The 10 Best TV Shows of 2024

Though the third season of True Detective was a rebound from the crime anthology’s disastrous second installment, no one was exactly clamoring for its return over the past five years. But with a new showrunner in Issa López, a stark new setting in a small Alaskan town at the start of a period of perpetual darkness, and Jodie Foster as the new lead, the newly-subtitled series came back to riveting life. As Foster’s misanthropic sheriff Liz Danvers and her guarded former protégé Evangeline Navarro (Kali Reis) investigated multiple deaths at a remote research laboratory, Night Country took full advantage of its strange locale, and deftly balanced matters real and supernatural.

From its first season through this year’s fourth and final, the Italian series has carefully straddled the line between epic and intimate. It beautifully recreated Naples from the Fifties through the Nineties, offering shocking violence and spectacle along the way. But primarily, it found its power and beauty in the tiny moments along the complicated path of friendship traveled by childhood friends Elena and Lila — played as middle-aged women this time around by Alba Rohrwacher and Irene Maiorino. It belongs in any conversation about the best dramas to ever appear on HBO.

The most recent show on this list is also perhaps the warmest and wisest of the year. The Good Place creator Mike Schur reunited with Good Place star Ted Danson for an unlikely adaptation: a sitcom based on the documentary The Mole Agent, about a Chilean senior citizen who went undercover in a nursing home to help a private detective on a case — potential elder abuse in the film, an alleged jewel theft on the show. But the shift in both format and stakes works, because Schur treats various questions of senior citizen life with utter sincerity, and because he’s really using the mystery as an excuse to force Danson’s lonely widower back out into the world, into a circumstance where he’ll have to make new friends and confront regrets about the death of his beloved wife. Danson proved as game and versatile as ever, and Schur surrounded him with a cast of older character actors (Stephen McKinley Henderson, Sally Struthers, John Getz, Susan Ruttan) who were all clearly energized to be at the center of a story about this stage of life. A joy all around, even in the sad parts.  

Fantasmas is an easy show to describe in conception, and a difficult one to grasp in execution. The structure of it makes a certain amount of sense: Julio (played by the show’s creator, Julio Torres) is a young writer and performer who’s struggling to find a niche in this world, and the series toggles between stories about his struggles and more sketch-like material that seems drawn from the imagination of both Julios. But the nature of Julio’s “reality” and fantasy are both so delightfully strange, it’s hard to find the line where one ends and the other begins. By the time you recognize that, you’ll be so absorbed in, and amused by, Torres’ idiosyncratic worldview that you won’t worry about trying to make sense of any of it.   

Shrinking never entirely forgets that it’s a show about a man (Jason Segel’s unconventional therapist Jimmy) struggling with grief over the loss of his wife. This second season even introduced the series’ co-creator, Brett Goldstein, in a poignant recurring role as the man understandably consumed with guilt over killing Jimmy’s wife in a drunk driving accident. But somehow, in the midst of material about that, about Jimmy’s mentor Paul (Harrison Ford) dealing with the advancing symptoms of Parkinson’s, and other heavy subject matter, Shrinking remains among the lightest, loosest, and most purely fun shows to hang out with that we have.   

The raunchy vampire mockumentary has saved some of its very best for last. Shadows was for most of its run very judicious about how much its idiotic bloodsuckers would interact with modern human life and pop culture. In this final season, with no creative future to worry about, the series has leaned way into that material, with hilarious storylines where Guillermo (Harvey Guillén) gets a job at a shady finance company, Laszlo (Matt Berry) sees his human friend Sean freaking out during March Madness and assumes he’s been possessed by a demon, and Nandor (Kayvan Novak) becomes a production assistant on a police procedural filming in the neighborhood. But there’s still plenty of vamp-specific material, like a brilliant farce in which Laszlo, Nandor, Nadja (Natasia Demetriou), and Colin Robinson (Mark Proksch) each realize they can hypnotize the others in their sleep, with escalating consequences. Ordinarily, the idea of shows saying goodbye before they begin to stumble is the right one. But this season has been so great, somebody ought to try sleep hypnotizing the creative team into making more.