The 50 Best TV Shows of 2023

Whether it’s the conclusion of juggernaut hits or new shows that sparked conversation, the television medium delivered in 2023.

The anticipated adaptation of “Daisy Jones & the Six” kept us dancing (and crying) in the spring, while the brilliantly devastating conclusion of “Succession” left us catching our breath in May. “The Last of Us” reminded us of the real emotional stakes of a zombie apocalypse, and Netflix’s “Beef” showed us the depths a person can go to when seeking retribution.

The historic Hollywood double strikes delayed the returns of our favorite broadcast series in the fall, but streaming series like “The Buccaneers” and “The Curse,” and linear hits like “The Golden Bachelor” and “Fargo” kept us glued to our screens this year.

Check out TheWrap’s staff picks for the best TV shows of 2023 below.

“Abbott Elementary” (ABC)

The second season of “Abbott Elementary” doubled down on its excellence when it returned with new episodes in January. From a long-anticipated first kiss between Janine (Quinta Brunson) and Gregory (Tyler James Williams) to the introduction of Janine’s mother, played by Taraji P. Henson. The new episodes also packed on the social commentary, as the titular school setting faced a threat of becoming a charter in its final episodes. Through their dedication and love of teaching, the instructors at Abbott managed to save the school to keep fighting and educating another day. We can’t wait to see where the show goes in its upcoming third season. — Jose Alejandro Bastidas

“All the Light We Cannot See” (Netflix)

Anthony Doerr set the foundation for Shawn Levy’s four-episode limited series, adapted from the author’s Pulitzer Prize-winning novel of the same name. Aria Mia Loberti’s breakthrough performance as Marie-Laure LeBlanc elevated the television show to excellence. Louis Hoffman’s performance as Werner Pfennig complimented Loberti’s portrayal of a blind girl who holds her father (Mark Ruffalo) and Uncle Étienne (Hugh Laurie) together in the midst of the Nazi occupation of France at the beginning of World War II. Epic in scope but full of individual heart wrenching, heartstopping and heartwarming moments, “All the Light We Cannot See” cemented itself in the top crop of TV series and page to screen adaptations this year. — Dessi Gomez

“Barry” (HBO)

Talk about sticking the landing. The final season of “Barry” is what happens when a group of people get together and work extremely hard to get the story exactly right. The culmination of this “hit man comedy” from Bill Hader took a couple of bold swings, resulting in one supremely satisfying home run as the story of Hader’s Barry Berkman ended the only way it could. This series, all along, had been about extreme denial (in many forms) and what’s truly necessary to attain growth or change as a human being. That Hader (who brilliantly directed every episode of this final season) and Co. were able to tie up the series in a manner that was satisfying on a thematic, story and character level all at once is a minor miracle. “Barry” is artful storytelling at its finest. What a run. — Adam Chitwood

“The Bear” (FX/Hulu)

FX’s surprise streaming hit on Hulu showed no signs of losing steam creatively in its 10-episode second season. Instead, the Christopher Storer-created series gave its ensemble cast the chance to shine with a quieter, more introspective installment allowing for all characters to transform along with the restaurant at the center of its premise. As the crew worked together to transform the Beef sandwich shop into a Michelin star-worthy restaurant, called The Bear, Carmy (Jeremy Allen White), Sydney (Ayo Edebiri) and company faced transformative changes in their personal and professional lives as well. The biggest highlight in a season full of standout moments came in Episode 6, titled “Fishes,” when the show flashed back to a holiday celebration at the Berzatto family home featuring a star-studded cast — Jamie Lee Curtis, Sarah Paulson, John Mulaney, Bob Odenkirk among others! — as the members of Carmy’s dysfunctional family. — JAB

“Beef” (Netflix)

While the hype for “Beef” might have come and gone, the impact of the revenge dramedy has stayed with us for months. Starring Ali Wong and Steven Yeun, “Beef” centers on the escalating feud between an upper class entrepreneur (Wong) and a failing contractor (Yeun), who share similar feelings of despair and loneliness prompted by wildly different situations. The pair keeps at their vengeful relationships even as it further implicates their friends and family and disintegrates their lives, all while building a twisted bond with each other that has the potential of companionship. — Loree Seitz

“The Buccaneers” (Apple TV+)

Come for the modern soundtrack — including hits from Taylor Swift, Maggie Rogers, Lucy Dacus and more — and stay for the Anglo-American culture clash that tests a brash group of “Buccaneers,” or female friends who value each other’s friendship over anything else, even when they are pressured to find reputable husbands in the 1870s marriage market. “I do” doesn’t even begin to solve their problems, especially when some of them get involved with less-than-desirable men. Front and center are Annabelle “Nan” St. George (Kristine Frøseth) and her two suitors Theo (Guy Remmers), Duke of Tintagel, and Guy Thwarte (Matthew Broome), Theo’s childhood best friend. Many other love affairs and blooming relationships twist and turn to challenge the notion of marriage and what behavior is desired in a husband or wife. — DG

“The Curse” (Showtime)

Ever since his time on the CBC’s “This Hour Has 22 Minutes,” Nathan Fielder has emerged as one of the most unexpected and thought provoking creators of this era. Yet even his most diehard fans could not have been prepared for his collaboration with “Uncut Gems” director Benny Safdie. On the surface, “The Curse” tells the story of a mid-30s couple who wants to turn their passion for zero-waste, carbon-neutral living into an HGTV series. Yet bleeding through the edges of the camera’s rosy lens another story unfolds, one that unflinchingly details the self-serving callousness of hipster white savior gentrification and a marriage that is slowly imploding. Fielder tests his acting chops, one moment leaning into the stiff style he’s known for, the next flying into extreme rage. However, it’s Emma Stone’s unnerving performance that makes this Showtime original work. Stone is pitch perfect as a privileged wannabe influencer who’s clearly uncomfortable in her own skin. Stone has always been an accomplished actor, but the mix of uncertainty, haughtiness, self-hatred, empathy and casual cruelty she brings to the role of Whitney marks “The Curse” as one of her best performances to date. — Kayla Cobb

“Daisy Jones & the Six” (Prime Video)

Based on Taylor Jenkins Reid’s novel of the same name, “Daisy Jones & the Six” finally hit the small screen in February and March 2023, almost five years after the series was first ordered by Amazon’s Prime Video. Riley Keough lived up to her rockstar ancestry by taking on the role of aspiring singer-songwriter Daisy Jones, and Sam Claflin brought Billy Dunne, frontman of The Six, to life. The collision of Billy and Daisy both romantically and artistically led to the rapid rise of their collaboration album “Aurora.” Fellow band members guitarist Graham Dunne (Will Harrison), keyboardist Karen Sirko (Suki Waterhouse), drummer Warren Rojas (Sebastion Chacon) and bassist Eddie Roundtree (Josh Whitehouse) also rose to fame and watched the lead duo of the band unravel, with Billy’s wife Camila (Camila Morrone) in the mix as well. With a perspective-changing reveal at the end of the show, the dynamic limited series demands a rewatch. — DG

“The Diplomat” (Netflix)

Believe us, we also didn’t expect the most fun show we’ve watched in the past six months to be a Netflix political drama, but so it is. Starring Keri Russell as the world’s most frazzled politician and Rufus Sewell as Russell’s charmingly arrogant husband and recognized diplomat, “The Diplomat” follows Russell’s surprise appointment as U.S. Ambassador to the U.K. following a troublesome terrorist attack. She brings along her husband as a backup as she transitions to the appointed role, but Russell’s character must keep her husband at arm’s length to prevent him from doing what he does best: stir the pot. A stellar supporting cast led by Ato Essandoh and Ali Ahn and quick-witted dialogue from Russell and Sewell give the political drama levity without negating the stakes, making this a sharp, savvy and most importantly fun feast. — LS

“Doctor Who” 60th Anniversary Specials (Disney+)

The “Doctor Who” Christmas specials released this year were like a warm hug by the fire. They were also hugely important to the “Doctor Who” continuum, not only for bringing back David Tennant who – spoiler alert! – actually survived the regeneration at the end of the third special, which also introduced the adorable new Doctor (Ncuti Gatwa), but also because it was the first “Doctor Who” joint co-produced by Disney and the BBC. You could tell that there was extra cash on hand; the visuals in the three specials were as detailed and sumptuous as has ever been seen on the series. But it also broadened both the appeal and audience of “Doctor Who,” with the TARDIS proudly appearing on the Disney+ home page. Brilliantly conceived, tons of fun (that “Spice Up Your Life” moment in the third special, “The Giggle,” was marvelous) and oddly emotional, these specials also gave us a Doctor (Tennant) who learned the benefit of self-care. Saving the universe can take its toll, psychologically. Even after his regeneration, he was ready for a reset. — Drew Taylor

“The Fall of the House of Usher” (Netflix)

Mike Flanagan ended his run at Netflix with this gory, shocking and delightfully macabre adaptation of all things Edgar Allan Poe. His follow-up to previous literary limited series “The Haunting of…” finds the Usher family, led by corrupt brother and sister Roderick (Bruce Greenwood) and Madeline (Mary McDonnell), as their drug empire is crumbling and death stalks Roderick’s many children. Carla Gugino is a tour de force as the mysterious Verna, who infiltrates and undermines the Ushers with killer style. — Sharon Knolle

“Fargo” (FX)

What do you do when your wife isn’t your wife and a kidnapping isn’t a kidnapping? Those are the head-scratching questions at the center of “Fargo” Year 5, an installment of Noah Hawley’s drama that puts truth itself on trial. The most direct adaptation of the original Coen brothers’ movie to date, this season turns the film’s kidnapping saga on its head to focus on its own Midwestern housewife, Dot Lyon (Juno Temple). After a run-in with the law, Dot appears on the radar of the husband she left long ago, sheriff and pastor Roy Tillman (Jon Hamm). The ensuing installment becomes a war between the constantly crafty Dot and the seemingly all-powerful Roy with stellar performances from Jennifer Jason Leigh, David Rysdahl, Joe Keery, Lamorne Morris, Richa Moorjani, Dave Foley and Sam Spruell threaded into the mix. As much fun as it is to watch Temple fend off her aggressors with makeshift flamethrowers, it’s the dramatic edge to Temple’s performance that elevates Year 5. Her quiet panic as she expertly lies to everyone around her cements the fact that this story isn’t a wacky saga about escaping a cult leader of a cop. For Dot, it’s a matter of life and death. — KC

“Fellow Travelers” (Showtime)

Matt Bomer and Jonathan Bailey helped heat up the cold fall months in this Showtime limited series. This political drama chronicled the plight for gay rights in America through the hidden relationship of Hawkins Fuller (Bomer) and Timothy “Skippy” Laughlin as they grew in and out of love from the 1950s to the 90s. The series from creator Ron Nyswaner, adapted from the novel of the same name by Thomas Mallon, carefully balances politics with emotional baggage. But it will perhaps be remembered most for its passionate sex scenes, including a memorable foot play sequence starring the show’s handsome leads. — JAB

“For All Mankind” (Apple TV+)

The central conceit of “For All Mankind” — that each season will skip ahead a decade, in an alternate history version of the ongoing space race — has been both its biggest asset and toughest obstacle. Yes, watching the decades unfold and seeing where the universe of the show diverges from our own world is endlessly compelling, but the show is also forced to slather its cast in old-person make-up (remember: the show started as a kind of parallel universe version of “The Right Stuff”) and concoct reasons for them to still be around. Still, it remains one of the boldest, most entertaining series on television. And it shows no signs of slowing down in Season 4, with various space entities embarking on a new gold rush, as an asteroid orbiting Mars is shown to be rich with priceless minerals. Back on Earth, survivors are dealing with the aftermath of the explosion that rocked last year’s finale (Coral Peña is astounding in this new season as she deals with the psychological fallout of both the explosion and losing her mentor, who has defected to the USSR). And sure, all the big picture, high concept stuff is gripping. But it’s the characters and their interpersonal dynamics that make the show so watchable. Even in zero G, it’s one of the best shows on television. — DT

“Frasier” (Paramount+)

Usually sitcom revivals are all about getting the gang back together, but Paramount’s new “Frasier” series is ultimately more of a Frasier Crane-led spin-off. As with his jump from “Cheers” to “Frasier” in the 90s, Kelsey Grammer once again returns alongside an all-new cast for a sitcom that has its own vibe and identity, despite the unfortunate and misleading identical title. Do I miss Niles, Martin, Daphne and all the rest? Absolutely, but even with a truncated streaming season, I’ve also grown fond of Jack Cutmore-Scott’s Freddy and Nicholas Lyndhurst’s Alan Cornwall, and the way they reflect new different absurdities in Frasier’s forever comically flawed psyche. And though Frasier has evolved a lot since his original series went off the air, Grammer hasn’t lost a step when it comes to his gravitas-meets-goofiness or his home run line delivery. — Haleigh Foutch

“Full Circle” (Max)

The great Max/HBO divide is best exemplified by “Full Circle.” A starry, prestige thriller, wholly directed by the great Steven Soderbergh, it was oddly released in chunks (two episodes a week for three weeks) on Max with little fanfare and almost no discussion online. But if “Full Circle” was airing every Sunday on HBO for six full weeks, it would have led to endless theorizing and finger-pointing. The story concerns an upper crust Manhattan couple (Claire Danes and Timothy Olyphant) whose young son is involved in a kidnapping plot gone horribly wrong. Zazie Beetz is the dogged detective in charge of the investigation. Dennis Quaid is Danes’ father, who made his money as a celebrity chef. It gets very complicated very quickly, but the clear emotional throughlines make it easy to follow (it was completely written by Ed Solomon, a regular Soderbergh collaborator who most recently wrote Soderbergh’s excellent crime movie “No Sudden Move”). In other words: this should have been a sensation, but instead it was something of an afterthought. But hey, maybe it’ll find its audience. Then it would really come full circle. — DT

“Gen V” (Prime Video)

Prime Video’s “The Boys” expanded its universe this year with a college-set spin-off titled “Gen V.” The series gave fans the same thrills, kills and superhero drama fans loved from its predecessor, but also introduced the first generation of Supes who are aware of the injectable power-producing chemical Compound V. While in competition to remain the top-ranked supes on campus, a group of students ends up finding out that their school has some secrets that could threaten the existence of all superheroes. — Raquel “Rocky” Harris

“The Golden Bachelor” (ABC)

It’s safe to say “The Golden Bachelor” revitalized the ABC reality dating franchise as it brought in an older generation of viewers rooting for their peers, while winning back former fans who’d tuned out of recent iterations. The inaugural season centered on 72-year-old Gerry Turner, who sought out a partner for the next chapter of his life years after the loss of his wife due to illness. As Turner began getting acquainted with the 22 women in his new dating pool — all of whom were in their 60s and 70s — tender moments of connection arose as the senior singles shared their stories of grief, divorce and hope. The women of “The Golden Bachelor” also won over the hearts of “Bachelor” nation, as the hourlong show chronicled their shenanigans and touching friendships, leading many to hope one lucky senior lady is crowned as the franchise’s first “Golden Bachelorette.” — LS

“Hijack” (Apple TV+)

Idris Elba’s suave businessman puts his negotiation skills to the ultimate test aboard a hijacked flight from Dubai to London in this superb Apple TV+ thriller. In the tense seven-hour series, which plays out in real time, he must become essential to the hijackers without alienating his fellow hostages. Meanwhile, on the ground, Archie Panjabi’s intrepid counter-terrorist agent, her ex-cop boyfriend (Max Beesley) and a chaotic but brilliant air traffic controller (Eve Myles) frantically work to get the flight home safely. — SK

“I Think You Should Leave with Tim Robinson” (Netflix)

As delightfully deranged as Tim Robinson’s sketch series may be, there’s always been a sense of vulnerability hiding behind its humor. Yes, creators Robinson and Zach Kanin’s absurdism manifests as a contestant who goes on a dating show just for the zip line, a fast food customer who tries to con a stranger into buying him the whole menu and a man who has a full-blown existential crisis over a pig in a mask. But there’s always an unsettling amount of truth to this wild show. The perfectly titled Netflix original serves as a reflection of our most anxious, unfit for public selves, the version of us that is so desperate to belong that they’re instantly excluded. Just like the previous two installments, Season 3 elevates cringe comedy to its absolute limits, somehow transforming this niche comedic subgenre into a performance that feels both relatable and uncomfortably human. — KC

“Jury Duty” (Amazon Freevee)

“Jury Duty” certainly wins for the most unexpected hit of the year. Posing the question “What would happen if a real person was put in the middle of a comedy and didn’t know it?” the series gives its viewers just enough comedic beats while letting the ridiculous shenanigans of several improvised situations play out. Filling a jury full of actors — with the most recognizable celebrity being James Marsden — an unsuspecting man named Ronald Gladden finds himself in the middle of far-fetched scenarios as the jury for a civil trial is sequestered in a hotel. Instead of falling into the traps of a prank show, the Amazon Freevee series surprises its audience with heartwarming moments as Ronald’s kindness is on full display, mirroring the feel-good instances found in fictionalized shows like “Ted Lasso.” — LS

“The Last of Us” (HBO)

There are few video game adaptations that have been as faithful to their source material as HBO’s “The Last of Us.” The drama series walks the delicate line of giving gamers the Easter egg-filled story that they love, while at the same time building on the world and making slight changes to tell the story in a fresh way for new viewers experiencing the story for the first time. Joel Miller and Ellie Williams’ bond in the PlayStation video game franchise was masterfully brought to life by Pedro Pascal and Bella Ramsey. Other knockout performances include Merle Dandrige, who reprised her role of Firefly leader Marlene, Nick Offerman and Murray Bartlett as survivors Bill and Frank, and Ellie’s original voice and motion capture actor Ashley Johnson, who took on the role of her mother Anna in a full circle moment. While the series had less zombies than die-hard fans were hoping for, co-creators Craig Mazin and Neil Druckmann have already teased that the upcoming second season is gearing up to take bigger swings as the ramifications of Joel’s shocking decision in the Season 1 finale play out. — Lucas Manfredi

“Lessons in Chemistry” (Apple TV+)

Science only scratches the surface when it comes to themes in this Apple TV+ limited series, adapted from Bonnie Garmus’ best-selling novel of the same name. Brie Larson brings stringent and studious chemist Elizabeth Zott to life, alongside Lewis Pullman’s Calvin Evans. The series expands various storylines for characters like Harriet Sloane (Aja Naomi King) and Fran Frask (Stephanie Koenig) while Kevin Sussman’s Walter Pine proves a linchpin for Elizabeth’s past, present and future selves. Rainn Wilson brings an edge even sharper than Dwight’s to the character of Phil Lebensmal, station manager of the network that airs Elizabeth’s chemistry and cooking show. BJ Novak voices an endearing Six-Thirty. Unknown variables abound, but Elizabeth assembles an extraordinary team of found family to surmount such obstacles. — DG

“Loki” (Disney+)

“Loki” doubled down on what made the first season so much fun, while also giving it additional layers (universes?) of emotional complexity. At the end of Season 1, when Sylvie (Sophia Di Martino) killed He Who Remains (Jonathan Majors), she threw the Time Variance Authority (TVA) into chaos and left Loki (Tom Hiddleston) to try and pick up the pieces. Season 2 saw Loki running around the multiverse (and to various points on the timeline) to amend the mistakes he made the first time around, while also being painfully “unstuck in time” (to borrow a phrase from Kurt Vonnegut). This took him on a wild ride across the cosmos, with a prolonged stopover at the 1893 World’s Fair in Chicago (this was the same World’s Fair that serial killer H.H. Holmes attended, as recounted in the bestselling nonfiction book “The Devil in the White City”). We got to see Owen Wilson sell jet skis and Sylvie work in a 1970s-era McDonald’s. And Ke Huy Quan pops up as Ouroboros, who works in the TVA’s Repairs and Advancement Department. All of this nuttiness culminates in one of the most moving moments in all of the MCU — a moment so profound, in fact, that we won’t ruin it here. “Loki” Season 2 seems like it will be its last. But if the show has taught us anything, it’s to expect the unexpected. — DT

“The Marvelous Mrs. Maisel” (Prime Video)

After captivating viewers with its lighthearted comedy, sharp wit and cinematic feel for four seasons, “The Marvelous Mrs. Maisel” took her last bow with this year’s excellent fifth and final installment. Viewers were divided with creators Amy Sherman-Palladino and Dan Palladino’s choice to jump back and forth in time to chronicle highlights of comedian Midge’s (Rachel Brosnahan) legendary career, while also following the journey toward her big break. But the storytelling approach helped paint a full picture of the beloved character’s story of determination and strength — and all the mistakes and messiness that comes with pursuing one’s dreams — cementing the series as a satisfying tale for all to enjoy for years to come. If you haven’t joined the “Maisel” train, now’s the time to fall in love! — JAB

“Minx” (Starz)

An unsung hero of 2023 television is Starz, the savior of Ellen Rapoport’s wickedly funny and sharp porno comedy, which was originally canceled by HBO Max. If Season 1 of “Minx” was about proving that women deserve a place in an industry dominated by men, Season 2 was about how one maintains that power without losing their soul. After Minx magazine — the first erotic publication for women — becomes a national hit, Joyce (Ophelia Lovibond) finds herself at the top of the corporate ladder she spent so many years criticizing. Initially, her life as the boss is a good one as she takes a cue from her partner and mentor Doug Renetti (Jake Johnson) and leans in. But the more comfortable Joyce becomes at the top, the more she loses sight of the inclusive ethos and celebration of otherness she originally championed. Lovibond and Johnson are great once again in Season 2; Lovibond excels as a neurotic, borderline annoying optimist and Johnson has made a career out of nailing the loveable curmudgeon. Yet this time around the best performances come from the show’s side players: Jessica Lowe as the ditzy but insightful Bambi; Oscar Montoya as the passionate artist Richie; Idara Victor as the ever pragmatic Tina; and of course Lennon Parham as Shelly, a housewife discovering her writing voice and her sexuality at the same time. Even 50 years after its setting, “Minx” continues to feel revolutionary. — KC

“Monarch: Legacy of Monsters” (Apple TV+)

It’s been a heck of a year for kaiju cinephiles. While “Godzilla Minus One” is tearing it up in theaters, Apple has been rolling out “Monarch: Legacy of Monsters” on streaming. Starring Kurt Russell and Wyatt Russell as the same character, decades apart, “Legacy of Monsters” ties together Legendary’s creature-packed Monster-verse, from the San Francisco attack in Gareth Edwards’ 2014 franchise-launcher, “Godzilla” to Skull Island, Hollow Earth and and worldwide Titan madness, future and past. The series benefits from an Apple-size budget, delivering week after week of monster mayhem (though Godzilla himself has been scant so far) and a level of world-building the films simply never had time for. The series still has a few episodes to prove it can stick the landing, but so far, “Legacy of Monsters” has been a true treat for creature feature fans. — HF

“Mrs. Davis” (Peacock)

Usually when someone describes a show as “unlike anything else on television,” it’s empty hyperbole. But in the case of “Mrs. Davis” that’s actually true. It might be unlike any show ever. Created by Damon Lindelof and Tara Hernandez, “Mrs. Davis” follows Simone (Betty Gilpin), a nun at a strawberry-making commune, who is tasked by a malevolent AI (the titular Mrs. Davis) to find the Holy Grail. Yes that Holy Grail. From there, Lindelof and Hernandez weave an epic saga that includes a decidedly “Lost”-like subplot about a scientist on an island (Ben Chaplin); a group of “Fight Club”-quoting, flip-phone-snapping Luddite he-men (led by Jake McDorman and Chris Diamantopoulos); and a lot of glitzy Reno, Nevada-based stage magic (David Arquette has a meaty supporting role as Simone’s doomed father). Nimbly balancing tones, styles and genres, “Mrs. Davis” is a constant, WTF-worthy delight. The fact that a show about the dangers of the algorithm was made by a direct-to-consumer streaming service? It’s downright miraculous. — DT

“A Murder at the End of the World” (FX)

Fans of “The OA” waited years for a new Hollywood project from filmmaking duo Brit Marling and Zal Batmanglij, and “A Murder at the End of the World” did not disappoint. The FX limited series starred “The Crown” breakout star Emma Corrin as Darby Hart, a Gen Z amateur detective working on two complicated murder mysteries in separate timelines. As she got closer to the truths past and present, audiences uncovered new facets of the heroine’s complicated psyche. Far more straightforward than its Netflix predecessor, Marling and Batmanglij wove an engrossing commentary on the dangers of modern technology into a compelling whodunit that keeps viewers guessing until its almost-Shakespearean resolution. — JAB

“Never Have I Ever” (Netflix)

The final season of Mindy Kaling and Lang Fisher’s young adult comedy series ends on a hopeful note as Devi Vishwakumar (Maitreyi Ramakrishnan), Eleanor Wong (Ramona Young), Fabiole Torres (Lee Rodriguez), Ben Gross (Jaren Lewison) and company graduate high school to head to college. Paxton Hall-Yoshida (Darren Barnett) comes back into the mix as well, and Trent Harrison (Ben Norris) still has to graduate after getting held back in the last season. Michael Cimino (“Love, Victor) guest stars as yet another one of Devi’s romantic interests, but the original squad from Season 1 make the most of one final year of chaos, shenanigans and adventures at Sherman Oaks High. — DG

“The Night Agent” (Netflix)

A young FBI agent (Gabriel Basso) is assigned to answer a red phone that never actually rings — until it does. He’s catapulted into a deadly case that would test even the most experienced spy. He forms unlikely alliances and continually questions who, if anyone, he can really trust. This very watchable “junior James Bond”-esque Netflix thriller is getting a second season and we’ll definitely answer that call. — SK

“One Piece” (Netflix)

You would be forgiven for thinking there’s no universe in which a live-action “One Piece” could work. Eiichiro Oda’s manga of the same name is so joyfully cartoonish it’s a story that seems bound to animation. Yet Matt Owens and Steven Maeda, in partnership with Netflix and Tomorrow Studios, have done the impossible in bringing Monkey D. Luffy and his crew of Straw Hat Pirates to life. A huge reason for the live-action series’ success has to do with its tone. Instead of trying to make this story of feuding pirates and magical Gum-Gum fruits more realistic, “One Piece” follows the direction set by Edgar Wright’s adaptation of “Scott Pilgrim vs. the World,” jumping into the wild norms of this universe and trusting the audience will eventually catch up. But more than anything else it’s “One Piece’s” stellar cast, namely Iñaki Godoy as Luffy, that makes this Netflix original sail. Godoy’s performance is defined by sincerity, silliness and completely unearned confidence. Just like the manga and anime version of this property, you can’t help but root for him in this inspiring story that provides a jolt of optimism in a medium defined by brooding, dark antiheroes. — KC

“Only Murders in the Building” (Hulu)

The longer a comedy or murder mystery goes on, the more challenging it can be to keep audiences engaged while offering a fresh and exciting story. But the third season of the Hulu comedy “Only Murders in the Building” continued to be hilarious fun, successfully raising the stakes with the additions of Paul Rudd and Meryl Streep. Season 3 picked up with the supposed death of Ben Glenroy (Rudd) — who is quickly discovered to be alive and killed yet again via a shove down an elevator shaft — during the opening night of Oliver’s new play “Death Rattle.” Mabel (Selena Gomez), Oliver (Martin Short) and Charles (Steven Martin) set out to track down the killer, with the help of actress and Oliver’s love interest Loretta Durkin (Streep), while turning Oliver’s show into a flashy musical called “Death Rattle Dazzle,” featuring a catchy patter song from Martin called “Which of the Pickwick Triplets Did It?” and a beautiful ballad from Streep called “Look for the Light.” Though the trio ultimately solves the murder of Glenroy and puts on a Broadway hit, it’s not long before another victim’s life is taken in the Arconia, setting the stage for yet another investigation that may even go bicoastal in Season 4. — LM

“The Other Black Girl” (Hulu)

Comedy and suspense intertwine in Hulu’s television adaptation of Zakiya Dalila Harris’ best-selling novel. Nella (Sinclair Daneil) longs for another woman of color to work at her whitewashed publishing company, Wagner Books, and she thinks her prayers have been answered when Hazel May McCall (Ashleigh Murray) arrives in the office. That is, until Hazel starts code-switching and undermining Nella’s presence at the company by serving a more palatable Black behavior to the white editors in charge. The root of Hazel’s motive involves many investigations and clues, not to mention suspenseful nights spending time with Hazel’s friends and indulging in her hobbies and charity functions. Major reveals are left for the penultimate and finale episodes. Showrunners Gus Hickey and Jordan Reddout as well as creators Rashida Jones and Harris are hopeful for a suspenseful second season. — DG

“The Other Two” (Max)

Few television shows have mastered the delicate balance of biting satire and human authenticity, but “The Other Two” did more than deliver in its third and final season. The comedy series about two struggling thirtysomethings aspiring to make it in the entertainment industry, while riding the coattails of their successful younger sibling, found the Dubek family struggling to adjust to their Hollywood fame in Season 3 — as Brooke (Heléne Yorke) and Cary (Drew Tarver) struggled with finding happiness in the success they’d already garnered. Their seemingly endless hunger for more praise and recognition took the siblings through a few dark turns in its final episodes, but the Season 3 finale — which creators Chris Kelly and Sarah Schneider said was always intended as a series ender — allowed both characters to redeem themselves for a picture-perfect conclusion to a brilliant show commenting on the toxic consequences of fame and success in Hollywood. — JAB

“Percy Jackson & the Olympians” (Disney+)

After a disastrous first attempt by 20th Century Fox at adapting Rick Riordan’s “Percy Jackson” book series to the screen, Disney+ is now taking a swing at the series. With Riordan’s close involvement, this series is leaps and bounds ahead of the films. The show, which premiered on Dec. 20, stays true to the book in multiple ways, including — perhaps most importantly — the age of its characters. Led by Walker Scobell as Percy Jackson, Leah Sava Jefferies as Annabeth Chase and Aryan Simhadri as Grover Underwood, the series takes fans to a beautifully shot Camp Half-Blood, before embarking on an emotional, but at times very fun quest. We won’t give too much away, but know that Seaweed Brain and his friends are in the right hands now. — Andi Ortiz

“Poker Face” (Peacock)

Natasha Lyonne is pure perfection as Charlie Cale, a woman who has the uncanny ability to tell when someone is lying, in Rian Johnson’s loving ode to ’70s detective series like “Columbo” and “The Rockford Files.” The guest stars are amazing and this will surely go down as Lyonne’s signature role. We can’t wait for Season 2. — SK

“Queen Charlotte” (Netflix)

Even if you’re not a “Bridgerton” fan, Shonda Rhimes’ prequel series “Queen Charlotte” is bound to make you swoon. Centering on the backstory of the notorious Queen Charlotte — whose beloved attitude and humor shines in the beloved flagship series — “Queen Charlotte” introduces a fresh-faced cast composed of series newcomers India Ria Amarteifio, Corey Mylchreest and Arsema Thomas. The romantic drama, which also introduces the franchise’s first queer couple, tugs on heartstrings all throughout its six-episode run, with perfectly timed comedy and just enough intrigue to keep us on the edge of our seats. — LS

“Reservation Dogs” (FX)

From its first episode to its last, “Reservation Dogs” has served as a strong argument for why television needs to embrace more diverse creators. Created by Sterlin Harjo and Taika Waititi with the longest list of Indigenous writers, directors and cast members of any series to date, the distinct beauty of this FX comedy would fall flat in anyone else’s hands. At first glance, a heartfelt examination of ancestral guilt, a deep dive into the youthful need to pave your own path and a dry comedy are three ideas that shouldn’t mesh. And yet for three seasons Harjo made this tumultuous storm feel effortless. Whether it was zooming in on Elora’s (Devery Jacobs) pain over losing her grandmother or Cheese’s (Lane Factor) self-imposed isolation as his friends grew up without him, “Reservation Dogs” managed to encapsulate the dozens of emotional contradictions that define what it means to be human while also somehow being laugh-out-loud funny. “Reservation Dogs” stands as not only one of the best shows of the year but also one of the best shows of its time. — KC

“Silo” (Apple TV+)

This Apple TV+ dystopian sci-fi adaptation flew somewhat under the radar, but thanks to boosts by folks like Stephen King, it gained steam as it barreled towards its finale. The premise is this: Humanity lives in a silo underground. The landscape above is desolate. Society functions like a machine, everyone serving their purpose. Yet mysteries abound – if someone says they want to leave the silo, they are immediately jailed and prepared for expulsion, and as soon as they set foot outside they die, captured on camera for all inside the silo to see. Rebecca Ferguson plays an engineer on the lowest level who, by a twist of fate, is named sheriff and summoned to the upper levels. “Silo” is like if “Lost” and “Snowpiercer” (the movie, not the TV show) had a baby, packed with mystery, tension and a gut-punch of emotion thanks to stellar performances from Ferguson, David Oyelowo, Harriet Walter and Tim Robbins, among others. It’s a great binge, too. — AC

“Scott Pilgrim Takes Off” (Netflix)

The concept of an anime version of “Scott Pilgrim vs. the World” seems like a good (and relatively straightforward) concept, especially given how much the original comic book series (by Bryan Lee O’Malley, who returned for the show) and the live-action adaptation (from Edgar Wright, ditto) were indebted to anime in the first place. But “Scott Pilgrim Takes Off,” which sees the entire cast of the movie return to reprise their roles (yes, even Brie Larson) is something far stranger and more emotional than you’d imagine. Instead of a retelling (or a spin-off or a prequel or a sequel…), “Scott Pilgrim Takes Off,” created and written by O’Malley and BenDavid Grabinski, is a deconstruction of the original story and film. Instead of merely repeating the beats that came before, it investigates why Scott Pilgrim (Michael Cera) was the center of the story anyway. And it crucially finds new, resonant ways to engage with and deepen all of the supporting characters, led, of course, by Ramona Flowers (Mary Elizabeth Winstead, even better here than she was in the film). It has more in common with “Twin Peaks: The Return” or the “Neon Genesis Evangelion” rebuild movies, than with a more conventional follow-up, miraculously piling on mischievous twists that don’t simply throw the viewer a curveball, but make the series a more rewarding experience all around. They are also too good to reveal here. (We should also probably mention the animation by Science Saru; it is jaw-dropping.) If you’ve never seen or read anything “Scott Pilgrim”-related you can still enjoy the new series; if you’re well versed, you’ll really lose your mind. This is perhaps the greatest original animated series of the year. It’s certainly the most surprising. — DT

“Star Trek: Picard” (Paramount+)

In the third and final season of “Picard,” the show transformed into what it had always threatened to become – a full-on “Star Trek: The Next Generation” sequel series. And it’s easy to see why star Patrick Stewart was resistant to the idea. If improperly handled it would not only tank the goodwill of the previous two seasons, but it could sully the memory of “Star Trek: The Next Generation,” arguably the most beloved series in the entire franchise. Mercifully, this didn’t happen. Showrunner Terry Matalas knocked it out of the park. He skillfully deployed fine-tuned nostalgia, particularly in the final stretch of episodes, while delving deeper into the “Next Generation” characters we’ve seen before. Big swings like giving Picard a secret son didn’t backfire; instead they gave the characters even more nuance and humanity. Full of world-class visuals (there are some genuine jaw-droppers in the finale) and a swashbuckling adventurousness, these last “Picard” episodes were enough to make you wish the show wasn’t ending. “Picard” went from being an interesting footnote to one of the most profound, moving and entertaining pieces of the “Star Trek” universe. Boldly go. — DT

“Succession” (HBO)

Whenever a popular show comes to an end, there’s always anxiety about how it will stick the landing. In the case of HBO’s hit drama “Succession,” the season took the bold step of killing off patriarch Logan Roy (Brian Cox) early in on, leaving his children Kendall (Jeremy Strong), Shiv (Sarah Snook) and Roman (Kieran Culkin) left to pick up the pieces. In normal Roy fashion, the trio stab each other in the back in their lust for power. However, its Tom Wambsgans (Matthew Macfadyen) who ultimately comes out on top to become Waystar CEO — thanks to a last-minute betrayal. Not only does the show offer several standout, gut-wrenching performances in its final season, it successfully enters the club of finales that stick the landing with a brilliant ending. And it leaves enough loose ends open to make fans hungry for more if creator Jesse Armstrong ever decides to change his mind about a follow-up. — LM

“Squid Game: The Challenge” (Netflix)

Netflix’s reality series “Squid Game: The Challenge” hit the ground running — but not to evade a giant, murderous doll — when it landed on the streamer two years after its inspiration “Squid Game.” And just like the thriller series, its reality television spin-off became a massive cult-followed success ranking in as No. 1 on Netflix’s global list of the most-watched TV series in English its first-week premiere (Nov. 22), needling in 20,100,000 views and 85,700,000 hours streamed. The same rules applied, 456 players went through a series of challenges in an effort to win $4.56 million. The winner of Season 1 was revealed in the series finale on Dec. 6. — RH

“The Summer I Turned Pretty” (Prime Video)

Jenny Han added two more television installments to her repertoire this year with the pilot season of “XO, Kitty” and the sophomore season of “The Summer I Turned Pretty.” Season 2 of “The Summer I Turned Pretty,” adapted from Han’s “It’s Not Summer Without You,” landed right before the actors went on strike this summer. Belly (Lola Tung) waivered between moody, broody Conrad Fisher (Chris Briney) and happy-go-lucky Jeremiah (Gavin Casalegno). The death of Susannah (Rachel Blanchard) set a strikingly more serious tone this season, as her college best friend Laurel (Jackie Chung) and the teens navigated the grief and loss. When the Cousins Beach house gets put on the line, the Fisher boys put their differences and fight over Belly aside to unite with Belly, her brother Steven (Sean Kaufman), Belly’s best friend Taylor (Rain Spencer) and the boys’ cousin Sky (Elsie Fisher). The second season’s soundtrack might be even better than the first’s, which is saying something. Taylor Swift did allow Jenny Han to debut a “Reputation (Taylor’s Version)” song after all, and Swifties still don’t have a release date for the rerecorded snake-themed album. — DG

“Swarm” (Prime Video)

Only Donald Glover and Janine Nabers could come up with a horror comedy as twisted as “Swarm.” Full of irreverent humor and grisly murders, the series revolves around Dre (Dominique Fishback), a lifelong fan of a mega-famous pop star who loses her grip on reality once her foster sister Ris (Chloe Bailey) dies. With no clear path in life, Dre devotes herself to killing anyone who dares to speak ill of her beloved idol Ni’Jah (Nirine S. Brown). A clear allegory for Beyonce and the BeyHive, the series is as coy as it is cutting, as it dissects everything from the toxicity around rabid fandoms to the ways in which murdered Black victims are ignored by police. It’s a show with a scope so huge, it often threatens to topple over. Yet whenever the series is at its most precarious, there’s always Fishback’s terrifying, stunning performance holding the pieces together. In “The Last Days of Ptolemy Grey,” Fishback proved she was an actor on the rise. Now with “Swarm” she has proven she is a force to be reckoned with. — KC

“Unicorn: Warriors Eternal” (Cartoon Network)

Genndy Tartakovsky is responsible for some of the most beloved (and boundary-pushing) animated series of all time — everything from “Dexter’s Laboratory” to the Emmy-winning adult series “Primal.” His latest opus, “Unicorn: Warriors Eternal,” might be the greatest project he’s ever done, an emotionally complex saga about a group of spirits that travel through time battling an ageless evil. This time, the warriors show up in a fantastically steampunk-indebted Victorian England, and they’re going up against something that even they can’t figure out how to fight. With gorgeous animation by Studio La Cachette and a fluid art style indebted to animator Max Fleischer (the lead character is informed by Betty Boop) and comic book artist Kevin O’Neill, “Unicorn: Warriors Eternal” is lush and inviting. But underneath all of this are meaty themes about identity, duty and class (one of the warriors is a Dickensian street urchin). And this is before you factor in the pleasures of watching monsters and werewolves and robots and elves battle it out in elaborately choreographed fight sequences. You know. The kind that only Tartakovsky could imagine. — DT

“Vanderpump Rules” (Bravo)

If you’re a Bravo fan, or followed the Hollywood news cycle at all this spring, 2023 will be synonymous with the year of the Scandoval. The cheating scandal involving reality television personalities Tom Sandoval, Rachel “Raquel” Leviss and Ariana Madix dominated the public conversation for months, as fans learned of the scandal in the tabloids while the affair unfolded in Season 10 of “Vanderpump Rules.” The scandal helped the series break ratings records for Bravo, and earn Emmy nominations, while also leading to uncensored versions of the reunion episodes to become a staple offering for Bravo shows on Peacock. While Leviss has exited the series ahead of its forthcoming 11th season, Sandoval and Madix will return with an even bigger spotlight: Sandoval spent the rest of the year on Fox reality series “The Masked Singer” and “Special Forces: World’s Toughest Test,” while Madix has become the latest American sweetheart landing a role on a Lifetime movie, making it to the finale of “Dancing With the Stars” and landing her first broadway role as Roxie Hart on “Chicago.” — JAB

“XO, Kitty” (Netflix)

Jenny Han’s “To All the Boys I’ve Loved Before” spin-off series stars Anna Cathcart as Katherine “Kitty” Song-Covey goes on her own overseas adventure for a year studying abroad at the Korean Independent School of Seoul. Kitty gets herself tangled up in all sorts of situations, just like the one she ignited in the hit film trilogy when she sent out Lara Jean’s love letters to her past crushes. The fun, heartfelt and hilarious moments are bound to continue in the recently renewed second season. — DG

“Yellowjackets” (Showtime)

There was no sophomore slump for this brilliantly dark Showtime series, with the stranded soccer team plunging even deeper into “Lord of the Flies” territory as everyone went more than a little mad. The contemporary storyline added the perfectly cast Lauren Ambrose as Adult Van and Simone Kessell as Adult Lottie. As circumstances forced a reunion of the surviving Yellowjackets, the demons from their time in the wilderness surfaced in the devastating Season 2 finale. Kudos to this amazing cast, who give their all every episode, from Sophie Nélisse as pregnant Teen Shauna to Christina Ricci’s cheerfully homicidal Misty. — SK

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