The 20 best TV shows of 2024 (so far)

Let’s thank the powers that be for Abbott Elementary, which remained in top form during its third season, reinstating our hope in primetime network comedies. With its latest episodes, AE challenges itself and its characters to grow without compromising on its wholesome humor. The show’s strength is its ensemble and, my gosh, Abbott season three utilizes each cast member wonderfully, wether ot was making Jacob (Chris Perfetti) and Melissa (Lisa Ann Walter) roommates or granting Ava (Janelle James) some ever-so-slight growth as a principal. And, best of all, the finale brought Janine (Quinta Brunson) and Gregory (Tyler James Williams) together after a long buildup in such a sweet way. (Thankfully, we won’t have to wait long to see how that pans out, as season four airs this year as well.) [Saloni Gajjar]

Baby Reindeer is about a man being stalked by a crazy woman in the same way Moby Dick is about a man chasing a whale. That description may be technically accurate, but it doesn’t do justice to the depth and intensity of Richard Gadd’s semi-autobiographical series. Gadd, who adapted the script from his one-man stage show, is less interested in investigating his stalker’s motivations than understanding the part he played in encouraging her and his failure to stop it when he should have. There’s a lot of trauma and shame to unpack, and he bares it all in painful, devastating detail. Since the series premiered on Netflix this past April, it’s become fodder for lawsuits and online discourse, but don’t let all the fuss over the “real” story overshadow Gadd’s writing or his unflinching performance. [Cindy White]

When Jon Stewart returned to The Daily Show earlier this year, it was another sign of a society stuck in its ways. Another Trump-Biden election with Jon Stewart on the television? Where are all the new ideas? Apparently, Stewart had them. Proving that no one on Earth is better at hosting The Daily Show, Stewart returned with renewed vigor, attacking subjects with more confidence and conviction, resetting the show’s tone back to righteous frustration. Stewart’s success has carried over to the other correspondents, too. Regulated to one show a week, Stewart shares the desk with Ronnie Chieng, Desi Lydic, Jordan Klepper, and Michael Kosta, who bring their unique sensibilities to their respective nights, keeping the series from feeling stale. Ironically, bringing back Stewart forced The Daily Show to freshen up its format. And after nearly a decade, The Daily Show is our moment of zen again. [Matt Schimkowitz]

In its fourth and final season, the CBS-turned-Paramount+ show Evil delivers some of its finest episodes while featuring a grief monster, an evil robot, and a possessed pig, among other fun concepts. A show this bizarre wouldn’t have sustained in the wrong hands, but series co-creators Robert and Michelle King have molded it into an unskippable drama. It’s perfect for the streaming/binge era (seasons one and two came to Netflix this year) while also delivering as a traditional case-of-the-week procedural. It’s hard to believe the show is wrapping up, but we’ll always have Katja Herbers, Aasif Mandvi, Michael Emerson, and Mike Colter’s terrifying, tremendous chemistry to hold onto. [Saloni Gajjar]

It’s a shame that Expats isn’t being celebrated like other shows on this list because Lulu Wang’s all-encompassing miniseries is a straight dagger to the heart. Yet it’s also hopeful and gentle as it excavates through various facets of its three leads. Nicole Kidman, Sarayu Blue, and Ji Young-yoo are masterclass performers as they delve into their characters’ innermost emotions—grief, guilt, and melancholy—after they’re bound by a tragedy. Expats is a visual stunner, using its Hong Kong setting to add vibrancy and much-needed authentic diversity to TV (both on and off camera). Meanwhile, Wang, a prolific director, brings her indie filmmaking sensibilities to the small screen, making the six episodes feel as immersive as they are gut-wrenching. [Saloni Gajjar]

War never changes, but video-game adaptations sure do. While once considered low quality drivel, the past few years have completely changed the form’s reputation through shows like The Last Of Us, Arcane, and now Fallout, the nuclear-apocalypse dramedy from Westworld creators Jonathan Nolan and Lisa Joy. Featuring an explosive cast (sorry) including the likes of Walton Goggins, Sarita Choudhury, Yellowjacket’s Ella Purnell, and relative newcomer Aaron Moten, Fallout is as much for longtime fans of the beloved series as complete novices who don’t know their Pip-Boys from their RobCos. For the former, the Prime Video show tells a new, canon story form the Wasteland, chock full of little nods and references to items and events from the original games. (You can read about those in detail in William Hughes’ excellent recaps.) For the latter, the series is completely accessible and extremely fun even as a stand-alone story, but it still might inspire new fans to pick up a controller before the already ordered second season airs sometime late next year or in early 2026. [Emma Keates]

The steady evolution of comedian Julio Torres is a sight to behold. From SNL breakout to Problemista, he has created a comedic sensibility all his own, one built of aesthetics, absurdity, and empathy. By far his most refined vision of dystopia, Fantasmas defies any and all expectations. Defined by the discursive structure that frees it from both sitcom and sketch-comedy formats, Fanstasmas follows an artist named Julio (Torres), who avoids his problems by disassociating into dreams or screens. Any random passerby or TV personality can become the subject of Fantasmas’ vignettes that turn customer-service calls into forbidden trysts and ALF into a touching divorce drama. Oh, and not for nothing: It is, bar none, one of the funniest shows of the year. [Matt Schimkowitz]

Renée Elise Goldsberry’s “find the lie” scene alone makes Girls5eva’s third season a top-notch TV experience. And to think Peacock wanted the jubilant comedy permanently gone. Meredith Scardino’s series moved to Netflix this year, fitting right in with the other show she wrote for, Unbreakable Kimmy Schmidt. Girls5eva’s six new episodes are a mighty escape from the real world. They’re laugh-out-loud funny, full of catchy songs, delirious pop culture puns, and an unbelievably committed cast. The third season proves Girls5eva has so much more to offer because Wickie, Gloria, Dawn, and Summer’s journey as a band (for the second time) is only finding its groove now. [Saloni Gajjar]

After two great seasons, a third round of Hacks didn’t feel entirely necessary. But oh, how Max’s stellar comedy proved us wrong upon its glorious return this year. Jean Smart and Hannah Einbinder’s affectionate, potent performances elevated Hacks more than anticipated. Not that we should be surprised. Series co-creators Paul W. Downs Jen Statsky and Lucia Aniello understand who Deborah and Ava are as people and what makes them tick. Their friendship adapts as their individual careers take off only to ultimately collide in a finale that may be Hacks’ greatest installment to date. And with these eight new episodes, there’s little doubt an Emmy win is forthcoming. [Saloni Gajjar]

With its 2022 debut, AMC’s Interview With The Vampire established that Anne Rice’s work is well-suited for the TV medium in the right hands. The show’s prolific writing reinterprets her novel to excavate the most glorious, vivid story of the vampires Louis (Jacob Anderson), Lestat (Sam Reid), and Claudia (Delaney Hailes). Season two is no different; it’s a gift to gothic horror fans with its 1940s Paris setting. It’s also a roadmap centering a genre story with plenty of fanged creatures, mythology, and killing while being diverse without feeling like tokenism. And, yeah, it’s still sexy as hell. With emotionally heavy twists (the big reveal in episode five!) and visually stunning settings (Théâtre des Vampires!), ITVW has become a prestige drama you shouldn’t look away from. [Saloni Gajjar]

Listen, the new season of The Jinx isn’t better than the original, okay? That first season finale with the “Killed them all, of course” confession can’t be beat. But the second season is a worthy followup that is well worth watching, tracking Robert Durst’s murder trial through his eventual conviction and introducing more of the unusual characters that populated Durst’s strange world. Director Andrew Jarecki clearly felt an obligation to see the thing through to the end, and despite the nine years that have passed since the first season aired, he brings us right back into the tale with the same style and flow we remember. If you were invested in the story back in season one, you’ll want to see this through to the end, too. [Mary Kate Carr]

In 2024, was anyone jonesing for an older and worse-for-wear version of Dashiell Hammett’s iconic character Sam Spade on the small screen? Probably not. But this sumptuous, South of France-set noi-noir from Scott Frank (The Queen’s Gambit) and Tom Fontana is a splendor to watch unfold, a knottily plotted, beautifully shot fish-out-of-water story that finds our retired, chain-smoking wise-cracker living the life of retirement until he’s inevitably pulled back in to do what he does best. Clive Owen is ace as the ex-private detective, all hunched shoulders and calm, caustic line deliveries, and just about every face in this AMC/Canal+ co-production (especially those of Louise Bourgoin’s club owner and Denis Ménochet’s chief of police) feels lived in, like it’s hiding a dark secret. [Tim Lowery]

How do you take a Brad Pitt-Angelina Jolie vehicle from nearly 20 years ago (one that, to be honest, I had no interest in back then—and don’t now, come to think of it) and turn it into a truly fun, gripping, and heartfelt series that shattered my expectations? I have no idea, but Francesca Sloane and Donald Glover have certainly cracked that particular code, telling the tale of the show’s titular pair (Glover and a great Maya Erskine, playing in-the-dark secret agents pretending to be married) that’s packed with humor and pathos, not to mention some damn fine globe-trotting action sequences. The show feels better than it needs to be on almost every level, but it’s worth shouting out the fantastically eclectic soundtrack and strong guest-star performances, particularly those by I May Destroy You’s Michaela Coel, and Wagner Moura and Parker Posey, who portray a weirdly charming fellow “couple.” [Tim Lowery]

Not only did Netflix finally provide us with the David Nicholls adaptation we deserve, One Day is an excellent romantic dramedy in its own right. The miniseries format was a perfect way to tackle the story’s conceit (revisiting a will-they-won’t-they friendship one day every year), and the production was overall high quality: funny, moving writing, expressive direction, and most of all, amazing performances. Leo Woodall and Ambika Mod were the breakout performances of the year in my opinion, each brilliant on their own but crackling with chemistry together. They brought humor and humanity to the show, believably portraying the evolution of their characters and their relationship over the course of more than a decade. The result is a warm and entertaining little gem of a show that shouldn’t be overlooked amid the year’s flashier titles. [Mary Kate Carr]

The other weekend, I was lucky enough to watch a 70-millimeter screening of Paul Thomas Anderson’s Boogie Nights, and on the way out, my friend and I talked about what a time it is to be alive, when we can take in a film that came out in 1997 on the big screen—one that’s, mind you, very much about the importance of seeing film on the big screen—and then go home and stream another masterclass in cinematography from Robert Elswit from the comfort of our couches. Now, Ripley, tonally and aesthetically, has almost nothing in common with that aforementioned sun-baked joyride. But Elswit’s work here—the crisp black-and white, those stunning wide shots, all that noir style, and one particularly gripping sequence that I’ll succinctly described as “man versus boat”—feels just as impressive, a perfect canvas for writer-director Steven Zaillian (HBO’s The Night Of) to tell this very methodical, patient, quietly unnerving, and sparsely populated take on The Talented Mr. Ripley. And it certainly doesn’t hurt that Andrew Scott’s nimble turn as the show’s titular con man is phenomenal. [Tim Lowery]

Shōgun is awesome, plain and simple. The sword fights are epic. Hiroyuki Sanada is perfectly cast as the brilliant and ruthless samurai, Yoshii Toranaga. It’s even awesome to watch John Blackthorne (a.k.a. The Anjin) bumble his way out of certain death over and over and over again. Featuring some of the most intense political maneuvering since Game Of Thrones interwoven with action sequences that are as heart-pumping as they are heartbreaking, Shōgun is an incredibly worthy addition to the samurai canon, one that does great justice to the original 1975 James Clavell novel on which it was based. While this season told the entire story of the book, the once presumed miniseries was thankfully renewed for an additional two seasons last month. [Emma Keates]

In many ways, Tokyo Vice never stood a chance. Far more atmospheric and patient than your typical crime series, the show found a perfect balance of intrigue and ambience in its stronger second season. Now serving as its finale, season two of one of the best shows about journalism on TV found strength in the process. Inspired by the director of its pilot, Michael Mann, Tokyo Vice laid out a careful trail of dominoes across its final 10 episodes, then knocked them down for a thrilling and satisfying conclusion. The series became more of an ensemble piece as the wider cast, not just Elgort and Watanabe, got more to work with as we explored their personal lives at home, in Tokyo’s nightclubs, and on the outskirts of Yakuza country. By deepening those around Jake, showrunner J.T. Rogers raised the stakes, making the drama, action, and mystery all the more engrossing. [Matt Schimkowitz]

After a five-year hiatus, HBO revived its True Detective series for a fourth season under new showrunner Issa López, who directed and wrote or co-wrote all six episodes. Despite the personnel changes, Night Country shares some connective tissue with previous seasons, particularly a well-defined sense of location and character. It’s set during the darkest days of winter in the fictional town of Ennis, Alaska, a place haunted by ghosts both figurative and literal. The mystery kicks off with the disappearance of a group of scientists at a remote research station, later found frozen to death in a creepy mass playfully dubbed “the corpsicle.” Jodie Foster is unrelentingly fierce in the role of police chief Liz Danvers opposite Kali Reis as state trooper Evangeline Navarro, who brings an icier but equally compelling energy to their uneasy partnership. Come for the atmosphere, stay for Fiona Shaw’s delivery of lines like, “Don’t confuse the spirit world with mental-health issues.” [Cindy White]

We Are Lady Parts is what you get when a creator is given space to veraciously and entertainingly tell a story close to their heart. Nida Manzoor helms this ingenious British comedy about five Muslim women in a punk band with nary a stereotype in sight. Instead, WALP is committed to portraying that no community is a monolith. Season two’s six episodes pack a tight punch with heartfelt humor, performances, and, of course, original songs. (“Glass Ceiling Feeling,” you’re a hit in my book.) The show’s beating heart is an unflinching desire to defy clichés with its LGBTQ romances, South Asian family relationships, female friendships, and characters grappling with their religious identities. We Are Lady Parts’ authenticity stems from various Muslim women in the writing team based on what Manzoor told The A.V. Club. While being quite fun and unique, the show is also taking a stand in season two on the importance of art and culture. And what’s more punk than that? [Saloni Gajjar]

Nostalgia is a dangerous substance, never more so than when you’re building a revival of an already beloved (if also unabashedly dated) TV show. Use too little, and you risk alienating the audience your project is at least partially designed to draw in; too much, and you blow out every other idea that presumably led you to make the damn thing in the first place. The genius of X-Men ’97, then, lies at least partially in its ability to manage and marshal this terrifying cosmic force, tapping into the signifiers of the old Saturday-morning cartoon it serves as a sequel to—the voices, the look, the slightly melodramatic hokiness of it all—while pushing deeper and deeper into the actual reasons people still give a damn about Marvel’s mutants all these decades later. Shockingly bold, visually daring, and willing to take on the central metaphors of mutant life with unblinking ferocity, it’s a show that goes far beyond a simple nostalgia exercise—while still scratching the itch of anyone who just wants to hear Wolverine slice up robots while calling people “Bub.” [William Hughes]