OK, it’s July, and we’re well past the mid-way part of the year, so it’s time for a slightly belated Best TV Shows Of The Year… So Far, piece, and yes, the Emmy announcements just hit, so we’re slightly behind, but you should also check out that nomination list here.
TV in 2024 has had some highs and lows. Some highly anticipated series, like “Sugar” with Colin Farrell, “The Veil” with Elisabeth Moss, and “The Big Cigar” with Andre Holland, underwhelmed not only us but also many critics (not to mention Lucasfilm’s “The Acolyte,” a mixed bag effort).
READ MORE: The 70 Most Anticipated TV Shows & Mini-Series Of 2024
That said, there were out-of-nowhere big surprises that no one was expecting, primarily Richard Gadd’s harrowing and surprising “Baby Reindeer,” which became a viral word-of-mouth sensation that no one was talking about when first released.
Other shows were worthy of their anticipation, series like “House Of The Dragon,” “The Bear” (slightly underwhelming, but still good), the new revamped “True Detective,” “The Boys” and Steven Zaillian’s masterful (and maybe somewhat underappreciated? “Ripley.” Well, without further ado, here’s our list of the Best TV Shows of 2024… So Far.
“Baby Reindeer”
One of the most talked-about shows of the year and a bit of a sleeper hit that took off in the U.K. first and then became a word-of-mouth sensation in North America; no one was really prepared for creator/star/writer Richard Gadd’s “Baby Reindeer” other than those in the U.K. that were familiar with the play it was based on. Starring Gadd, playing a nakedly autobiographical version of himself, “Baby Reindeer” is ostensibly about the creator’s experience with being stalked by an unhinged woman (a brilliant and chilling Jessica Gunning) on the surface. But as the layers of this story unpeel, many shocking twists are revealed, and the tale shapeshifts into a gnarly confessional about abuse, trauma, and rape. “Baby Reindeer” is emotionally harrowing and brutal and, as our review wrote, a “vulnerable psychological tale of shame, insecurity, shattered ego, self-doubt, and crippled self-confidence.” “Baby Reindeer” is hard to watch sometimes and confrontational, but it’s a challenging piece that certainly announces a bold new commanding voice in television. – Rodrigo Perez [read our review].
“X-Men ‘97”
If Marvel stumbled in 2023, especially late in the year with “The Marvels” flop, then boy, did Marvel Animation really help change that dour narrative quickly. Following the hit of “What If…?” season two in December, roaring back onto TV with the same mood, flavor, and tone but updated for modern times, “X-Men ‘97” nearly took over the entire TV discourse during its March premiere (Disney has been wise to drop the binge model). And it was more than just nostalgia. Terrifically written and continuing the themes of intolerance, hate, and mutant persecution, the series picked up one year after Professor X was presumed dead and even got arguably much more political with its first three episodes that featured bigoted, angry mobs and January 6th-like insurrectionists. While the middle sagged a bit, it started and ended strong, and the animation was stunningly dynamic and beautiful while still remaining faithful to the original show and its ‘90s spirit. Even a scandal, the details of which remain unrevealed, around its showrunner, creator, and head writer Beau Demayo, who was fired from Marvel right as the series began, couldn’t derail it. -RP [read our review]
“Shōgun”
“Shōgun” is undoubtedly a pinnacle of modern prestige television that effortlessly weaves together character-driven drama, political intrigue, and cultural exploration with breathtaking finesse. Visually stunning in every way, the series transports viewers to 1600s feudal Japan, where the arrival of a European ship pilot ignites a powder keg of power struggles among Japanese clan leaders and entrenched Jesuit priests. At the heart of “Shogun” are standout performances from Hiroyuki Sanada, Anna Sawai, and Cosmo Jarvis, who imbue their characters with depth and nuance, sure to garner all the awards consideration. Instead of falling into the tired trope of the “white savior,” the series dives headfirst into the complexities of ancient Japanese society—exploring themes of pride, betrayal, and the clash of cultures with unflinching honesty. For FX, known for quietly delivering some of television’s finest hidden gems like “Mayans,” “The Old Man,” and “It’s Always Sunny in Philadelphia,” “Shogun” may well be its crowning achievement. With its captivating storytelling and meticulous attention to detail, this series not only entertains but also educates, offering a profound glimpse into a world where honor, forbidden love, and tradition collide in spectacular fashion. – Mike DeAngelo [read our review]
“Dark Matter”
The multiverse might be the greatest trend on screen for superheroes, comic book movies, and genre films right now, but “Dark Matter,” created by Blake Crouch, based on his speculative sci-fi novel, screams something like, but what about a multiverse tale for adults? Leaning into the ideas of regret, the roads not taken, and trying to change our past to create new futures, Joel Edgerton stars as a mild-mannered physics professor and doting husband and father who is (somewhat spoiler alert) kidnapped by an alternate version of himself from another universe—the version of himself that did manage to create a once-theoretical superposition box that allowed for, essentially, multiversal travel, but missed out on the love of his life. Scrambling to get back to his wife and son (Jennifer Connelly and Oakes Fegley) that his doppelganger has carefully insinuated himself into, though with gaping flaws that trigger their alarm, “Dark Matter” becomes a harrowing thriller about a man trapped in various timelines desperately fighting to get back his own universe while taking on existential notions about remorse, the cost of ambition, guilt and the turning point paths and decisions that shaped our lives. Gripping and thoughtful. – RP [read our review]
“House of the Dragon” (Season 2)
Sure, it may not hit the heights of peak “Game of Thrones,” but “House of the Dragon” transforms what was essentially a fictional fantasy history book into a drama-filled, politically charged, dragon-laden series. Season 2 ditches the time jumps of the first season to dive deep into the intricate dynamics that drive a family towards civil war, even as they know it’s a path to inevitable tragedy. The series flexes its big-budget muscles to deliver some truly breathtaking visual effects with a quality that rivals any blockbuster. The actors have fully embraced their roles, with standout performances from Matt Smith, Emma D’Arcy, Olivia Cooke, and the delightfully devious Ewan Mitchell. Their charisma alone is worth the watch. Yes, the themes are familiar, and many fans already know the twists and turns to come. Still, there’s something undeniably captivating about seeing talented writers, directors, and actors work their magic on such an epic scale – perhaps the biggest television has to offer. If nothing else, this season proves that there’s plenty of fire left in the “Game of Thrones” universe. – MD [read our review]