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  • The 2025 Joey Awards

    The 2025 Joey Awards

    Hello, it’s been a minute. I got sick twice and went away for a week, so my plans to post something in May kind of got torpedoed. There is a silver lining to this delay, however: I’m now writing something in mid-June, which is always a fascinating time in the world of TV.

    The eligibility deadline for the 2025 Emmys was May 31. That may seem like an arbitrary date to delineate between two years of television — and that’s because it is. Personally, I hate that the Emmy window ends in the middle of spring, especially because it creates a weird lull in the release calendar during the early part of the summer. Some shows can come out of nowhere and surprise us around this time of year — as The Bear did in 2022 — but for the most part, June is a barren time in TV, leaving one to reflect on the shows released over the last twelve months.

    That’s what I plan to do today. Not only have I been thinking a lot about the shows that will be eligible for awards this September, but I’ve also been thinking about how the Emmys are utterly ridiculous and a terrible representation of what elements of the TV landscape are actually “award-worthy.” If you recall, the final season of Game of Thrones won the Emmy for Best Drama Series — and that season of TV was straight-up bad. So, in an act of defiance against the Emmys, I’ll be publishing a few of my own awards from this year’s pool of submissions.

    I considered doing a full slate of awards, much like the “real” award shows, but that started to feel too similar to my yearly top twenty list. I don’t want to simply reiterate praise for shows I already talked about in January, and I don’t want to show my hand too early on what I think the best shows of 2025 are. Instead, I’ll be focusing on the aspect of film and television that somehow doesn’t get enough love these days: acting.

    Nowadays, people seem so focused on writing and directing that the famous faces on our screens have become somewhat underrated. For example, I love Succession, and I’m a huge fan of its creator, Jesse Armstrong, and his complete mastery of sharp, biting dialogue. But let’s be real — without Jeremy Strong and Brian Cox, that show would’ve sucked. Television is a visual medium, and it’s at its best when it’s focused on people. Great actors bring something to a role that isn’t — and can’t be — on the page. Try it yourself: read a script from one of your favorite shows. While the dialogue might be funny or beautiful or heartbreaking — or all three — until an actor gets their hands on it, it’s just words on a page.

    Last thing before I start: categories. There are four categories at the 2025 Joeys — Actor in a Leading Role, Actress in a Leading Role, Actor in a Supporting Role, and Actress in a Supporting Role. I’m not going to split them into drama and comedy, because I think that shifts the debate away from the performances themselves and toward whether or not someone was in the “right” category. I don’t care about that, and I think it’s dumb to argue over. Each category — much like the Oscars — will have five nominees, unlike the Emmys, which seem to nominate an arbitrary number of people each year. Finally, only one performance per show can be nominated in each category. That may seem arbitrary too, but if I didn’t draw the line somewhere, I’d end up nominating four people from The White Lotus in every category — and that’s boring.

    Okay, I’ve rambled enough. Welcome to the 2025 Joeys!

    Actor in a Supporting Role

    The Best of the Rest

    I won’t lie to you — this category was kind of stacked. It broke my heart to leave out Mark Proksch for his work in the final season of What We Do in the Shadows. He’s been a comedic powerhouse on that show for years. Ebon Moss-Bachrach would’ve been a shoo-in in the past for his role in The Bear, but after the third season that fell a bit flat, he comes up just short of a nomination here.

    The Severance gang comes up empty this year, with John Turturro, Tramell Tillman, and Zach Cherry landing in the final group of cuts. And due to the one-actor-per-show-per-category rule, my boy Harry Lawtey narrowly misses a nomination for Industry. I’d also like to give a special shout-out to Patrick Schwarzenegger and Jon Gries, who were the bright spots in an otherwise uneven season of The White Lotus.

    All of these actors are fantastic and deserve statues built in their honor — but alas, this was not their year to win a Joey.

    And the nominees are…

    Peter Sarsgaard, Presumed Innocent

    As is often the case with great supporting performances, Sarsgaard’s work as prosecutor Tommy Molto manages to outshine the show’s lead. Presumed Innocent frequently felt messy and overly melodramatic, but Sarsgaard emerged as the show’s MVP, channeling a chaotic, desperate energy throughout his performance. On the surface, this seemed like a Jake Gyllenhaal star vehicle — but at its core, it’s Sarsgaard’s portrayal of a resentful, bolo-tie-wearing creep that carries the show. It only works because of him, and he’s worth the price of admission on his own.

    Stellan Skarsgård, Andor

    I feel like I didn’t give Andor the credit it deserved during its first season (there’s a chance this is one of the twenty best shows of all time). But even then, I would’ve had to be blind not to appreciate what Skarsgård was doing in this role. In the second season, Skarsgård’s Luthen is back — and better than ever. While Diego Luna is Andor’s lead (and brilliant in his own right), Luthen is the engine that makes the show run. Madness, brilliance, and pride swirl together, spouting forth in one virtuosic monologue after another. I’m going to miss this show — and you should too.

    Owen Cooper, Adolescence

    I don’t even understand how a performance like this is possible. Owen Cooper, in his first professional acting role, is remarkable to watch. He’s frightening yet endearing, recognizable yet entirely unique. In all my years of TV viewership, I can’t recall a performance by a child actor that felt this resonant. Most impressive of all is the fact that if this performance had fallen flat, the entire show would’ve crumbled. It’s the dark, open heart of Cooper’s Jamie Miller that makes the show hum. This kid is about to win an Emmy before he turns seventeen — and I have absolutely no complaints about that.

    Tom Glynn-Carney, House of the Dragon

    You might be surprised to see that the second season of House of the Dragon is eligible for the 2025 Emmys. That instinct is correct — this is yet another example of how dumb the Emmy calendar is. Because of the bizarre relationship between the release schedule and awards campaigning, it’s highly unlikely we’ll see Tom Glynn-Carney at the Emmys this fall. But in a season that was largely uneven, Glynn-Carney shined. His performance as a dipshit trying not to be a dipshit was spectacular, bringing nuance to a character who had none in the previous season. Pain, inadequacy, and rage are written all over his face — and he brings a level of humor we haven’t seen since the original run of Game of Thrones. Let my boy Aegon cook.

    And the Joey goes to…

    Ken Leung, Industry

    If you’ve literally ever met me, this choice should not surprise you. I firmly believe that Ken Leung is the best actor on television right now. He’s the example I give when trying to illustrate the importance of great acting on TV. Leung makes the tangible intangible. He takes the words on the page and gives them life — but more than that, he shines in the gaps and pauses. While Leung’s Eric has been a staple of Industry across all three seasons, it’s in the third installment that his performance truly goes supersonic. I know most people haven’t seen Industry, and that’s a huge mistake on their part. But if you’re even remotely interested in seeing what acting can be, this show is a must-watch. It’s truly Joey-worthy work.

    Actress in a Supporting Role

    The Best of the Rest

    The competition may not have been that steep this year in Supporting Actress, but there were still some wonderful performances that just missed the cut. Chief among them is Genevieve O’Reilly, who was breathtaking at times in the second season of Andor. But alas, the one-entry-per-show rule I’ve imposed on myself keeps her from a nomination. Curse me and my rules!

    Aimee Lou Wood and Michelle Monaghan run into the same issue, as only one person from The White Lotus can be nominated in this category. Patricia Arquette was a force on Severance this year, but the inconsistency in her storyline and her fluctuating usage rate leave her just short.

    Despite being the toughest cut in this category, Christina Ricci also misses out for Yellowjackets. That show has been in a complete nosedive since season one wrapped, and she might just be the only thing keeping it afloat.

    Sometimes I think this year has been underwhelming — but then I look at this list of names and remember how good we really have it. Cheers to them.

    And the nominees are…

    Erin Doherty, Adolescence

    This might be the best performance in any category. Doherty manages to convey so much in Adolescence while maintaining a cold, professional demeanor. The blessing and curse of this performance is that she only appears in one episode. On one hand, delivering something this powerful in such a short amount of time is incredible. On the other hand, it felt a bit off to give the Joey to someone with so little screen time. Pound for pound, though, this might be the performance of the year.

    Jodie Turner-Smith, Bad Monkey

    Bad Monkey fell apart real fast. Everyone puts in great work, but the second half of the season limps to the finish. By the end, I felt nothing — but none of that was Jodie Turner-Smith’s fault. She holds the screen like few can as the Dragon Queen, showing real star power and the ability to set the tone for a show singlehandedly. By the end of Bad Monkey’s run, I was tuning in purely for Vince Vaughn’s quips and Turner-Smith’s performance. She’s a superstar, and I can’t wait to see what she does next.

    Hannah Einbinder, Hacks

    Hacks is a very good show, and much of the praise goes to its lead, Jean Smart — but the show wouldn’t work without Hannah Einbinder. A character like Einbinder’s Ava often gets unnecessary backlash for presenting an all-too-familiar type: a chronically online, neurotic, entitled twenty-something. As someone who checks those same boxes, I usually bristle at seeing that on screen. Einbinder, however, brings an emotional center and relatable quality to the role that makes her immensely likable, funny, and sharp. Without her, this show is just Jean Smart roasting people. Instead of Hacks telling me, “this is what you’re like,” Einbinder’s performance transforms it into, “this is what we’re like.” Three cheers for Hannah.

    Denise Gough, Andor

    Denise Gough throws absolute heat in Andor’s second season, and thank God she did. Gough’s Dedra runs the full gamut this season, portraying anxiety, rage, and fear with incredible range — spanning from subtlety to intensity. Putting into words what makes this performance great is difficult, which is part of why I find acting such a fascinating art form. But if you want to see someone master a character inside and out — from micro-expressions to broad physicality — Gough is worth studying. Why isn’t she in every show?

    And the Joey goes to…

    Carrie Coon, The White Lotus

    I struggled with this choice a lot, but in the end, I had to give the Joey to my girl Carrie. The third season of The White Lotus was a mixed bag, largely due to inconsistent pacing, but Carrie Coon’s performance as Laurie was unimpeachable. Laurie feels like someone we all know, but Coon’s performance gave us a chance to examine this archetype in ways we hadn’t before. A middle-aged woman unsure of her life’s meaning is nothing new — but to watch her wrestle with it in real time was a rare treat. From the highs of dancing under the full moon to the lows of hearing her friends talk about her behind her back, this character felt lived-in in a way The White Lotus characters rarely do. Special shout-out to her work in the finale, delivering one of the best monologues I’ve ever seen on television. Coon is one of my favorite actors of all time — and for good reason.

    Actor in a Leading Role

    The Best of the Rest

    This is a group of hitters. While the winner in this category felt like an easy pick, there were a dozen people contending for a nomination. Those who missed the cut did so for a variety of reasons.

    Pedro Pascal was lights-out in this season of The Last of Us but didn’t have enough screen time to crack this group. Brian Tyree Henry was the only thing keeping Dope Thief afloat, but an actor can only elevate poor material so much.

    I would’ve loved to include Taylor Kitsch for American Primeval and Tom Hardy for MobLand, but in a group this crowded, I went with performers who showcased a bit more range.

    The toughest cuts were Gary Oldman for Slow Horses and Jeremy Allen White for The Bear, both of whom brought their A-game just as they have in years past. But for reasons that will become clear, they fell just short.

    Speaking of things that are short…

    And the nominees are…

    Martin Short, Only Murders in the Building

    Nominating Martin Short might surprise some of you, but it shouldn’t. Comedic performances are often overlooked, and because of that bias, many fail to see the wonderful work Short is doing on Only Murders in the Building. He’s lively and energetic, scurrying around with the exuberance that’s been a staple of his style for years. This season especially, however, Short balances his almost cartoonish energy with true depth and sincerity. Watching him and Steve Martin bounce off each other on this show is a real treat, and I can’t wait for more.

    Diego Luna, Andor

    Diego Luna used to be one of those actors I had no opinion on. That’s no longer the case. Luna seized the opportunity that Andor provided and turned what could have been a Han Solo ripoff into a character for the ages. The term “lived-in” gets thrown around a lot when talking about acting, but Luna’s performance as Cassian truly lives up to it, making him feel real and alive like few other characters on TV. In many ways, the brilliant writing from Tony Gilroy’s team deserves credit for that — but it’s rare to see a performance where a character’s past is so definitively written all over their face. I should have appreciated this show — and this performance — more while we had it.

    Stephen Graham, Adolescence

    For a moment, I thought my Stephen Graham admiration might have been misplaced. I was less than impressed with A Thousand Blows, which came out earlier this year, and I started to worry that Graham was, for lack of a better term, washed. Boy, was I wrong. I guess Graham was saving his energy, because his performance in Adolescence blew me away. His portrayal of an everyman with one of the greatest Scouse accents I’ve ever heard was equal parts familiar and heartbreaking. Graham has a talent few actors possess — you can see the character’s gears turning in their head as they react to their situation, but in a way subtle enough not to be on the nose. His performance in Adolescence is truly that of a master at his best, and I’m so glad my guy is still out there kicking ass.

    Noah Wyle, The Pitt

    Here is an example of a performer and role that fit together perfectly. Noah Wyle has long been on my shortlist of actors who carry an implicit air of compassion, responsibility, and competency — making him a dream fit for The Pitt. I’m so grateful to have a show like this in my life, and to have a performer at its center who can set the tone of a scene just by being in the room. My favorite feeling in the world is when a show comes out of nowhere and blows my expectations out of the water. The Pitt was one of those shows — but it shouldn’t have been. In the future, I won’t make that mistake. Anything that stars Wyle will be appointment viewing from now on.

    And the Joey goes to…

    Adam Scott, Severance

    There are no words for the work Adam Scott is doing on Severance. But I will attempt to find them. I can’t recall another performance where an actor excelled in so many different areas. Scott’s Mark is at times knowing and mischievous, at others sincere and almost soulful. He seamlessly alternates between Innie Mark’s naïveté and Outtie Mark’s jadedness. This show only works if you buy into its central emotional thrust — and that rests entirely on Scott’s shoulders. What makes this performance truly stratospheric is that Scott is doing all of this while ostensibly playing two different characters. The second season of Severance had its bumps along the way, but Scott’s performance never wavered. I can’t wait to see what he cooks up in season three.

    Actress in a Leading Role

    The Best of the Rest

    One of these days, there will be a category that doesn’t feel nearly impossible to decide on. Today is not that day.

    There were many great performances in this category that missed the cut, but a few in particular I’d like to highlight. Michelle Williams was absolutely wonderful in Dying for Sex, a show not enough people watched. Definitely worth a look — even if you’re just there for Michelle Williams.

    Lola Petticrew felt like a rising star in Say Nothing, but at the end of the day, she didn’t feel enough like a true lead performer to earn a nomination. I was dazzled by Britt Lower’s work on Severance this season, but in a crowded field, she just misses the cut.

    The most difficult cuts of all were Myha’la and Marisa Abela for Industry. Both gave mind-blowingly frenetic and, at times, bloodcurdling performances. It breaks my heart into smithereens that I didn’t have enough spots to nominate them here.

    And the nominees are…

    Jean Smart, Hacks

    She was a shoe-in. Jean Smart has been delivering work that can only be described as wonderful for years, and Hacks is no exception. She’s biting and lovable all at once, with a rare talent for being cold in a way that makes you want to be closer to her. Effortlessly funny, Smart can flit between dressing someone down and being an emotionally exposed nerve in an instant. Some performances allow an actor to utilize their entire arsenal — and Smart is lucky to have a part like this. We’re even luckier, because we get to watch her every week.

    Zoe Saldaña, Lioness

    Zoe Saldaña turns it up to eleven and never quits. Some people might call her performance in Lioness “overacting,” but her screaming at military officers is brilliant. The energy she brings is vital to the show’s success. Lesser shows would lean on exposition and listing important details to keep the audience tethered to the character’s state of mind. But where Lioness shines is when it lets Saldaña cook. Letting the viewer in on her unbridled rage, frustration, and desperation does more to reinforce the stakes than any military briefing ever could. This show is kind of a mess sometimes — but Saldaña is always pitch perfect.

    Cristin Milioti, The Penguin

    Cristin Milioti’s performance in The Penguin feels like a victory. She’s been poised for a role like this for years, delivering brilliant performances one after another over the last decade. Last year, we finally got to see everything she can do. The Penguin didn’t always work, but when it did, it was largely because of Milioti. Her performance was equal parts kinetic and quiet, maintaining the tension that she could emotionally boil over at any moment. If the Joeys handed out awards for best eye-acting, she’d be a surefire winner. Maybe we should do that next year.

    Bella Ramsey, The Last of Us

    I won’t hear any criticism of Bella Ramsey’s performance in the second season of The Last of Us. This season introduced a new version of Ramsey’s Ellie — a bit older and far more emotionally unbalanced. Watching Ellie slip deeper into the darkness and rage at her core was equal parts heartbreaking and disturbing, but every step of the way, it felt true. I understand that fans of the video game this show is based on may take issue with the adaptive changes this season, but holistically speaking, this performance is fantastic. I refuse to entertain the narrative that Ramsey isn’t up to the task. Not only are they fantastic as Ellie, but they’re one of the best actors working right now. I hate that I have to defend Ramsey like this — but that’s what the internet does to discourse around popular TV.

    And the Joey goes to…

    Bridget Everett, Somebody Somewhere

    If you’ve seen Somebody Somewhere, this pick shouldn’t surprise you. Bridget Everett gave one of the most well-rounded performances on TV in this show’s final season. She can handle emotional highs and lows, remain an unstoppable comedic force, and showcase her incredible musical talent — often all at once. Saying goodbye to this show is going to be difficult for me, as no other series has pulled at my heartstrings as consistently. But I can rest easy knowing that Everett, along with the rest of the ensemble, left it all out on the field. It’s incredibly rare to find someone as multitalented as Everett, and I’m completely confident she’ll be back on our screens in no time. If you haven’t seen this show, run — don’t walk. What may seem on the surface like an overly gooey feel-good story is much more. Somebody Somewhere is about loving yourself unapologetically, and while that may sound obvious or mawkish, Everett’s performance shows it’s vital and urgent.

    Congratulations to our 2025 Joey winners! Trying to put into words what makes a performance work is easier said than done, but that only drives home the point that the beauty of acting lies in its intangible qualities.

    Thank you for reading, and remember—we’re just days away from the returns of The Bear and Squid Game. Hopefully, they’ll make this early summer lull feel a bit more exciting.

  • Top 20 TV Shows of 2024

    Top 20 TV Shows of 2024

    Hello. This is the first post I’m making. It might also be my last post, frankly I’m undecided. I make this list every year and my friends said I should post it. You win, friends of mine.

    Making a list like this feels a little bit clickbait-y or ESPN talking head-y, but honestly this is the aspect of television that takes up most of my bandwidth. I am constantly thinking of how shows stack up against each other, especially in the context of the year in television as a whole. Essentially, I don’t find that a ranking like this reduces art into competition, on the contrary I think comparison like this helps people shape what they are looking for most in a TV show. Totally fair if you disagree with that, though, you are welcome to not read this. Maybe I shouldn’t be turning away readers in my first post, though…

    Anyway, let’s get to the list. Despite this year’s lack of a flagship show like we’ve had in years past, some incredible stuff came out this year, and you should be watching it. The only criteria for a show to make this list is that it is a scripted narrative show that aired in its entirety in the year 2024 (sorry, Renfaire, there’s one every year). And if I left out a show you like, that means that I either didn’t see it or I thought it was bad. Here we go!

    20. Squid Game (Netflix)

    I have no idea what the collective consensus is on season 2 of Squid Game. I might be too high or too low, a hater or a fanboy, I have no idea. Fittingly, though, Squid Game is in this spot because it feels like it’s stuck in the middle. The continuation of the South Korean smash hit seemingly can’t decide if it wants to act as a sequel to the original or if it wants to play the hits on the thrills of season one. The show still dials up the intensity in a way only Squid Game can, but as a viewer I am stuck not knowing what is supposed to be most important. Is this season about Gi-hun’s revenge or should I throw myself into the brilliant cast of new players? And if it’s both, surely the abrupt ending of this season leaves those two avenues underserved. Either way, despite its anticlimactic finale and wishy-washy focus, season two still feels like the Squid Game of old, at least to a certain extent.

    19. The Gentlemen (Netflix)

    In Guy Ritchie’s first TV project in over 20 years, The Gentlemen give us a fun, stylish and delightfully over the top crime series. It has all of the typical Ritchie trappings, while adding the very 2020’s wealth porn that we all clamor to see on our screens (maybe we should stop clamoring). Theo James and Kaya Scodelario shine in the lead roles, with the former carrying himself as if he should have been tapped as the next Bond. The MVP of this show, however, is Daniel Ings, who refuses to stop knocking it out of the park as Freddy, the immature, coke-addled, rooster costume clad failson of the noble Halstead family. If you like British crime movies, particularly Ritchie’s, this one is right up your alley. Plus, Ray Winstone is in it, so it has to be good.

    18. The Penguin (HBO)

    In the interest of full disclosure, I should tell you that I thought this show was going to suck, which is saying something because I worked on it. But, fortunately for all of us, I was very wrong (this is not the only show I was wrong about, but more on that later). While Colin Farrell’s transformation is remarkable, this show rests on the performance of Cristin Milioti as Sofia Falcone. Her portrayal of a damaged, disillusioned, lonely and largely insane crime heiress eats up the screen, and this looks like the moment that Milioti goes from being a good actress to a household name. The Penguin often finds itself alternating between gangster movie ripoff and beautiful homage, but by the end of its eight episode run it strikes the perfect balance. If you like Batman stuff or mafia stuff and you’re not an asshole about it, you’ll like this show.

    17. A Gentleman in Moscow (Paramount+)

    Look, sometimes I can point to elements of a show or its visual style or its strong performances as points in its favor, but that’s not how I feel about this one. A Gentleman in Moscow works because the finale made me cry, ok? Is that so horrible? Ewan McGregor is as charming as ever, and the winding narrative is fascinating and fun, but what drives this one home is its meditation on found family. Whether its a fading starlet trying to reinvent herself, a cook too shy to declare his love or an orphan searching for a father, this show manages to bring a bunch of lonely people together, and while it can feel a bit too heartwarming at times, it’s still going to hit you where it hurts.

    16. English Teacher (FX)

    It’s difficult to discuss TV comedies without devolving into “let me explain a funny scene to you” territory, but believe me when I tell you, English Teacher is fantastic. Brian Jordan Alvarez’s new FX series is smart, biting and incredibly fresh. The ensemble cast shines, headlined by Sean Patton, who finally seems to be getting his due. Trust me, give this show a whirl, it has “staying power” written all over it. It may seem like I’m asking you to make a leap of faith with this show here, but if you’re looking for a sitcom to fill the void, this might be your best bet.

    15. The Sympathizer (HBO)

    This series is better than a cool poster and the “Robert Downey Jr. plays a zillion roles” gimmick. The Sympathizer is equal parts Coen Brothers-esque crime drama and intense spy thriller, and while it can feel meandering at times, by the end the show drives its point home. Sandra Oh is as spectacular as always, while relative newcomers Hoa Xuande and Vy Le feel like stars in the making. And yes, Robert Downey Jr. brings the heat while playing approximately four characters (although some come together better than others). If you have wanted your spy shows to have the courage to be weirder, then this one is perfect for you.

    14. Lioness (Paramount+)

    Yes, the Taylor Sheridan-verse has finally gotten to me. The calculus on this one is simple: Zoe Saldaña screams at people and then shoots people in the face, and occasionally some great espionage gets sprinkled in. It’s awesome. While the plot this season had moments where it faltered, and other moments where it didn’t really make any sense, Lioness was immaculately watchable throughout. It has exactly what I’m looking for in a guns blazing spy thriller, and I am going to stop writing this for a little and go watch some clips of Saldaña doing her classic screaming and shooting. Would recommend.

    13. What We Do in the Shadows (FX)

    In its final season, our favorite group of vampiric roommates got up to a lot. They took on Wall Street, faced their daddy issues and gave us a (sort of) heartfelt goodbye. Great guest stars continued to trickle in to tangle with our lovable undead friends, from Zach Woods to Alexander Skarsgård. WWDITS was as funny as ever in its last act, and I will sorely miss this lovely, hilarious, incredibly stupid classic show. If you haven’t seen this show then you should watch it, no matter your personal taste. And if you’ve seen it and you don’t like it, then you really are the most devious bastard in New York City.

    12. Baby Reindeer (Netflix)

    Baby Reindeer is different. At times a psychological thriller, at others a love story, and all throughout an unwavering examination of trauma and the way it changes how you see yourself. Shows like this don’t come around very often, especially those with performances like what Richard Gadd and Jessica Gunning put forth. This one will make you want to curl up in a ball forever, and before you know it you’ll be clicking “play next episode.” A show this heavy isn’t for everyone, but if you find yourself in the mood to delve into the depths of a man’s psyche, or to be gripped by a story with too many turns to count, this show is just what you need.

    11. Hacks (Max)

    Hacks may have taken a step back in its third season, but this show is still operating at a level most shows can only dream of. Hannah Einbinder and Jean Smart are as electric as usual, while Megan Salter and Paul Downs kick it up a notch this season. While this show is at its best when the ground is rockier between our beloved Deborah and Ava, Hacks can’t help but be sharp, lovely and downright hilarious. If you have somehow not watched this show, you need to rectify that as soon as you can, if for no other reason than to get our boy Christopher McDonald back on your screen.

    10. House of the Dragon (HBO)

    I’ll admit it, I read Fire & Blood, and yes, that has informed my experience with the second season of House of the Dragon. A few moments with this season frustrated me, largely due to many of our main characters being left to tread water for episodes on end as other plotlines are allowed to catch up to them, but all in all I would still give this season a passing grade. If not for the writer’s strike and some belt-tightening at HBO (damn you, Zaslav, give me my finale) this season may have ended on a satisfying note, but sadly we do not live in that world. The performances still sparkled this season, particularly from Tom Glynn-Carney and new cast member Kieran Bew, and the sheer scale was still a sight to behold. This show is still good, and I eagerly await its third installment, but boy is it frustrating when television economics make the shows I like worse.

    9. The Bear (FX)

    Two shows in a row where my main gripe has more to do with the industry than the show itself. The Bear came back for its third installment this year, and many people, including myself, found it to be a bit lackluster. The entire cast still puts in brilliant work, and the show still maintains its tone that is entirely singular, but it is the pacing of the season where this show seems to fall flat. It’s no secret that The Bear was originally planned to be three seasons instead of four, so I don’t entirely fault the creative team for putting out a season that felt like an awful lot of place setting for the meal that will come next June. I do, however, feel the need to evaluate this show on its merits. Both can be true. It’s hard to judge this season for feeling like a season split in half due to network pressures, yet the third chapter of The Bear did not come close to the heights that the first two reached. I am hoping this will all feel worth it when I do my list next year.

    8. Fallout (Amazon)

    This is the show I was the most wrong about. I thought Fallout was going to be a soulless cash grab mining the fandom of a video game I never even played, but when I saw my number one boy Michael Emerson in the trailer, I had to give it a whirl (I also worked in the office next to them in New York and would freak out whenever Kyle MacLachlan walked by). I was floored by the balance this series was able to strike. Darkly funny and irreverent, soulful and nostalgic, while also delivering a near perfect Sci-Fi Western. Buoyed by the fantastic performances of Walton Goggins and Ella Purnell, two characters on a collision course who could not seem further apart, Fallout shocked me with its ability to be many things at once, and all of them were remarkable. If you played the game or not, if you like laser guns or six-shooters, this one is a can’t miss. Also Matt Berry is in it, so like, you kinda have to watch it.

    7. Slow Horses (Apple TV+)

    It’s telling that I watched seven Apple shows this year and only one made my top twenty, but I’m not here to discuss industry trends across streamers. Slow Horses returned like clockwork and delivered once again. Its fourth installment may have not delivered like the first two, but the world’s favorite spy series still brings the laughs, thrills and good old fashioned espionage that we crave so desperately. Gary Oldman continues to put up possibly the the best TV performance of the 2020’s as Jackson Lamb, and the addition of Hugo Weaving was the X factor that made this season work so well. Slow Horses should not only be applauded for its ability to deliver on its usual trappings that have made it one of the best shows of the decade, but also that it continues to reinvent year after year while still feeling like the show we love. If you haven’t watched this show yet then you have to figure some shit out.

    6. Ripley (Netflix)

    This one took me a second. I love the movie The Talented Mr. Ripley, and at first glance I felt like Steven Zaillian’s adaptation of the Patricia Highsmith character had taken the 1999 film and sucked all the good stuff out of it. Then I decided to be an adult, and to stop watching the show for what it wasn’t and to watch it for what it was. Yeah, this show is not as focused on the charm of the Dickie Greenleaf character, or the Italian vistas that look like they’re painted by Michelangelo himself, but Zaillian’s vision adds so much more than it takes away. Andrew Scott’s version of Tom Ripley brings forward possibly the most interesting performance of the year; harboring a sociopathic stillness and a near smugness in his deceptions. Ripley is a brilliant show about what it takes to transcend class even despite its visuals, which are the most striking of any show this year. Whether you’re looking for a show where every frame could be hung at the Met, or if you just want to see the Hot Priest be a cold-blooded lizard, this one is definitely worth a look.

    5. Somebody Somewhere (HBO)

    Even though I caught onto this show during the run of its first season, I still feel like I’m a late adopter. Great shows make you feel that way. In its third and final season, which ended only a few weeks ago, Somebody Somewhere finished on a high note; ensuring that I will miss my favorite group of Kansans for the rest of my days. This season focused on its main characters exploring the space that romantic love plays in their lives, and ultimately brought itself back to its roots: the platonic soulmate-hood of Bridget Everett’s Sam and Jeff Hiller’s Joel. I can try my hardest to really examine the notes that this show was playing, but the bottom line is that this show made me cry seven Sunday nights in a row. For those who want something heartwarming that never feels sappy: run, don’t walk.

    4. Say Nothing (FX)

    Goodfellas but it’s a nuanced and heartbreaking examination of revolution, idealism and sisterhood in Belfast during The Troubles? I’m in. Carried by the eight brilliant performances of its four lead characters (two each if you’re counting along) across a forty year period, this series walks the tightrope perfectly. Equal parts revolutionary thrill ride and dour meditation on regret and feelings of futility, Say Nothing strikes a balance that few other shows could dream of. This show never treads water, evolving from episode to episode, with its sixth episode, “Do No Harm,” being among the finest hours of TV this year. If you’re like me and you’ll watch anything Anthony Boyle is in, you’ll love this series; and if you’re a fan of the intense exploration of serious topics, edge of your seat moments, history, Irish accents or watching hot people be cool, this one should be at the top of your list.

    3. Mr. & Mrs. Smith (Amazon)

    I had someone in my life describe this show as “silly.” I don’t speak to that person anymore. Mr. & Mrs. Smith met me right where I was this year, and sat at my number one spot for a hot minute. Led by two titanic performances from Donald Glover and Maya Erskine, this show is able to serve as a sexy spy series while simultaneously picking apart our modern ideas about love and work. As someone who has been a member of the Glover Hive for years (you should watch Swarm, by the way) I signed up for this ride on sight with no expectations, and I found myself floored by it. This series shows us a relationship in bloom and in decay all at once, and feels both too real and completely otherworldly at the same time. You will fall in and out of love the Smiths, as they do the same across the season, and by the end you’ll be wishing you had taken a moment to enjoy the good times just a bit more. Also, this is the only piece of art to use truth serum in a way that isn’t stupid, so it’s worth the price of admission on that alone.

    2. Shōgun (FX)

    Here is a show that refuses to give you what you want, but always gives you what you need. Loud when you expect it to be quiet, quiet when you expect it to be loud, this story is as surprising as it is brilliant and poetic. Shōgun is teeming with brilliant performances, from Hiroyuki Sanada’s enigmatic power, to Anna Sawai’s quiet defiance, to Tadanobu Asano’s frenzied chaos. From the first episode, viewers are invited into a world that feels new and lived in at the same time, with a sense of scale and power that makes you fall in love with TV all over again. In a year where FX wrestled the title from HBO as the home of the best shows on TV, they bring us the “stranger in a strange land” story to end all “stranger in a strange land” stories. I have no idea what a second season of this show will look like, but it will be appointment viewing when it arrives. Do you like watching TV shows that are good? If you answered yes, then you should watch this.

    1. Industry (HBO)

    The first season of Industry was good, the second was really good, and the third was great. I do not use “great” lightly. Each component of this show works: from its unique, hair-raising visual style to its plot that moves at a breakneck pace. Creators Mickey Down and Konrad Kay are constantly forcing this story and its characters to evolve, with no room for a plotline or theme to stagnate. All four of the lead performances are simply stunning, paramount among them being Ken Leung, who turns in the best acting performance of the year. This season was also given an imense gift this time around, with new cast member Kit Harington putting up the best work of his career. From the fourth episode’s Uncut Gems-esque coke-snort-thriller, to the finale’s nearly Austenian love story, Industry is announcing to the TV world that it has leveled up and is here for the crown.

    A large part of the reason I chose to publish this piece was to tell everyone how great Industry is. Shows like this do not come around often, so jump on the ride before it leaves without you. I could talk about this show forever so I’m going to go rewatch the first season of Severance to calm down, but seriously, check this show out.