This is what should be on a TV Studies degree curriculum

A swift jog through past the TV shows that laid the bedrock for the programmes we're enjoying today.

I am the beneficiary of a good university education. I studied journalism – a long ago time when we believed we could save print media. Now, we know we’re doomed but the skills and knowledge I picked up in those three years – shorthand, media law, how government and politics work, radio and TV editing – have held me in good stead in this brave new world.

So let’s turn that logic to a possible TV studies degree. What television shows of the past 10-15 years would we include in the curriculum? What would we consider utterly indispensable to understanding modern telly? What laid the foundations for the telly landscape of today? What is worth studying for clues on how to do it, or how not to?

The list below is entirely subjective and not at all exhaustive, and crucially, the shows listed are not flawless: they all have issues around racism and representation, and the treatment of women. But they also planted the seeds of whatever TV goodness we are reaping today. Are you sitting comfortably? Then we’ll begin.

Deadwood. On first look, this HBO series starring Timothy Olyphant and Ian “Lovejoy” McShane looked like worthy American drama: real “how the west was won” stuff. But then it slowly becomes something altogether more complex, with two amazing men at its centre: one an opportunist in the best (and worst) way; the other a principled, rigid man who falls and cannot forgive himself. Alongside their stories are smaller, less showy ones, urgently told, with a cast and direction that is basically flawless. Without Deadwood, there would be no Game of Thrones and no Justified, and how much poorer would we be for that?

Buffy the Vampire Slayer. Buffy is television and television is Buffy. It’s that simple. Every show that came after had a little Buffy Summers sprinkled on it. Iconic episodes such as “Hush”(where there are only 17 minutes of dialogue in a 44-minute show), and the gut-wrenching “The Body” (where Buffy discovers her mother, dead from a brain aneurysm, on the sofa) are as good as any television show has a right to be. It had season-long storytelling arcs, complex heroes to root for, villains to despise but understand, tricky pairings and truly high stakes (the end of the world, several times). Ten years after it ended, it’s still influencing telly. Every zippy pop-culture reference in Happy Endingshas some DNA from Buffy; and Teen Wolf, Fringe, The Vampire Diaries and so many more series owe it a huge debt.

State of Play. The TV version, not the Russell Crowe film. It’s hard to believe it’s been ten years since this was on. A Paul Abbott script and acting masterclasses from James McAvoy, John Simm, Kelly Macdonald and David Morrissey created a memorable BBC drama. Its impact can be seen in everything from The Shadow Line to Spooks (after series one) to the recently reimagined House of Cards, Hunted, and Scandal.

The Office. Whatever he has become in the years since his defining sitcom, Ricky Gervais invented one of the great television characters in David Brent.

This was human telly, cruel and funny and tender, with no laugh track to guide you. A properly influential programme, as evidenced by its many, disparate offspring: Parks and Recreation, Party Down, Armando Iannucci’s Veep, and its own US version, starring Steve Carell.

Sex and the City. It has become fashionable to call SATC vapid, dated and just plain silly. This is largely, I think, down to the two movies it spawned, although I will loudly and passionately defend the first of them with my dying breath.

But it bears repeating that the TV series succeeded in every way that it set out to do: it was a damn fine comedy, bold and often unflinching, unafraid of criticism, and crucially, it captured the zeitgeist. Girls is what it is because of SATC, as is Entourage, and any number of recent comedies.

The Wire. You knew this was coming? If you still haven’t watched it – why? Every small-screen, long-form narrative show of the past decade is a descendant of this, from Mad Men to Breaking Bad to Homeland to The Killing. To say The Wire is great is only a cliché because it’s true.

Every show that came after had a little Buffy Summers sprinkled on it.

Bim Adewunmi writes about race, feminism and popular culture. Her blog is  yorubagirldancing.com and you can find her on Twitter as @bimadew.

This article first appeared in the 15 July 2013 issue of the New Statesman, The New Machiavelli

Still from Being 17
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A guide to the top ten London Film Festival screenings you should go and see

Some of the most-celebrated films on at the 60th year of the BFI London Film Festival are sold out. Here are the ones that are still available – and worth seeing.

Feeling panicked because you haven’t booked any tickets yet for the 60th BFI London Film Festival, which is now less than two weeks away? Confused because you don’t know your Chi-Raq from your Paterson? Fed up that the movies you have heard good things about (La La Land, Toni Erdmann) are all sold out? Sick to the back teeth of being asked rhetorical questions which presume to know your state of mind?

Fear not. Below is a handy, whistle-stop guide to ten promising festival screenings for which, at the time of writing, there are still plentiful tickets to be had.

Being 17

Veteran director André Téchiné delivers what is rumoured to be one of his best films: a tantalising and exuberant tale of two teenage boys engaged in a mysterious mutual antagonism.

Elle

All hail the return of master provocateur Paul Verhoeven with this highly-regarded psychological thriller starring Isabelle Huppert as a woman whose response to being attacked is unorthodox and full-blooded.

Frantz

The mischievous writer-director Francois Ozon is always a good bet. I’ve heard two things from friends and colleagues about his new film, a wartime drama. First, that it’s brilliant. And second, that it is best watched without knowing anything about it beforehand—not even the name of the play on which it is loosely based. So I’m passing on those tidbits to you.

Heal the Living

Love Like Poison was a subtle and deeply affecting coming-of-age story set in rural France. Now that film’s director, Katell Quillévéré, returns with a drama about the emotional complications arising from organ donation.

King Cobra

A real-life murder case was the inspiration for this seamy but sensitive journey into the world of gay porn, in which a deadly tug-of-war ensues over a hot new teenage star. The cast includes James Franco, Christian Slater and Alicia Silverstone.

Mindhorn

Anyone who saw Mighty Boosh star Julian Barratt in Will Sharpe’s brilliant Channel 4 show Flowers earlier this year will know that he has developed new muscles as an actor. That bodes well for this comedy, which he also co-wrote, and in which he plays a washed-up actor recreating his best role – a detective with a robotic eye.

Moonlight

The acclaim from the Toronto Film Festival for this story of an African-American boy growing up gay in 1980s Miami has been deafening.

Personal Shopper

Kristen Stewart gave a revelatory performance as personal assistant to a lofty actor (Juliette Binoche) in Olivier Assayas’s Clouds of Sils Maria. Now she’s sticking with Assayas and keeping it personal by playing a shopper to the stars, with a supernatural element thrown in – she’s a medium hoping to make contact with her dead twin brother.

Raw

Universal Pictures has snapped up this bizarre-sounding French-Belgian drama about a teenage veterinary student turned cannibal.

The Reunion

I’ve heard only good things about this tender love story set in Madrid, with one colleague even describing it as a Spanish Before Sunrise. Praise doesn’t come much higher.

The BFI London Film Festival runs from 5-16 October.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.