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Picking the Perfect Episode of TV

Picking the Perfect Episode of TV

Yahoo09-02-2025

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The following contains spoilers for some of the episodes mentioned.
Recently, I tasked seven Atlantic writers and editors with selecting a perfect episode of TV. What emerged was a list that spans genres, generations, and cultural sensibilities. Their recommendations, which include the Veep episode 'C**tgate' and a SpongeBob episode that examines 'the empty promise of the good life,' are proof that identifying good TV is, at its core, a gut instinct. A perfect episode must find a way to burrow itself in the viewer's mind, ready to be recalled in today's crowded field of television.
When I posed the same challenge to The Daily's readers earlier this week, I was met with enthusiasm and exasperation. 'This is an impossible question,' Eden wrote back. 'It's like asking for the perfect song, the perfect movie, or the perfect book.' That being said, 'I can think of five off the top of my head!'
Eden's list includes 'Forks' from The Bear, 'Through the Looking Glass' from Lost, 'The Suitcase' from Mad Men, and 'Long, Long Time' from The Last of Us. And that doesn't even cover 'Friday Night Lights, or The Wire, or Insecure, or Derry Girls, or The Sopranos, or The Wonder Years, or My Brilliant Friend, or Curb Your Enthusiasm,' Eden added. I can sympathize—the breadth of options is dizzying.
Maybe some criteria would help. Our culture writer Sophie Gilbert wrote that 'the thing I love most is when a television series tells a complete story in miniature—a stand-alone short that puts a particular dynamic or relationship or cast member front and center.' Radio Atlantic's podcast host, Hanna Rosin, argued that, 'unlike a perfect movie, a perfect episode of television does not need to surprise you or make you cry. It just needs to move your beloved or loathed characters through the formula in an especially excellent way.' And Suzanne, 59, offered her own formula: 'The script must be: (1) tense or funny; (2) warm and loving to the viewers, performers, and crew; and (3) move the overall story forward.'
Of course, the benchmarks for what makes an episode perfect are as subjective and varied as viewers' selections. But a thorough analysis of The Daily's reader responses has uncovered some patterns. At least five people named a West Wing episode: Two readers nominated 'Two Cathedrals,' which shows 'the effects of death on time,' wrote David, from Chicago; L. Hawkins, 70, recommends 'Noel,' adding that viewers should 'listen for the sirens as the episode fades out.'
'Long, Long Time' from The Last of Us was mentioned by both Eden and Bob—it offers 'a lesson that love may find you at any time, any place, and under the most unexpected circumstances,' Bob wrote. Two readers agreed with Atlantic film critic David Sims, who insisted in our recent roundup that 'the richest cache [of perfect episodes] to search is the 'case of the week' entries of The X-Files.' Lisa, 47, wrote that she was thrilled to see 'Clyde Bruckman's Final Repose' in our list (she also recommends the series finale of Derry Girls).
Other readers highlighted examples of good comedy. In only 22 minutes, 'Remedial Chaos Theory' from Community 'tells seven different stories, with each timeline building on the last,' E.F., 46, wrote. 'The Ski Lodge' from Frasier stands out to Bruce, 52, who said that the episode is 'riddled with quotable laugh-out-loud lines.' And L.M., 61, laughed until she cried watching a loopy Steve Martin in Only Murders in the Building's 'Open and Shut.'
For some, a perfect episode tells a story that reverberates throughout their life. Sharon, from California, wrote about an episode she remembers watching on Hallmark Hall of Fame, which follows a grief-stricken child who reads a story about magical silver shoes. To his astonishment, he finds skates that look identical, which he puts on to go skating in hopes of bringing back his dead parent. 'As life went on and I became the mother of a child who lost his father in childhood, I've recalled the episode more than once,' Sharon wrote. 'Now, at 80 years old, it still breaks my heart.'
Related:
Eight perfect episodes of TV
The 13 best TV shows of 2024
Here are three Sunday reads from The Atlantic:
The oligarchs who came to regret supporting Hitler
The last days of American orange juice
America's 'marriage material' shortage
The Week Ahead
Captain America: Brave New World, a Marvel action movie starring Anthony Mackie and Harrison Ford (in theaters Friday)
Season 3 of Yellowjackets, a thriller series about a girls' soccer team whose plane crash-lands in the wilderness (premieres on Paramount+ Friday)
Beartooth, a novel by Callan Wink about two brothers near Yellowstone who agree to commit a heist to settle their debts (out Tuesday)
Essay
ADHD's Sobering Life-Expectancy Numbers
By Yasmin Tayag
When I was unexpectedly diagnosed with ADHD last year, it turned my entire identity upside down. At 37, I'd tamed my restlessness and fiery temper, my obsessive reorganization of my mental to-do list, and my tendency to write and rewrite the same sentence for hours. Being this way was exhausting, but that was just who I was, or so I thought. My diagnosis reframed these quirks as symptoms of illness—importantly, ones that could be managed. Treatment corralled my racing thoughts in a way that I'd never before experienced.
Read the full article.
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Photo Album
Take a look at these photos of Maha Kumbh Mela, a religious festival in India that's also the largest gathering in the world.
P.S.
I realize it'd be a bit unfair to make everybody else share their perfect episode without naming mine: the series finale of Fleabag. There are many good things I can point out about this episode—Claire's mad dash to happiness, Fleabag's final confession, the Alabama Shakes song that plays over the show's last moments. But above all else, it moved me, reminding me that love can outlast the person who prompted it.
— Stephanie
When you buy a book using a link in this newsletter, we receive a commission. Thank you for supporting The Atlantic.
Article originally published at The Atlantic

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The soul of The Last of Us is in Gustavo Santaolalla's music
The soul of The Last of Us is in Gustavo Santaolalla's music

The Verge

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The soul of The Last of Us is in Gustavo Santaolalla's music

When fans nervously tuned in to watch HBO's adaptation of one of their favorite video games, there was one familiar presence that immediately calmed their nerves: the mournful guitar of Gustavo Santaolalla. As certain story beats changed and beloved polygonal faces were replaced with new actors, the beating heart of The Last of Us — its mesmerizing, tension-ridden score — survived the transition to TV intact. '[Series creator] Neil Druckmann has said that my music is part of the DNA of The Last of Us,' Santaolalla says. 'I think the fact that we kept the sonic fabric — that we didn't do an orchestral score for the series — has been instrumental in keeping those fans of the games fans of the series, too.' Born and raised in Buenos Aires, Santaolalla first started releasing music when he was 17. Loving both English rock bands and the traditional Argentine folk music that he was raised on, Santaolalla melded both into his own unique sound, part of a genre called rock nacional. Before he could fully make his mark, Santaolalla's family fled the Argentine junta dictatorship in 1978, moving to Los Angeles, where his unique sound soon caught the attention of filmmakers. Snapped up to score the 2000 film Amores Perros and 2003's 21 Grams, their success led to Santaolalla composing the soundtracks for Brokeback Mountain and Babe l, both of which won him Oscars. Santaolla's sonic secret? Embracing the eloquence of silence. 'I work so much with silence and space, because silences sometimes can be louder than a note that you're playing,' says Santaolalla. 'I remember on Brokeback Mountain when I first sent them the music, the producer said 'I thought you were pulling my leg at first, because you wait so long to play the next note!'' 'Silences sometimes can be louder than a note that you're playing.' After winning two Oscars back to back, Santaolalla carefully considered his next career move. Despite being a self-professed 'terrible gamer' Santaolalla tells me he always loved watching his son play, mesmerized by the on-screen kineticism. 'I always thought that if somebody connects this at an emotional level with a player, it's going to be a revolution.' It turns out, the universe had picked up on Santaolalla's newest interest. Post-Oscars, he was approached by several game companies to do music, but turned them down because 'I'm very picky about the work that I do.' That includes a lucrative gaming project that he is careful not to name. 'Everyone thought I was crazy!' he chuckles. Still, Santaolalla quietly hoped that a more emotionally-resonant project would materialize. 'So, I waited… and then Neil appeared,' Santaolalla says. 'When Neil told his colleagues that he wanted me to do this, [his colleagues ] said, No, Gustavo is not going to be interested — he won two Oscars! But when Neil [told me] the story, and that he wanted to do a game that connects with people on an emotional level… I was sold. What even Neil Druckmann wasn't prepared for, however, was that Gustavo's music would become just as crucial a presence as Ellie and Joel. In a post apocalyptic world where life is scarce and danger lurks around every corner, silence hangs in the air like a threat. Santaolalla's scuffed notes, discordant melodies and screeching fret slides reverberate across the dilapidated city streets, feeling as unpredictable as the world Ellie and Joel inhabit. 'I love the use of imperfections, even errors or mistakes.' 'I love the use of imperfections, even errors or mistakes,' Santaolalla explains. 'Any professional guitar player when they're recording tend to avoid all kinds of noises; when you run your hand on the fretboard or little glitches in your playing. But sometimes, I'll push those in my mix, and I think that humanizes it. That's why many people have said that my music becomes like a character — a presence. It's why I play things myself.' In the second game, Gustavo's music becomes a physical part of the fiction, with Ellie carrying a guitar throughout her quest for vengeance. She takes out the instrument during welcome moments of downtime, offering cathartic respite. And just like Gustavo's score, these beautiful vignettes break up the harrowing silence, which carries through in the second season of the show. 'I love the TV series too,' says Santaolalla. ' For the show, Neil associated himself with another incredible talent, Craig Mazin — the guy that did Chernobyl — who knows that media and that language. I think it was a big, big challenge, because when you go from one media to another one, people say no, I like the original better! So, I think, once again, that the way we have used the music has been instrumental to keep that fan base attached.' He adds that 'I think that when a story is really great, like a theatrical piece — like Shakespeare — it doesn't matter who plays the character. Obviously Pedro Pascal's Joel is different than the Joel from the game, but the substance of the character is so powerful that those things are just superficial. They could have done this as a series, as a feature film, as a puppet theatre piece, or an animation and it will still land regardless — because it's just great writing.' Now as Santaolalla finds himself releasing his very own instrument — the Guitarocko — it feels like the culmination of the musical journey he started as a teen. Melding the traditional Bolivian 10 stringed ronroco with the form factor of a Fender Stratocaster, Gustavo feels a father-like pride for his musical creation: the 73-year-old is invigorated by what The Last Of Us has given him at this stage in his career. 'I've been blessed with the fact that I have connected with an audience since I was very young,' he says. 'But the way I connect with the fans of The Last of Us and the way they connect with the music… here's a special devotion that is really beautiful. I have this new audience which is fantastic, and I love that they didn't know me as an artist or as a film composer! Now they look for my music, and they discover these things. It's been a gift for me, at this point — after everything that I've been through — to be involved with a project like this.'

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