The Best TV Shows of 2024 (So Far)

As a longtime fan of reality TV and someone who has watched their fair share of competition shows, I was initially skeptical when I heard that The Traitors was abandoning its original format. Having grown accustomed to the thrill of rooting for the underdog normies against the manipulative and often unscrupulous reality stars, I couldn’t imagine how the show would keep me engaged without this dynamic.

This list is updated monthly with new “best of the year” worthy titles.

The long-term effects of the 2023 Hollywood strikes on the industry are uncertain, but for now, TV is experiencing a post-strike slump. Last year’s production disruptions have led to a slow start for TV shows this year, with networks and streamers relying on previously completed or international content. However, the decrease in new shows doesn’t mean the quality has gone down – there’s still a good ratio of excellent TV among them. We might not reach the previous peak levels of TV again, but as proven by shows like “Girls5eva,” there are still enjoyable experiences to be had during this transition period. Here are some shows we’re looking forward to in 2024 that are helping us navigate TV’s new phase.

As a television enthusiast who has been following the industry for years, I’ve noticed that there are always great shows that get released after the “Best of the Year” lists have already been published. It can be disappointing to miss out on these gems simply because they premiered too late in the year.

The Decameron (Netflix)

It might be more enjoyable to approach “The Decameron” without prior knowledge of its 14th-century Italian roots, a collection of short stories where the characters hide from the bubonic plague in a villa and share stories to amuse themselves. If you’re looking for self-contained tales with rotating narrators, “The Decameron” could fall short due to its interconnected plotlines, internal conflicts among the group, and themes of social unrest. (It’s also worth mentioning that the show’s pacing could benefit from improvement across its eight episodes.) However, in this adaptation, “The Decameron” becomes an entertaining ensemble piece reminiscent of shows like “Miracle Workers,” “The Little Hours,” and others that blend together bawdy humor, wealth disparity commentary, and a quirky, anachronistic atmosphere. The show focuses on the power struggles between the nobles and servants over a stunning countryside villa; the devastating impact of the Black Plague has fueled doubts among the commoners about the existing order, caused religious reevaluations, and made the rich even more determined to safeguard their wealth. It’s a volatile mix of dramatic tension, and it boasts standout performances from Saoirse-Monica Jackson of “Derry Girls” and Tony Hale of “Veep.”

Check out Kathryn VanArendonk’s review of “The Decameron” and an interview conducted by Shannon Keating featuring the show’s lead actress, Saoirse-Monica Jackson.

My Lady Jane (Prime)

In an intriguing twist of history, “My Lady Jane” presents a captivating alternate timeline where Lady Jane Grey (Emily Bader) escapes execution and delves into court politics and romance instead. While the chaos around her intensifies with Edward VI (Jordan Peters) constantly at risk and Lady Frances (Anna Chancellor) masterminding schemes, the real surprise lies beneath the surface: shapeshifters!

Presumed Innocent (Apple TV+)

David E. Kelley’s shows have faced some challenges over the past decade. For every success like “Big Little Lies,” there are several average titles such as “Nine Perfect Strangers,” “The Lincoln Lawyer,” and “Love & Death.” And then there are those that leave us puzzled, like “Anatomy of a Scandal” and “A Man in Full.”

I’ve had the pleasure of delving into some intriguing analyses of “Presumed Innocent” recently. Rafaela Bassili’s recaps were particularly captivating, drawing me in with her vivid storytelling and insightful commentary. Her unique perspective added depth to my understanding of the novel.

Fantasmas (HBO, Max)

In simpler terms, the comedy series “Julio Torres’ Sketch Show” offers a peek into the eccentric and humorous world of its creator, writer, director, and star. With a background in writing for SNL and producing shows like “Los Espookys” and “Problemista,” it comes as no surprise that Torres’ mind is filled with offbeat, imaginative, and downright strange concepts. Each episode explores a new absurd sketch, such as a satire of the ’80s sitcom ALF featuring an affair between the father and the alien, or a depiction of wild nights at Fufu’s, a miniature nightclub for hamsters. The show invites viewers to let go of logic and simply enjoy the ride as Torres leads us on a quest to find a lost earring.

The Acolyte (Disney+)

Disney+’s introduction of the “Star Wars” franchise into television has brought a diverse experience for viewers. While we’ve been captivated by Baby Yoda, or as Disney might prefer, Grogu, and the gripping political drama of “Andor,” most TV productions have leaned towards the familiar, resulting in fan service that has diminishing returns for some.

Instead of reading Noel Murray’s recaps of The Acolyte, check out his summaries. Also, don’t miss Roxana Hadadi’s chat with star Manny Jacinto, and Jackson McHenry’s conversation with series creator Leslye Headland.

Couples Therapy, season four (Paramount+ with Showtime)

In every season of “Couples Therapy,” the show shines with unique charm and intrigue. However, each installment offers distinct attractions and challenges. This year’s fourth season is a testament to the series reaching its peak: The couples (including a throuple) are captivating and thought-provoking characters. Dr. Orna continues to mesmerize us with her magnetic presence. Yet, what truly sets this season apart is the skillful handling of story arcs, character development, and emotional moments by the showrunners and editors. They masterfully transform countless hours of footage into succinct scenes, retaining the nuance of complex interpersonal dynamics without oversimplifying them. Season four achieves this feat more effectively than any other time in the show’s history.

We Are Lady Parts, season two (Peacock)

In the second season of “We Are Lady Parts,” by Nida Manzoor, the members of the all-Muslim, all-girl punk band face uncertainty about their authenticity and what it means for them individually and as a group. They question if they’re being true to themselves, creative enough, or honest enough. This self-doubt creates a new tone that differs from the first season’s empowerment message. However, this introspective approach allows the series to delve deeper into themes of identity.

➽ Read Roxana Hadadi’s interview with creator and director Nida Manzoor.

Evil, season four (Paramount+)

It’s unfortunate beyond belief that “Evil” is coming to an end with its current season, just as more and more viewers are discovering it on Netflix. The shame lies in the fact that this show, which continues to be as disturbing, amusing, thought-provoking, and gripping as ever, is wrapping up. In its final four episodes, creators Robert and Michelle King and their team have cooked up some truly bizarre storylines. These include demonic pigs, AI warnings, women dealing with a literal glass ceiling at work, and the arrival of the Antichrist. Despite its outlandishness, “Evil” keeps things real with exceptional acting from its cast and thoughtful exploration of the battle between reason and faith. There isn’t another series on television that pushes boundaries as fearlessly as “Evil.” Believe me, I’ll be heartbroken to see it go. —J.C. (Paraphrased)

I’ve had the pleasure of delving into some fascinating media lately! If you’re a fan of the show “Evil,” I cannot recommend enough checking out Maggie Fremont’s recaps of its fourth season. Her insights and analysis are engaging, making each episode come alive in a new way. And if that wasn’t enough, Jen Chaney’s interview with Christine Lahti is an absolute must-read for anyone interested in the actress’s life experience and her approach to her role on the show. Lahti shares stories from her career and behind-the-scenes tidbits that truly add depth to her portrayal of Kristen Bouchard. These articles are a treat for both casual viewers and dedicated fans alike!

Interview With the Vampire, season two (AMC, AMC+)

The captivating, surreal, and blood-drenched TV series “Interview With a Vampire” (IWTV) outshines any other show with its intrigue. In the second installment, the troubled trio of vampires – Louis (Jacob Anderson), Armand (Assad Zaman), and Lestat (Sam Reid, predominantly appearing in flashbacks due to Louis’ attempt to kill him at the end of season one) – find themselves amidst early 20th century Parisian theater, while grappling with the burdens of immortality and addressing their deep-seated animosities towards each other. IWTV offers extravagant visuals, and the Theâtre des Vampires is a stage for remarkable debauchery. However, beneath this grandeur lies the emotional heart: portrayals of outsiders seeking acceptance in a hostile environment; vampires as symbolic representations of queer identity; and dealing with an ex who remains ever-present within one’s thoughts. The interviewer, Eric Bogosian, adds a dry wit to the narrative, while Delainey Hayles, taking over from Bailey Bass as the young vampire Claudia, delivers the most poignant character development.

I’ve had the pleasure of immersing myself in the captivating world of “The Queen’s Gambit” recently, and I can’t help but share my excitement about this remarkable series. If you’re yet to explore its depths, let me guide you through some engaging content that will leave you yearning for more.

John Mulaney Presents: Everybody’s in L.A. (Netflix)

An Unconventional Talk Show Experience: John Mulaney’s “Everybody’s in L.A.”

Check out the insights shared by The Vulture team on John Mulanery’s show “John Mulaney Presents: Everybody’s in L.A.”. In her article, Bethy Squires discusses the five valuable lessons late night television can draw from this talk show. Meanwhile, Josef Adalian explores the implications of the show’s success for Netflix.

Hacks, season three (Max)

The Hacks series shines most when focusing on the intriguing dynamic between Deborah Vance (Jean Smart), a veteran stand-up comedian, and Ava Daniels (Hannah Einbinder), an emerging writer. Critic Nicholas Quah points out that the show is less effective when trying to depict the actual comedy they generate. Fortunately, season three delves deeper into their relationship, resulting in a captivating television experience filled with new tension and insight.

Check out Jessica M. Goldstein’s reviews of the third season of Hacks, and learn from Nick Quah’s perspective on why this comedy shines more as a drama.

Conan O’Brien Must Go (Max)

In each episode of this travel show where Conan O’Brien gets to be his quirky self across various continents, filmmaker Werner Herzog begins with an intentional provocative statement: “Sometimes, to fully grasp the breathtaking magnificence of our planet, we must desecrate it. Witness: the desecrator.”

➽ Read Jen Chaney’s full review of Conan O’Brien Must Go.

Under the Bridge (Hulu)

Yes, there is too much true crime, and yes, the genre too often relies on the violence inflicted on women and girls as entertainment. Under the Bridge creator and co-writer Quinn Shephard is aware of both these liabilities and of how easy it would be for the miniseries to dehumanize its central victim, Reena Virk, and to overly dramatize the events surrounding her death. To counteract expectations, Under the Bridge tackles them head on, experimenting with episodic form to give Reena (Vritika Gupta) her own fourth-wall-breaking voice; creating a cop character (Lily Gladstone) whose own First Nations heritage gives her a nuanced, complicated perspective on Reena’s life; and placing author Rebecca Godfrey (Riley Keough), whose same-named book inspired the miniseries, into the narrative to consider how media coverage helps reinforce certain stereotypes and prejudices. What those deliberate choices do is push Under the Bridge from a by-the-numbers recitation of a crime to an exploration of the many contradictory aspects of the feeling of belonging. Under the Bridge is captivated by the impacts of loneliness and loss and what they do to the relationships between a parent and a child, two friends grown apart, and lovers unsure of each other’s loyalties, and its collection of fantastic performances gives the series’ abstract concepts devastating life. —Roxana Hadadi

➽ Read Erin Qualey’s recaps of Under the Bridge.

Ripley (Netflix)

The story of Tom Ripley, a deceitful and murderous character introduced in Patricia Highsmith’s novel “The Talented Mr. Ripley,” has been retold multiple times for stage and screen, with notable adaptations including Anthony Minghella’s 1999 film. The current television series, written and directed by Steven Zaillian, offers a unique and captivating take on the story. Filmed in stunning black-and-white, “Ripley” explores the grisly details of Ripley’s misdeeds, something that can’t be fully achieved in a two-hour film. Andrew Scott delivers a chilling performance as Ripley, who doesn’t just kill people but also goes to great lengths to hide his crimes. Through Zaillian’s meticulous direction, we witness these efforts in painstaking detail. Ultimately, this series highlights the ease with which a wealthy, charming white man can manipulate others.

I’ve recently come across a fascinating new drama series called Ripley. To fully understand and appreciate this captivating production, I recommend reading Roxana Hadadi’s insightful review in The A.V. Club. Her analysis offers a deep dive into the show’s themes, characters, and storyline, which is essential for any viewer looking to engage with the series on a deeper level.

3 Body Problem (Netflix)

Although it has some flaws, “3 Body Problem” on Netflix manages to achieve a level of quality that many recent dramas have failed to attempt. The production boasts a unique and striking sense of size and visual effects. The adaptation of its source material is handled with assurance, maintaining the ominous feeling and intellectual aspects of the alien invasion storyline. New characters are introduced to provide a relatable anchor for the narrative. At times, it veers into cheesiness, particularly in portraying the emotional toll on young scientists, but this isn’t necessarily a drawback. The emotions are vivid and powerful, helping the series rise above subpar acting performances.

Check out Kathryn VanArendonk’s comprehensive review of “3 Body Problem” by Ben Rosenstock, as well as Rosenstock’s recaps and Roxana Hadadi’s insightful take on the novel’s conclusion.

X-Men ’97 (Disney+)

As I sat down to watch the latest installment of X-Men ’97, I was instantly transported back in time by the familiar themes and characters. The first few episodes brought back fond memories of the original series from the ’90s, with Gambit’s abs on full display, Magneto’s disdain for humanity reaching new heights, and Jean Grey’s troubled past with the Phoenix Force.

Check out Roxana Hadadi’s analysis of the nostalgic elements in X-Men ’97’s first episodes, as well as her insightful take on how X-Men is connected to the Avengers.

Girls5eva (Netflix)

In its transition from Peacock to Netflix, the quirky comedy “Girls5eva” has been given a fresh opportunity to tell the story of a ’90s girl group aiming for a comeback. As they strive for a second shot at fame, this series finds a new home on a popular streaming platform. The third season showcases the exceptional acting skills of its lead actresses – Sara Bareilles, Paula Pell, Busy Philipps, and Renée Elise Goldsberry (as Wickie Roy, the most divalicious diva ever). The writing team, led by creator Meredith Scardino, delivers a mix of current references, such as Netflix-themed jokes and a Girls5eva country song tailored for “Cowboy Carter,” and delightfully obscure ones, referencing “Andy Capp” comic strips and the 2004 Jessica Simpson and Jewel incident. With its quick, diverse, and unrelenting humor, this show keeps viewers laughing non-stop. Don’t miss a beat – use pause or rewind to catch every absurd gag in this riotously funny series.

Check out Maggie Fremont’s recap of Girls5eva’s third season in her article, and don’t miss Hadadi’s analysis of the series’ most disturbing moment.

Extraordinary (Hulu)

The first part of this British comedy series set in a fictional East London where people receive unique powers at 18, was good. In the second season, Jen, portrayed by Máiréad Tyers, who is still waiting for her power to manifest, shines. Creator Emma Moran builds the universe more intricately, introducing whimsical elements like a shrinking restaurant called Little Italy, evoking Charlie Kaufman’s style. Extraordinary, though fantastical in nature, maintains a dry wit and focuses on real-life issues such as breakups, family conflicts, and grief, making it both unusual yet understandable. —J.C.)

➽ Read Chaney’s full review of Extraordinary season two.

Shōgun (FX, Hulu)

Shōgun, richly crafted with meticulous detail, is a compelling demonstration of how well-executed dramas continue to captivate audiences and spark meaningful conversations. The acting, particularly from Anna Sawai and Hiroyuki Sanada, is exceptional. Visually stunning cinematography and art direction add to the allure of this series. At its heart, Shōgun showcases confidence in its viewers. It assumes we’ll connect with the characters and stay engaged as the stories unfold. Most significantly, it consistently delivers on that assumption, making it a rewarding investment from start to finish. No need to wait for improvement; it shines brilliantly right away.—K.V.A.

Check out Matt Zoller Seitz’s review of “Shogun.” Also, don’t miss Roxana Hadadi’s interview with star Hiroyuki Sanada. You can find Nicholas Quah’s interview with another star, Anna Sawai, as well. Lastly, take a look at our recaps for the limited series.

One Day (Netflix)

David Nicholls’s novel “One Day,” which explores the evolving relationship between two potential love birds on the same annual day for several decades, was initially turned into a movie in 2011 that received largely negative reviews. However, in 2024, the book came to life as it was meant to be – as a television series. The narrative works better with this format as each episode represents a different July 15, following the journeys of university alums Emma Morley (Ambika Mod) and Dexter Mayhew (Leo Woodall). This adaptation, led by creator and head writer Nicole Taylor, allows viewers to fully appreciate the quirks of the two main characters and their bond. Instead of rushing through a two-hour romantic comedy, “One Day” can linger in quieter moments, enabling us to observe the growing connection between Emma and Dexter – the chemistry between Mod and Woodall is beautiful. After several episodes filled with excellent music choices, you become deeply attached to their story and the emotional highs and lows that come with it. If you’re seeking a romantic tale that’s both lighthearted and profound, “One Day” is your next must-watch. —J.C.

➽ Read Fremont’s One Day series recap.

Tokyo Vice, season two (Max)

As a cinema enthusiast, I’d say this: In an earlier time at HBO, “Tokyo Vice” would have been a massive hit and would have graced the main channel instead of its Max counterpart. A captivating blend of “The Sopranos” and “The Newsroom,” this series revolves around fashionable Japanese gangsters and a tenacious American expat journalist on a quest to uncover the truth about the yakuza. With a pilot episode expertly directed by Michael Mann, it was a riveting combination that deserved prime-time attention.

As a dedicated fan of Tokyo Vice and avid reader of film critiques, I’ve eagerly followed the insightful conversations between Vulture critics Hadadi and Quah. Their in-depth analysis of Tokyo Vice’s second season left me both intrigued and thoughtfully reflective. And with Andy Andersen’s captivating recaps as my trusty companion, I felt like I was right there in the thick of it all. The nuanced perspectives they brought to the table truly enriched my understanding and appreciation for this gripping series.

Abbott Elementary, season three (ABC, Hulu)

The exceptional sitcom on TV, both on broadcast and overall, continues to improve in its third season. In this stage, Abbott creatively transitioned Janine (Quinta Brunson) into a new role with the school district, introducing another hurdle for her romance with Gregory (Tyler James Williams), and broadening the show’s scope regarding the intricacies of working within the public-education sector. The series slightly overindulged in celebrity cameos, but this transgression can be easily overlooked given the hysterical, wittily penned episodes that Abbott has produced so far. Indeed, one of the most hilarious and brilliantly scripted installments of the season, titled “Drugs,” stood out as one of the funniest television episodes I’ve encountered this year. —J.C.

As a dedicated fan of Abbott Elementary, I can’t get enough of the latest developments in the show! Ile-Ife Okantah’s recaps have become my go-to source for keeping up with each episode’s twists and turns. Her insightful analysis really enhances my viewing experience.

True Detective: Night Country (HBO, Max)

Jodie Foster and Kali Reis deliver captivating lead performances in this year’s “True Detective” installment, making them a standout. However, what truly sets this season apart is the innovative vision of showrunner Issa López. She transforms the anthology series by transporting it to a new setting while preserving the eerie terror that defined the first season. Moreover, she brings a fresh perspective with a focus on corruption and disenfranchisement, which were previously hinted but not fully explored. This results in a more unified “True Detective” experience than ever before, without sacrificing its unsettling otherworldly feeling. —K.V.A. (Paraphrased)

Check out Hadadi’s take on True Detective: Night Country in her review. additionally, Amanda Whiting’s recaps of the season are worth reading. You may also want to explore Hadadi’s interviews with Kali Reis and Issa López. Lastly, Chaney’s analysis of the show’s ending is an intriguing close read.

The Traitors (Peacock)

As a movie critic, I’ve got to admit, it feels like ages since a reality show truly disrupted the genre for us viewers, especially in America. So when The Traitors decided to abandon the formula that had previously shaken things up, I was taken aback. Gone were the normies vying with reality stars for a cash prize, replaced instead by only genre veterans who seemed to have mastered the game. But was this change really a loss?

Check out Molly Fitzpatrick’s recaps for The Traitors season two, Rebecca Alter’s article about Alan Cumming, Hadadi’s interview with CT Tamburello, and Rosenstock’s detailed analysis of the show’s editing.

Fargo (FX, Hulu)

In its television format, “Fargo” has consistently explored the quirks and contradictions of American society: its economic systems and criminal behaviors, its gendered roles and power structures, and the unreal feel of vast wealth disparities. The fifth installment by Noah Hawley skillfully transported these themes to an earlier era, drawing parallels with the emergence of Donald Trump’s presidency for a fresh portrayal of this nation and its moral dilemmas.

Check out Chaney’s take on Fargo season five in his review. Additionally, you can read Hadadi’s interview with Jennifer Jason Leigh and her analysis of the show’s finale.

2024-07-29 16:55