Which TV shows are worth watching in 2024?

These days, the anachronistic historical romance genre is a little overcrowded. What “Bridgerton,” “The Buccaneers,” and similar shows lack is a charming love interest who transforms into a horse. The brief Amazon drama “My Lady Jane,” which is based on the book of the same name, is a full-fledged fantasy set in 16th-century England that substitutes so-called Verities and Ethians, or shape-shifters, for Catholics and Protestants. Emily Bader gives a fiery lead performance, the show’s insouciant humor, and—most importantly—the smoldering chemistry between its romantic leads all work together to sell the audience on this surreal reality. When Jane’s husband Guildford isn’t a horse, Edward Bluemel portrays him. Less than two months before its sudden cancellation, “My Lady Jane” streamed, and the real Lady Jane Grey was queen for just nine days before losing her head. For this reason, the series is a good homage to its subject, if not a particularly accurate portrayal of actual events.

For its unique interpretation of the story of New Orleans bloodsuckers Louis (Jacob Anderson) and Lestat (Sam Reid), whose relationship was reimagined as an interracial gay romance, Season 1 of AMC’s adaptation of the renowned Anne Rice novel has already garnered praise. Louis’ other relationships are explored in greater detail in Season 2: with his ailing human interlocutor Daniel (Eric Bogosian); with his rebound Armand (Assad Zaman), who reveals that he has Lestat-like control issues concealed behind a more amiable façade; and with Claudia (Delainey Hayles, replacing Bailey Bass), the eternal teenager Louis brought to Europe. In equal parts intellectual and sensual, “Interview With the Vampire” blends twisted humor with a keen sense of dysfunction. Problems can always get worse, even if you have an eternity to solve them.

Despite the fact that stand-alone episodes are becoming less and less common, Robert and Michelle King continue to be proud procedural artists. We’ll celebrate “Elsbeth,” the second spinoff of “The Good Fight,” and the Kings’ take on the so-called “how-catch-’em” instead of “Evil,” their religious spin on “The X-Files,” which ended this year. This list already has too many entries that have tragically left the air. The “Columbo” format is somewhat popular now due to the success of Rian Johnson’s “Poker Face,” but “Elsbeth” distills the genre even more pure by eschewing the ostentatious filmmaking and some of the star power. Naturally, “Elsbeth” is a well-earned showcase for Carrie Preston’s deceptively sexy ace lawyer, who is currently working with NYPD homicide detectives as a front for an investigation into department corruption. Elsbeth and a worthy adversary, usually another TV mainstay (think Retta, Jesse Tyler Ferguson, and Jane Krakowski), play cat and mouse in every episode due to the way the crime is first shown. With the relaunch of “Matlock,” CBS is both advancing the genre and holding down the fort. Television needs shows like “Elsbeth.”.

Seldom does a narrative strike a balance between the institutional scale of history and the subjective emotions of individuals, as “Say Nothing” does. For that reason alone, the FX limited series is a worthy adaptation of the same-titled nonfiction book by journalist Patrick Radden Keefe. As a collective narrative of Northern Ireland’s Troubles and the tense peace process that ended them, “Say Nothing” pays attention to the particular traumas that are often obscured by statistics, such as the paramilitary fighters haunted by their past actions and the children who lost their mother after being wrongfully accused of giving the English intelligence. Poetic license, as opposed to avoiding any true stance in the name of “complexity,” enables “Say Nothing” to fully immerse itself in the point of view of its characters and embrace the nuance that is so frequently absent from ideological discussions. The show is a welcome diversion from the dominant discourse as well as a poignant reflection of today’s problems.

The comedian John Mulaney’s most recent stand-up special, “Baby J,” was praised as his most intimate to date because it focused on his renewed commitment to sobriety following an intervention and a period of treatment. The six-night (though since-renewed) talk show “John Mulaney Presents: Everybody’s in LA,” however, sneakily and indirectly reveals just as much, if not more, about the host’s personal life. A lengthy homage to a city that Mulaney, like many others before him, finds “fascinating and confusing,” “Everybody’s in LA” transformed what might have been a pro forma promotional exercise for the comedy festival Netflix Is a Joke into a unique interpretation of a stifling and failing format. Talk shows are intentionally generic platforms with a long lifespan and broad appeal. Its MC’s pet obsessions, classical showmanship, and musical preferences are all reflected in “Everybody’s in LA.”. One of the highlights of the “Helicopters” episode was when Zoey Tur and Marcia Clark talked about O at the end. The J. Recently, Simpson died indoors while sporting sunglasses. The conversation was exactly what it sounded like: someone’s crazy dream come true.

Following the end of what the Vietnamese refer to as the American War, the North Vietnamese Communist Captain (Hoa Xuande), the narrator and title character of “The Sympathizer,” embeds with a South Vietnamese general in Los Angeles. Viet Thanh Nguyen’s Pulitzer-winning novel’s Captain’s story is adapted for the big screen by director Park Chan-Wook and co-showrunner Don McKellar, who create a reality that reflects muddled identities and broken allegiances. Jr. Robert Downey. From a C, he portrays four distinct representations of white American hegemony rather than just one. I. A. . operative, an Orientalist professor, a filmmaker, and a congressman; Park helms a spectacular scene where a lit cigarette transforms into a falling bomb. The Captain is taken prisoner and questioned by his estranged, disfigured best friend in “The Sympathizer,” a cerebral yet dynamic work that builds to a scalding depiction of nihilism and self-abnegation. In addition to the story itself, “The Sympathizer” throws a metacriticism at its own medium, thumbing its nose at “Apocalypse Now” and planting its flag as a groundbreaking portrayal of what the Vietnamese refer to as the American War. “”.

Inventor J. The T. At the beginning of the new millennium, Rogers knew he would have at least two seasons to turn his childhood friend Jake Adelstein’s memoir about organized crime in the capital of Japan into an ensemble series, starring Ansel Elgort as an American journalist. An extended Season 2 was able to wrap up eighteen hours of narrative with a final showdown between Jake, their mutual enemy, ascendant yakuza boss Sato (Show Kasamatsu), and police detective Katagiri (Ken Watanabe) thanks to that runway. Tozawa, the archvillain (played by Ayumi Tanida), symbolized the underworld’s transition from a moral code based on honor to a corporate, brutal new reality that would soon engulf the Yamaha itself. However, this satisfying finality did not lessen the blow of Max canceling the series; rather, it demonstrated how much more potential is still unrealized, particularly in terms of developing a diverse ensemble and showcasing new areas of Tokyo’s congested sprawl. From public baths to hostess clubs, “Tokyo Vice” never felt voyeuristic in its unbridled curiosity, taking on Jake’s demeanor even as it expanded beyond his constrained viewpoint.

Although HBO’s finance drama has always been good, “Industry” really took off in its third season. This is evidence of the growing self-assurance of the show’s producers and actors as well as the importance of allowing a program to develop into its own, which is becoming a more uncommon chance in the austerity-conscious, post-Peak TV culture. In addition to following its once college-fresh main characters into morally dubious adulthood, Season 3 of “Industry” elevated poor little rich girl Yasmin Kara-Hanani (Marisa Abela) to true co-lead alongside self-made striver Harper Stern (Myha’la). It also blew up its own premise in an absurdly bold finale, clearing the slate for the upcoming Season 4. While Kit Harington joined the cast as the incredibly punchable posho Henry Muck, supporting characters like trader Rishi (Sagar Radia) had their moment in the spotlight, bringing “Industry” into new power centers within England’s strict class system. “Industry” has sped up and isn’t showing any signs of slowing down.

Rachel Kondo and Justin Marks extended the perspective of James Clavell’s book beyond English sailor John Blackthorne (Cosmo Jarvis) to include other prominent characters in Japan in the 17th century, where Blackthorne’s ship runs aground. Clavell’s classic is brought closer to the present with the 10-episode limited series that follows: “Game of Thrones,” which is currently the standard for intense, violent, epic television. Hiroyuki Sanada’s character, Lord Yoshi Toranaga, recruits Blackthorne to assist in a developing power struggle, exposing him to a society so remote and isolated from Great Britain that it could as well be on a different planet. By the conclusion of the series, however, characters such as self-serving feudal deputy Yabushige (Tadanobu Asano) and translator Lady Mariko (Anna Sawai) are not merely recognizable; their motivations and psyches become the main source of the drama. FX’s efforts to extend this story into upcoming seasons are understandable. It’s challenging enough to create a world this deep nowadays. Why abandon it after only one chapter?

“Somebody Somewhere” is about as small as they come, whereas the rest of television has been chasing larger budgets and blockbuster scope for the past six months. Sam, played by Bridget Everett, a New York cabaret star, is a self-replicating character who hasn’t yet realized the therapeutic value of letting loose on stage. Sam was left adrift after the death of her sister, the only family member who truly understood her. She gradually made friends with people in her hometown of Kansas, including her surviving sibling Trisha (Mary Catherine Garrison), a trans professor at a nearby agricultural college named Fred (Murray Hill), and Joel (Jeff Hiller), a high school classmate who shares her love of singing and silliness. Sam created a genuine community, one that “Somebody Somewhere” demonstrated in small, incredibly organic beats more often than not. Sam’s rendition of “Gloria” at Fred’s wedding was a series highlight. “Somebody Somewhere” concluded as it started in Season 3, its final and best season, with Sam still a work in progress but open to whatever comes next.

The Acolyte, Evil, Fargo, Jerrod Carmichael’s Reality Show, Mr. Dot and Mrs. Smith. .

Netflix’s “A Man on the Inside,” a delightful mystery comedy based on Maite Alberdi’s Academy Award-nominated documentary “The Mole Agent,” brings Ted Danson and Michael Schur, creator of “The Good Place,” back together. Danson plays Charles in the show, a retired widower who lives a boring life. Charles seeks employment with Julie (Lilah Richcreek Estrada), a private investigator, after being pushed to find a pastime to occupy his time. Charles soon finds himself trying to apprehend a thief while residing in a nearby retirement community. Charles also starts to discover genuine companionship in his new home, even though the series still revolves around a mystery. With plenty of heart-stopping moments, “A Man on the Inside” explores human connection, curiosity, and the unexpected and lovely paths of life.

Civil Rights Leaders’ Lives: Dr. Martin Luther King Jr. Harrison, Kelvin Jr. and Malcolm X (Aaron Pierre) have been portrayed and studied endlessly. On the other hand, “Genius: MLK/X” from National Geographic offers a distinctive analysis of the men’s professional and personal legacies. They are followed throughout the series from childhood to adulthood, emphasizing the events that influenced them to become the powerful leaders they were.

While the men are the focal point of the series, “Genius: MLK/X” also highlights the lives of Betty Shabazz (Jayme Lawson) and Coretta Scott King (Weruche Opia), whose personal aspirations and sacrifices enabled their husbands’ legacies to endure over time.

The CW’s “Joan,” which is based on Joan Hannington’s autobiography “I Am What I Am: The True Story of Britain’s Most Notorious Jewel Thief,” features Sophie Turner as Joan, a young mother who is desperate to take charge of her own success. Set in London in 1985, the drama chronicles Joan’s journey from a young, fearful woman to a fierce and determined jewel thief who is determined to do whatever it takes to improve her daughter’s life. Intensely detailed and masterfully crafted, the series is captivating and fast-paced. The most intriguing aspect of the show is how Turner and series creator Anna Symon let viewers into Joan’s emotional world, enabling them to comprehend her unusual decisions and deep intelligence. “Joan” is a complex story that illustrates the price of obsession.

Although there is no lack of police dramas on television, “Criminal Record” on Apple TV+ focuses on a convoluted network of racism, carelessness, and inconsistencies within the London police force. The show focuses on Detective Sgt. June Lenker (Cush Jumbo), whose investigation into missing persons brings her to an old murder case that Detective Chief Inspector Daniel Hegarty (Peter Capaldi) is in charge of. Hegarty’s career and legacy gradually come to light as June digs deeper, exposing decades of corruption. The Old Boys Club targets June because of her gender and race as she struggles with the evidence, and they will stop at nothing to keep their hold on a lifetime of power.

Netflix’s poignant adaptation of David Nicholls’ cherished book, “One Day,” is a two-decade drama focused on friendship and love. The U. K. After meeting by chance on their last day of college, Emma Morley (Ambika Mod) and Dexter Mayhew (Leo Woodall) develop a lifelong bond that evolves over time. The show, which is both heartbreaking and reflective, follows the ebbs and flows of life as relationships erode and strengthen.

The television series “One Day” will endure because it pays tribute to romance, friendship, and all of life’s wonders and fears.

Scott Turow’s best-selling 1987 book was adapted by David E. Kelley, “Presumed Innocent” on Apple TV+ is a gripping psychological suspense. The plot centers on Rusty Sabich (Jake Gyllenhaal), the chief deputy prosecutor of Chicago, who is put on trial for the alleged murder of Carolyn Polhemus (Renate Reinsve), his lover and coworker.

“Presumed Innocent” is much more than a whodunit; it shows a man whose self-awareness is at odds with his actions. The show not only solves the murder but also immerses viewers in the turbulent politics of a prosecutor’s office. The series also focuses on Rusty’s personal life, where his teen children and wife Barbara (Ruth Negga) endure hardships as a result of his selfishness. “Presumed Innocent,” which is full of twists and turns, is thrilling. It also demonstrates how lively and genuinely captivating even the guiltiest pleasures can be.

Another type of action thriller is “The Day of the Jackal,” which was adapted for television by Ronan Bennett, the creator of “Top Boy,” and is based on Frederick Forsyth’s 1971 novel. In the United States, the Peacock series, which stars Eddie Redmayne and Lashana Lynch, is broadcast on Sky. K. . ) is a thrilling game of cat and mouse between MI6 arms specialist Bianca Pullman (Lynch) and Jackal (Redmayne), an impeccable assassin. With its jaw-dropping action scenes and cinematography, the series is an exhilarating journey about two-goal-obsessed individuals who will sacrifice everything, including their families, to win this compelling espionage game.

Netflix’s “Baby Reindeer” is a truly unique television series that explores comedian Richard Gadd’s fictionalized experience of being stalked and harassed. placed in the United States. The K. Gadd plays Donnie, a bartender and budding comedian who becomes the focus of Martha’s (Jessica Gunning) obsession after she wanders into his bar one day. Although he is initially flattered by Martha’s love and care, things soon turn violent and obsessive, affecting every aspect of Donnie’s life and making him face a bad chapter in his past.

With a focus on trauma and abuse, “Baby Reindeer” is a heartbreaking series about the lies we tell ourselves to survive and why confronting the truth can be so difficult and painful.

As my fellow critic stated in her post, HBO’s “Somebody Somewhere” cemented its status as a masterpiece of television in its third and last season. Following the illness and death of her older sister, Sam Miller (Bridget Everett), a forty-something woman, returns to her small Kansas hometown in the Peabody Award-winning dramedy. The third season shows Sam adjusting to change while doing her best not to fall back into her old patterns of loneliness and self-loathing, whereas the first two seasons concentrate on Sam processing her grief and anger and developing a close relationship with her best friend Joel (Jeff Hiller). “Somebody Somewhere,” a series that emphasizes friendship, grace, and bravery, serves as a reminder that we must pursue our goals in life, even if we make mistakes along the way.

HBO’s “The Penguin” is a captivating crime drama that goes beyond “The Batman” and is a brilliant analysis of criminality. The crime drama presents a man shaped by desperation and adversity but driven by a desire for status and power, with an unrecognizable Colin Farrell transformed into Gotham Kingpin Oz “The Penguin” Cobb. Although Farrell is exciting in the part, “The Penguin” also tells the tale of Sofia Falcone, and Cristin Milioti gives a remarkable portrayal of a woman who has been betrayed by her family and is motivated by a calculated rage and desire for vengeance.

Highlighting the most hideous of us, “The Penguin” is a remarkable series that explores survival, monstrosity, and the conditions that encourage evil.

Notable mentions include Fallout, Fight Night, Supacell, Black Doves, My Lady Jane, How to Die Alone, Under the Bridge, Eric, Diarra From Detroit, and The Gentlemen.