wire, and his daily podcast reach a significant audience, and his opinions on popular culture can influence how a segment of the public perceives mainstream media outlets and their critical assessments. The divergence in opinions on what constitutes 'best' television reflects broader ideological and aesthetic differences in cultural taste. For the entertainment industry, such public debates, especially from influential figures, can spark renewed interest in the discussed shows and potentially influence viewership or critical re-evaluation. It also underscores the subjective nature of 'best of' lists and how they can become points of contention, revealing underlying values and preferences of different audiences and critics. This discussion contributes to the broader conversation about media criticism and the role of cultural gatekeepers in shaping public opinion on artistic merit.
What's Next?
The public discourse around 'best of' lists in entertainment is likely to continue, with other media personalities and critics potentially offering their own counter-arguments or alternative rankings. Shapiro's list, which includes shows like 'Band of Brothers,' 'Chernobyl,' 'Game of Thrones' (with an asterisk for its final season), 'Severance,' 'Lost,' 'The Office,' 'Downton Abbey,' and 'The Shield,' will likely be discussed and debated by his audience and other media commentators. This could lead to increased viewership or re-evaluation of the shows he championed, particularly those he felt were unfairly ranked by The New York Times, such as 'The Bear' and 'Shogun.' The ongoing conversation will further illustrate the diverse perspectives on television quality and impact, potentially encouraging audiences to explore shows they might have overlooked based on different critical assessments. This type of cultural commentary often fuels engagement within fan communities and among general viewers.
Beyond the Headlines
Beyond the immediate debate over television show rankings, this event touches upon deeper implications regarding cultural authority and the fragmentation of media criticism. Traditionally, outlets like The New York Times held significant sway in shaping cultural narratives and critical consensus. However, with the rise of digital media and influential personalities like Ben Shapiro, the landscape of cultural authority has become more decentralized. Shapiro's direct challenge to a mainstream publication's list reflects a broader trend where alternative voices and platforms are increasingly asserting their own critical perspectives, often appealing to audiences who feel unrepresented by traditional media. This dynamic highlights the ongoing shift in how cultural value is determined and disseminated, moving from a centralized model to a more diverse and often ideologically driven one. It also underscores the power of individual commentators to influence public opinion and taste, potentially leading to a more varied and contested cultural canon.
