The Best TV Shows of 2024

Television: now less than ever.

2024 was an interesting television year for me. For the first time, I watched none of the shows nominated for the Best Drama Series Emmy. Not from any lack of desire or availablity, I just never got around to them. I didn’t watch Baby Reindeer, Shōgun, Mr. & Mrs. Smith, Ripley, True Detective: Night Country, The Penguin, or the latest seasons of Hacks and House of the Dragon, yet I still think this was a pretty solid year of television. So if you’ll forgive those omissions (I’ll get to ’em eventually), here’s my annual list.

HONORABLE MENTIONS: ABBOTT ELEMENTARY (ABC), CHUCKY (Syfy), DOCTOR WHO (Disney Plus), FEUD: CAPOTE VS. THE SWANS (FX), LAID (Peacock), ONLY MURDERS IN THE BUILDING (Hulu), POP CULTURE JEOPARDY! (Amazon Prime), SMILING FRIENDS (Adult Swim), TED (Peacock), WHAT WE DO IN THE SHADOWS (FX)

10. AGATHA ALL ALONG (Disney Plus)

The most recent (and seemingly superfluous) television addition to the Marvel Cinematic Universe was Agatha All Along, a spinoff/sequel series to 2021’s acclaimed MCU television series Wandavision. Kathryn Hahn stands out in most things she’s in and she was naturally great in Wandavision, but making a spinoff centered on her minor villainous character seemed an odd choice. Agatha All Along roundly proved me wrong, bringing in a talented cast ranging from Broadway legend Patti LuPone to charming Heartstopper star Joe Locke and throwing them into an agreeably campy and dark dramatic horror series that is the first television series since The Magicians that earned comparisons to Buffy The Vampire Slayer (one of the best series to ever grace television). Agatha All Along is gripping, refreshingly episodic (the episode centered on LuPone’s character’s backstory is one of the best of the year), and well acted (Aubrey Plaza has had such an impressive year in film that her very memorable performance in this was largely overlooked); it’s a miracle this came from the Marvel machine.

9. FARGO (FX)

Coming in just under the wire, Fargo’s fifth season mostly aired in 2023 but aired its last two episodes (the finale being one of the best the show has ever done) in 2024. The most modern season yet (taking place in 2019) and directly inverting the plot of the original Coen brothers film, Fargo season five was also its darkest. Boasting its best cast yet with Juno Temple, Sam Spruell, and Jon Hamm as standouts, this season was a deceptive cat and mouse thriller that commented on domestic violence, Trump era conservative politics, and the debt buying industry in its typical darkly comedic way, culminating in an action packed climax that directly references the 2014 Bundy standoff. The thematic focus on debt is what specifically made the finale so memorable, which nobly and somewhat radically introduces the idea that debt (and anger, and petty grievances) can be forgiven, we just have to forgive ourselves. It’s an uncharacteristically hopeful ending that the Coens themselves may scoff at, but it works remarkably well in the context of Noah Hawley’s latest stylish mélange of their ideas.

8. ENGLISH TEACHER (FX)

The funniest new series of the year, English Teacher acts as Abbott Elementary’s evil twin, with a cynical and mordantly hilarious look at the experiences of public educators in 2024. English Teacher is the latest in a series of shows directly influenced by the acclaimed series Louie, a trend that I’m glad FX is keeping up with. Like Louie (and Atlanta, and Master of None, and Ramy and many others) the show is a clear product of creator/writer/star Brian Jordan Alvarez’s own comedic persona and worldview, as seen in his cult favorite webseries The Gay and Wondrous Life of Caleb Gallo and his other short form comedic videos. His sensibility translates well to television, with whip-smart one-liners, enjoyably over the top characters and situations, and a droll approach to modern queer politics. It’s here I must note that while I very much enjoyed this season of television, I do hope it only lasts one season: another reason it’s similar to Louie unfortunately lies in the alleged actions of its creator.

7. GIRLS5EVA (Netflix)

The best “laughs per minute” show of the year still went under-appreciated even as Netflix gave it a second life, but its greatness is still apparent. Carrying on 30 Rock’s zany legacy with aplomb, the show is even more incisive with its pop culture references and observations in its third (and unfortunately final) season. Like Jane Krakowsi before her, Renee Elise Goldsberry is giving the comedic performance of a lifetime on this show.

6. JOHN MULANEY PRESENTS: EVERYBODY’S IN LA (Netflix)

As a longtime John Mulaney fan I had no idea what to expect from a talk show hosted by him, and I was pleasantly surprised that this was more Oh, Hello and less Mulaney in terms of his non-standup special endeavors. Everybody’s in LA follows the usual tried and true late night talk show format, with pretaped sketches, musical performances, and a scrappy sidekick (the incomparable Richard Kind) supplementing a knowledgeable guest brought in to discuss each episode’s California related topic. The one week long talk show, however, infuses that well known format with a sense of spontaneity and chaos thanks to a diverse selection of charismatic celebrity guests and live comedic bits that genuinely seem to go off the rails quite often. One episode memorably devolves into unbridled chaos as Bill Hader and Pete Davidson have giggle fits during a discussion with a seismologist and David Letterman somehow ends up under a blanket with comedian Luenell. Everybody’s in LA is pure late night television brilliance in an era where late night has never felt more neutered.

5. JERROD CARMICHAEL REALITY SHOW (HBO)

Jerrod Carmichael has been working in television for almost ten years now, starring in the underrated The Carmichael Show and producing Ramy, while also finding time to host both Saturday Night Live and the Golden Globes. He’s a verified celebrity now (even moreso after coming out as gay in his 2022 comedy special Rothaniel) and Jerrod Carmichael Reality Show is his attempt at reckoning with this new status. Ostensibly a puff piece about his new luxurious life as a famous comedian, the reality series is a lot stranger and rougher than one would expect, frequently depicting Carmichael as unlikable and prone to making difficult personal situations even worse. We see him admit to a crush on his friend Tyler, The Creator (in one of the most excruciatingly awkward television scenes I’ve seen in a while), cheat on his boyfriend (and then go through couples counseling with him), and attempt to reconcile his sexuality with his religious mother. Carmichael actually commits to the “reality” part of reality television, attempting to actually define himself warts and all, and it’s riveting (albeit hard to watch) television that gets at some hard truths about fame, sexuality, and family. It’s thankfully self aware too, during a conversation between Carmichael and a disguised friend (who is clearly Bo Burnham), his friend rightfully calls him crazy for sharing this much about himself with a large television audience in one of the funniest scenes of the series.

4. EVIL (Paramount Plus)

The biggest underseen TV gem in recent memory was CBS/Paramount Plus’s Evil, which aired its final season this year. Two parts The X-Files, one part Twin Peaks, Evil stayed unpredictable to the very end with its unconventional mix of “case of the week” episodes as forensic psychologist Kristen (Kate Herbers), seminarian David (Mike Colter), and technical expert David (Aasif Mandvi) explore seemingly supernatural acts of “evil” alongside a series long arc involving a war between the Catholic Church and corporate interests seemingly intent on bringing the Antichrist to Earth. As outlandish as that may seem, the show is rooted in its strong, charismatic characters and its overarching thematic concerns involving the role of religion in contemporary society, the dangers of big tech, and the idea of living in a world that feels like it’s getting crazier and darker ever day. It’s also a well directed, deeply scary show when it wants to be, which is often. While it ended prematurely, Evil was smart and lovely until the end, positing that even if we can’t overcome all of the darkness in this world there’s always hope to find in each other.

3. THE BEAR (Hulu)

The Bear’s character work remains unparalleled, especially in a season that turned many viewers off because of its intentional repetitive nature. Carmy refuses to learn and grow from those around him and the series refuses to let him off the hook, showcasing the ways he still hurts those around him despite the “success” of the titular restaurant throughout the season. It’s an interesting, dramatically strong choice that I think will reflect well on the show after it ends. The third season also continued its very welcome character spotlights with standout episodes centering on Liza Colón-Zaya’s Tina and Jamie Lee Curtis’s foreboding matriarch Donna.

2. FANTASMAS (HBO)

Julio Torres not only made one of the best movies of the year but also one of the best TV shows of the year. Fantasmas makes perfect sense to anyone familiar with Torres’ standup specials and previous HBO series Los Espookys, but amongst the greater TV landscape it’s a breathtaking outlier. A mix of sketch comedy, surreal humor, and loose autobiography, Fantasmas takes place in a fantasy version of New York City as Julio attempts to obtain “proof of existence” and track down a missing golden oyster earring. It’s endlessly creative and uses its absurd humor in ways that are both satirical (an insurance company representative seductively relishing denying customers care) and just flat out extremely funny (an extended ALF parody succeeds because of guest star Paul Dano’s commitment to the material). 2024 cemented Julio Torres as one of the best and most unique comedic voices working in both film and television right now.

1. INDUSTRY (HBO)

Industry was already a strong dark workplace comedy drama in its first season way back in 2020 and it’s only gotten better since, becoming its very best self in 2024 in its very sharp and very mean third season. As Pierpoint is seemingly going under, our cutthroat bankers are as desperate than ever to hold on to whatever money, reputation, or job is within their reach as everything falls apart. This desperation bled into the writing and direction, which was enjoyably over the top this season as characters fell apart, fell in love, hooked up, and betrayed each other constantly. It’s the most exciting show on television thanks to its endlessly entertaining business power plays, fast flying financial jargon, and its very explicit sex scenes (which effectively communicate several complicated character dynamics). It has a strong satirical bent as well, tackling corporate greenwashing and old money vs. new money dynamics in fresh and twisty ways that always feel at home within its sardonic “capitalism is everything” theming. Most importantly, the characters are engrossing: the relationship between Harper (Myha’la) and Eric (Ken Leung) comes within earshot of Don and Peggy’s complicated mentor/mentee relationship on Mad Men, tortured lower class Robert (Harry Lawtey) and troubled socialite Yasmin’s (Marisa Abela) on again off again mixed class status romantic relationship is one for the ages with a very memorable ending this season, and even secondary comic relief character Rishi (Sagar Radia) gets his own Uncut Gems-flavored spotlight episode this season that reveals his own complex depths. Industry is television at its very best operating in peak form, and above all it’s an absolute joy to watch.