Daniel Fienberg’s Top 10
As a television critic with over two decades of experience under my belt, I can confidently say that 2024 was a golden year for small screen entertainment. The variety and quality of shows released this year were nothing short of extraordinary, making it a challenge to narrow down my favorites.
2024 saw a significant shift in the TV landscape, with the entertainment industry still recovering from years disrupted by COVID-19 and labor disputes. Many discussions revolved around brands and IP, with old favorites being rehashed for viewers, much like an intoxicated wildebeest playing darts without any real strategy. As a gamer, I found myself yearning for fresh, innovative content that would truly engage me.
Was it necessary to create TV series that, while appearing to be adaptations of Dune and The Batman, actually resemble the storytelling styles of Game of Thrones and The Sopranos? Perhaps so!
Was it really necessary to create a college adaptation of the movie “Cruel Intentions,” drawing parallels between fraternity/sorority life and fascism? I don’t think so.
Instead of creating a fresh take on Matlock, wouldn’t it be intriguing if we had conceived a storyline where it wasn’t truly a new version of Matlock but rather a unique twist on the original? Absolutely!
Indeed, it transpired that the year 2024 could potentially become renowned for reinstating the “intellectual” aspect in “intellectual property.” This is because creators have resorted to delving into the oldest and most revered sources of inspiration: literature or books.
By examining my Top 10 selections, it’s evident that half of them are literary adaptations, many of which are derived from formidably thick books – not just in terms of pages but also influence. Additionally, four out of my top ten shows are in foreign languages, providing a platform for creators to explore rich and under-explored talent pools in Colombia, Japan, Korea, and Italy.
It’s possible (or even likely) that what appeared as a comprehensive trend in my Top 10 list, when I initially compiled it, is subjective, as I only had a clear idea of my Top 3 shows at the time. Shows from my honorable mentions could just as well have been part of my Top 10, altering the theme to “Half-hour Comedies that Elicit Both Laughter and Tears” or “Shows I Thought I Had Outgrown but Eventually Remembered to Cherish Once More”.
For now, though, read my Top 10 list — and then pull yourself up a seat and read a good TV show.
After deciding to marathon the HBO adaptation of Elena Ferrante’s work, I found myself compelled to watch it one hour at a time due to the intense friendship-rivalry-symbiosis between Lenu (Alba Rohrwacher) and Lila (Irene Maiorino). Despite the series incorporating murders, infidelities, and a missing child, the drama transcended being just a thriller; it was more an emotional rollercoaster. The fourth season served as a climax to over 30 episodes of selflessness, selfishness, devotion, and betrayal, leaving viewers with feelings of immense joy and sorrow that no other 2024 show could replicate.
2. In a slightly older interpretation of the characters from Patricia Highsmith’s frequently reimagined novel, Steven Zaillian, the creator-director, presents us with a Tom Ripley who is more “desperate” than “talented.” Andrew Scott portrays this character as one driven to reinvention out of necessity rather than for happiness. This narrative approach imbues the series with a poignantly sad and meticulous core, accentuated by Robert Elswit’s stunning black-and-white cinematography, which masterfully combines elements of grandeur and confinement, inspiration and suffocation, picturesque beauty and rebelliousness all in one.
3. Specters (HBO)
4. In this space, I could have chosen “Peacock’s Redeeming Performance at the Olympics” or “Every Moment of Shohei Ohtani’s Plate Appearance.” However, I opted for the third season of the heartwarmingly compassionate soccer narrative by Ryan Reynolds and Rob McElhenney. This season continued Wrexham A.F.C.’s fairytale journey (with a dash of financial luxury and constant FX coverage), but it was the way it seamlessly incorporated side stories like those of a nervous photographer, a centenarian fan, and the Welsh community in Argentina that truly set it apart.
5. The captivating television series “Pachinko” (streaming on Apple TV+) begins with an exceptional opening sequence (“Wait a Million Years” replacing “Let’s Live for Today” in season two), and Soo Hugh’s adaptation of Min Jin Lee’s novel continues to be a benchmark for faithfully developing and expanding upon celebrated source material. All the praise heaped on “Shogun” this year can also be applied to “Pachinko”, with possibly even more merit due to the far-reaching, multi-generational nature of its narrative and the powerful emotional impact when its themes coalesce. As of now, Apple has yet to commission a third season. It would be a great shame if the story didn’t conclude on its own accord.
6. Kudos to creators Rachel Kondo and Justin Marks’ bold vision and FX’s commendable patience, this historical drama stands as one of the best adaptations that respects its original material – James Clavell’s 1975 novel forms the basis for most of the plot and many intricate depictions of Edo period Japan. However, it also makes thoughtful and sensitive changes where needed. This is top-tier storytelling in grand, sumptuous style, and the casting and performances (notably Hiroyuki Sanada, Tadanobu Asano, and Anna Sawai) are near flawless.
A study showcasing comedies reaching their peak potential: The series “Shrinking” on Apple TV+, created by Bill Lawrence, Jason Segel, and Brett Goldstein, offers a laugh-out-loud and heartrending second season filled with questionable decisions and comforting embraces. In this production, the not-so-wise choices of Segel’s character, Jimmy, are shared among the talented cast rather than focusing solely on him. Each week, be prepared to witness exceptional performances from Lukita Maxwell, Ted McGinley, and a truly outstanding portrayal by Harrison Ford, arguably his finest work yet.
8. In its third season, the comedy “Max,” created by Lucia Aniello, Paul W. Downs, and Jen Statsky, delivered its most cohesive performance yet. The narrative focused on Deborah Vance’s (played by Jean Smart) endeavor to re-enter late-night television, serving as a platform for exploring themes such as mentorship, aging within the entertainment industry, and evolving standards of humor. Powerfully performed by the consistently impressive Smart and the continually improving (and equally impressive) Einbinder, the series crafted what could have been a flawless final episode in its second-last episode, only to subvert all power dynamics in its season finale in a manner that promises an exciting fourth season.
9. Evil (Paramount+)
After being canceled, the show was granted a brief extension to conclude its storylines. The spiritual horror-comedy from Robert and Michelle King captivated audiences in 14 episodes with themes of Satanic babies, intertwining teen dialogues, grief demons, ominous “Skip Intro” warnings, Vatican conspiracies, self-referential comments on cancellation, sudden popularity on Netflix, yet still being canceled by Paramount+. This CBS discard might have produced a broadcast drama of unparalleled quality that we may not witness again.
As a passionate gamer diving into the world of storytelling, I’ve found that “One Hundred Years of Solitude” on Netflix stands out amidst this year’s adaptations with its unique take on Gabriel García Márquez’s iconic work of magical realism. It doesn’t always hit the mark, and as the narrative unfolds across decades, it can lose some luster. However, when directors Alex García López and Laura Mora manage to capture the poetic essence of Marquez’s language through cinematography, this Netflix drama delivers moments of awe-inspiring beauty that surpass anything else I’ve seen this year. Despite its imperfections, this audacious attempt certainly deserves recognition in the Top 10.
As a devoted fan, I wanted to give a shout-out to some noteworthy series that left an impression on me this season. Here they are, listed alphabetically for fairness: “Baby Reindeer” (Netflix), “The Bear” (FX/Hulu), “English Teacher” (FX), “God Bless Texas” (HBO), “John Mulaney Presents: Everybody’s in L.A.” (Netflix), “A Man on the Inside” (Netflix), “Mr. & Mrs. Smith” (Amazon), “Somebody Somewhere” (HBO), “We Are Lady Parts” (Peacock), and “What We Do in the Shadows” (FX). Each one of these shows offers a unique perspective and keeps me eagerly awaiting the next episode!
Angie Han’s Top 10
Consult any TV critic you come across, and they’d likely agree: A considerable amount of average television exists. This has been the case year after year, including 2024. During the periods of the previous 12 months (attributing the inconsistency to the post-COVID, post-strike environment, the conclusion of the streaming wars, or just plain bad fortune), I may have even questioned if it was even more so. Even the most hopeful critic can only endure so many uninspiring dramas or humorless sitcoms before one starts to ponder the purpose behind our collective viewing experience.
But we’ll stubbornly maintain that the converse is true as well — that no matter how much dreck is floating around, there will also always be works of meticulous artistry and breathtaking originality. I was reminded of that when I caught up with the third and final season of HBO’s Somebody Somewhere, shortly before starting this list. Despite having seen the first two seasons already, I found myself caught off guard anew by the vibrancy of its humor and the bigness of its heart, marveling yet again at how lucky I was to get to bear witness to such a singular work.
My Top 10 list is a snapshot of the series that felt most prominent in my mind or closest to my heart as I reflected on a year in viewing. My Honorable Mentions are a scattered assortment of several more. There are yet others I regretted having to leave out, that might’ve made it on a different day but just didn’t this time around.
What they all have in common is that they left me feeling privileged to have been let in on something special. That’s worth slogging through some mediocrity for.
1. Somebody Somewhere (HBO)
Call it the Joel Anderson Effect if you want, but the third and final season of HBO’s slice-of-life comedy was a balm. The fierce, funny, lived-in friendship between Sam (Bridget Everett) and Joel (Jeff Hiller) stood as a testament to the ordinary yet transcendent joys of love, community and really great karaoke.
2. The Awaited Return: In the second season of Peacock’s British Muslim punk-rock musical comedy, “We Are Lady Parts,” the unique charm and catchy melodies, such as “I’ll respond to your email at a reasonable hour,” were rekindled. This time around, the series not only maintained its initial spirit but also delved deeper into character development, showing growth as they navigated their roles within a broader community.
3. Julio Torres’ Creation: Ghosts (HBO)
4. Ripley (Netflix) – This captivating Netflix production, adapted by Steve Zaillian from Patricia Highsmith’s work, is so visually stunning it could easily deserve a place on this list. Add to that its methodical storytelling style, the intensely chilling portrayal of the main character by Andrew Scott (and let’s not forget about the excellent feline co-star), and you have a drama that manages to make an old story feel as refreshing as a well-shaken icy martini on a sweltering summer day.
5. This Year’s Enthralling Experience: Interview with the Vampire on AMC
6. Exceptional (Hulu)
7. Baby Reindeer (Netflix): I may not have actually watched this semi-autobiographical Netflix miniseries in one continuous sitting with my hand covering my mouth the whole time, but it seemed that way. The creator and star, Richard Gadd, delves deeply into his own psyche with raw, sometimes harsh honesty, yet he does so with a deep understanding and compassion for himself and the woman, Jessica Gunning, who is causing him distress.
8. Manhunt (Apple TV+) – Pursue a thrilling chase of a ruthless criminal, but remain captivated by a thought-provoking, emotional, and almost eerily relevant depiction of a society at a turning point. The Apple TV+ series follows the unyielding Stanton (Tobias Menzies) in pursuit of the malevolent John Wilkes Booth (Anthony Boyle), while weaving in historical details to show the myriad routes that led us here, and the various directions our future could yet go.
9. True Detective: Night Country (HBO)
In a year rife with murder mysteries, few gripped me like the fourth season of HBO’s crime anthology. Creator Issa López (taking over for Nic Pizzolatto) spun a persuasively spooky, often achingly sad tale, set in the Arctic chill and anchored by the prickly dynamic between Jodie Foster and Kali Reis. Was it supernatural? Was it not? Whatever it was, it was certainly haunting.
10. The Edo-era drama produced by FX was nothing short of magnificent: in terms of scale, aspirations, aesthetics, and violence. However, what truly set it apart was the attention to detail in its writing (by Rachel Kondo and Justin Marks), the subtle nuances, and an exceptional cast. Moeka Hoshi’s sensitive portrayal of Fuji, beyond the main leads, deserves special recognition, making this drama not just one of the most extravagant epics of 2024, but also the most immersive.
Notable Entries (in no particular order):
Read More
Sorry. No data so far.
2024-12-16 17:55