frozenhawk44 said:Back when I first watched it in the mid-90s, it was my absolute favorite, much like when it was being rerun back in 2002. Watching it again now, it has moved beyond just being a favorite; I truly appreciate it on a deeper level.
With everything going on in the world today, watching this feels almost like therapy.
I’m right there with you—I remember catching it during elementary school when it first aired and being hooked instantly, though I was far too young at the time to fully grasp its depth or appreciate it properly. It has always been one of my favorites, but after my third viewing, I can confidently say it’s my all-time favorite because it is simply peerless.
It is intelligent, treating its characters as real human beings with genuine flaws and virtues rather than tropes, and it resists every tired cliché. It manages to be utterly engaging without relying on frantic big-city pacing, gratuitous violence, excessive melodrama, or the hyper-sexualization that seems to be a prerequisite for television production these days. The show is fundamentally human and warm; it offers hope while tackling serious themes and heavy emotions, yet it never descends into cheap sentimentality. It really does serve as a sort of therapy.
My only real gripe is the sixth season; once Fleischman leaves, the magic starts to fade significantly. I also find it a shame that Maggie and Joel's story didn't reach a happy conclusion. Wouldn't it have been better to leave their ending more open-ended, letting us decide for ourselves if they eventually found happiness together? Forcing her together with Chris at the end felt incredibly contrived, as if the writers were just worried about leaving her alone—it felt like a lazy way to wrap up the finale.
I did a little reading on the production, and honestly, the first three seasons are perfection, whereas the fourth starts to slip (largely due to the inclusion of the tedious Mike for nearly ten episodes, which felt out of place in a series filled with such rich, multi-dimensional characters). The fifth season is okay, but the sixth left me disappointed. After the fourth season, the creators, brand and Falsey, moved on, and David Chase took over for the fifth and sixth seasons—though he never quite seemed to settle in and appeared quite eager to wrap things up. Rob Morrow left partly to pursue a film career, but also due to frustration; his character never progressed beyond that same gritty persona pining for New York City, and apparently, his creative suggestions weren't being heard. It’s a somewhat complex backstory, to say the least.
Despite all that, this remains a masterpiece, and it will be incredibly difficult to produce something this good ever again, let alone surpass it.