There were a lot of noteworthy bad decisions written for television in 2019, often with cringeworthy interviews that followed that doubled-down on the poor choices. But sometimes, writers got it exactly right. They gave us moments that reassured us, surprised us, spoke to important societal topics, and made us feel. They were the ones that understood their characters and the contexts in which they operate and created worlds we wanted to be a part of. They gave us something to aim for as we make the world around us a more compassionate and inclusive place. They valued relationships and emotional history. They were the moments that reminded me why I love television even when it’s frustrating me.
1. Jaime knights Brienne (Game of Thrones) This moment, even more than their sex scene, is the culmination of five seasons worth of character and relationship development. It is everything Brienne has secretly wanted for so long yet it felt outside of her grasp because of her gender. Until Jaime (thanks to a good idea from Tormund) decides to change it. There was no way for this scene to be any more meaningful. It needed to be Jaime that gives this to her. He has seen very clearly who she is for the past 5 seasons and been grateful for and humbled by her sense of honor and duty. It’s her firm belief in the vows of knighthood that reminded him of his own and called him to fight for Winterfell and humanity. It’s a moment that only Nikolaj and Gwen could have made together. Their love for these characters and their ability to have full conversations with nothing more than a look were absolutely essential. There is love and admiration and gratitude and the terrifying and healing nature of being so clearly seen. I love how thrilled everyone else in the room is for Brienne (especially Pod) but it’s evident how much they all faded away during the actual knighting. It was Jaime’s declaration of love and something that needed to be said on what they thought could well be their last night alive. For one moment, Brienne of Tarth got everything she wanted. She got the honor of being called a knight and a man who genuinely cared for her as the extraordinary woman that she is and she deserved nothing less.
2. Aziraphale and Crowley Through Time (Good Omens) TV shows spend time on what matters and too often, that’s used as an excuse to forego character moments in favor of plot. But that character and relationship building matters, it’s why viewers care about what happens. The episode three cold open told us what Good Omens valued. They spent half an episode (about 8% of the total show runtime) dedicated to Aziraphale and Crowley’s incredibly slow courtship. The bond and trust between them and shared appreciation (or at least lack of disdain) for humanity is vital to understanding why they make the choices they do in the following 3.5 episodes of the show. It is an utterly delightful half hour as we fast forward through history including the Flood and a production of a struggling Hamlet and watch these two settle into their roles as something approximating allies and friends. We see the moment that Aziraphale realizes that he’s a little in love with Crowley, not after he rescued Aziraphale from the Nazis but when he saved the books from the ensuing bombing, and the moment where it all gets to be too much with Michael Sheen’s devastating line reading of “You go too fast for me, Crowley”. These actors are fantastic together and by the end, we’re rooting for them to succeed in their mission to avert the apocalypse and settle down together. That is the whole point of that cold open and it’s perfect.
3. Queer Gatekeeping (Vida) I wish that this scene was available somewhere as a clip but in lieu of that, each word is link to a different tumblr gifset and that will have to do. Before we get to the content and why it’s remarkable, I want to take a moment to point out how gorgeous the lighting in this scene is. Their designer did a terrific job fitting the mood of a wedding but also making everyone look incredible. I absolutely adore Emma’s righteous indignation at yet another group of people trying to police her identity and her expression of it and Nico’s use of sarcasm to rebut all the ridiculous gatekeeping present in this scene. It’s cathartic for anyone who has ever been worried that they’re somehow not queer enough because they don’t tick certain boxes or for anyone who has been explicitly excluded from a community in which they’d hoped to find acceptance based on appearances or snap judgements. It’s an incredible scene and I so appreciate the writers for very clearly pushing back against that sort of judgement and policing.
4. Jimmy’s non-vows (You’re the Worst) I cannot thank Stephen Falk enough for this moment. Nothing about Jimmy and Gretchen’s relationship has ever been conventional. In their words, it’s “ugly and uncomfortable and haunting and brilliant and thrilling”. But it’s theirs and its what’s right for them as people in this moment of time. Their happy ending isn’t necessarily a wedding and kids and promises to be together forever. Instead, Jimmy promises to love Gretchen and commit to being with her every day until they decide otherwise. It doesn’t require long-term commitment on either of their parts but does ask them choose each other over and over again. And that is perhaps one of the most romantic things I’ve seen a show do. Gretchen has never been convinced that she’ll be anyone’s choice nor has she believed she should be. As she mentions prior to this moment, she can’t promise Jimmy forever when she’s not convinced she can promise herself forever. But they can give each other one day at a time. They get an ending that feels right to them, not only to honor the characters and the journey they’ve been through over five seasons but also to honor the attachment the show has cultivated to them. Falk never ended to pull the rug out from under them and have them end up alone and miserable because it felt cruel to the audience and in a year where that seemed all too common because of “clever writing” or “realism”, I appreciated it more than ever.