Whew, alright. We made it. Thanks to anyone and everyone who’s taken the time to read the first four parts of this year’s Top 50. If you missed anything, catch up below.
But before we get into this year’s Top 10 — let’s answer the one question I answer more than any other every time these lists come out: How do I make time to watch this much TV? Or, if you’re meaner: How big of an anti-social hermit must you be to sit around all day and watch TV? Go get a life you loser — do you even know what the sun looks like? Do you even work? … Sorry, got off track there for a second.
Anyways …. the answer to that question is actually a lot easier than you might think: I watch this much TV because I enjoy it and I make time for it. Everybody has their own hobbies, and this is one of mine.
But if you really break down the numbers, the amount of TV I watched is probably a lot less than you think. First of all — there were over 500 scripted American TV shows this year. I watched barely 10 percent of those. It’s literally impossible to keep up with everything — and, honestly — watching 50 TV shows a year in this day and age is probably a lot more common than people might think.
Second of all, let’s do some actual math here to see how much TV we’re talking about. I decided to take all of the hours I watched this year for each show in the Top 50 (approximately, of course) with 30-minute shows counting 2-episodes for an hour and 60-minute shows counting as one.
Adding it all up, and the number I got was: 309 hours.
Now, I don’t need to tell you that 309 is an average of less than one hour of TV watched per-day. Just like everybody else, some days I was too busy to watch any TV — and some days I sat around all day and maybe banged out 8 hours worth. I work at night — so I usually watch an hour or so before I go in to work and then an hour to unwind when I get home. The amount I watch really seems like more than it actually is because of the pure existence of this list.
One thing to keep in mind is that I rarely — if ever — rewatch anything, instead focusing on new stuff. Also, I hardly watch anything that has super long seasons. In fact — only one show that makes it onto this year’s Top 50 was longer than 10 hours in 2019 (Mr. Robot – 13). The overwhelming majority are 6 or 8 hours — not much of a commitment really when you break it down.
Now, don’t get me wrong — I did watch a ton of TV. But let’s change the perspective slightly. What other things could people have watched that would have gotten close to or surpassed 309 hours in 2019?
- The average length of an MLB game this year was 3 hours, and 5 minutes. Let’s say you watched 100 games of your favorite team this season at that length. What does that get us to? 308 hours.
- Even with the wealth of new shows out there, people love watching their classic sitcoms. Let’s say you decided to watch all of The Office, Seinfeld and Friends this year. That’s a grand total of 298 hours.
- How about classic dramas? Add up Mad Men, The Sopranos, Breaking Bad and The Wire that brings you up to 300 hours even.
- What if you just decided to watch all of Grey’s Anatomy? That is 355 hours of wasted time right there.
So, you get the idea. I say this less to defend the amount of time I spent watching TV but to explain it. If you want to do it, you can. Maybe just watch like … 20 new shows next year if you can swing it. It’ll almost assuredly be worth your time. Alright, let’s move on now to this year’s Top 10.
The Top 50 Shows of 2019 Nos. 10-1
10. Undone
In a year chock full of weird, trippy and unique television shows, none were able to top the pure originality of Undone. Helmed by Bojack Horseman alumnus’ Kate Purdy and Raphael Bob-Waksberg — Undone blends a puzzle box plot, excellent acting performances and a fantastic use of rotoscoping animation to create one of 2019’s best new shows.
Rosa Salazar, fresh off her similar animation-heavy starring role in the movie Alita: Battle Angel — is phenomenal in the starring role, playing a woman whose life is turned upside down when she suddenly starts seeing her dead father after a car crash.
But her father isn’t back to simply talk to Alma — he’s there to help her unlock her new found powers of time travel and manipulation — and to ultimately help solve his own murder.
From there, Undone turns into a fully engrossing mystery that breezes by in eight 25-ish minute episodes. Is Alma truly experiencing a supernatural ability, or is she simply a woman dealing with a mental illness hastened by a traumatic event?
In the end, the answers matter less than the journey. Undone excels as both a family and relationship drama and a Reddit-theory crafting thriller. Toss in a genuinely unique look and a less than 4-hour commitment that can be watched in one afternoon — and you’ve got a formula for success in 2019.
9. Euphoria
Gen-Zers get a lot of grief, but if suburban life for those born in the 21st century is anything like it is on Euphoria — I’ll take the problems of being a millenial any day of the week.
Euphoria takes mental illness, rampant drug use, gender and sexual identity and the horrors of living a world that is constantly online and combines it with good old-fashioned high school bullying to tell a surreal tale of depression and loneliness in the modern age. Led by breakout performances by Zendaya and Hunter Schafer, Euphoria is gripping and engaging while also being simultaneously horrifying.
Euphoria got a lot of buzz — much of it negative — for its graphic depictions of sex and drug use — but it truly wouldn’t be possible to make a show truly mirroring the modern teenage experience on basic cable or (god forbid network TV). While Euphoria certainly takes advantage of being on HBO — the nudity and violence is never glorified, and instead it helps show the pressure of being a teen in the 2010s without censoring it or pulling any punches.
From a television perspective, Euphoria is beautifully crafted — dreamy and surreal — as if we the viewer are watching the events unfold in the same drug-induced haze as Zendaya’s Rue. It wouldn’t be a teen drama on television without twists, turns and relationship drama — but everything in Euphoria feels more dangerous than any other show of its ilk. The stakes are higher than they should be for people still trying to figure out who they want to be, and every decision comes with big — and potentially fatal — consequences.
Euphoria can be a tough watch at times — but it is ultimately a rewarding experience. Zendaya truly gives one of the year’s finest acting performances — and it is a show that is gripping from start to finish. Euphoria may have been one of the year’s most controversial shows, but for those willing to give it its fair shake — they were rewarded with a breakout hit and one of the year’s best TV surprises.
8. The Dark Crystal: Age of Resistance
With Game of Thrones finishing this year, there appears to be a lack in quality fantasy television (or film) for that matter in today’s day and age. And while we wait for Amazon’s Lord of the Rings series to come — there is a worthy successor in the epic fantasy genre already ready and waiting on Netflix. There’s just one thing: It’s got puppets.
The Dark Crystal: Age of Resistance, a prequel series to the late-great Jim Henson’s 1982 film is a complete success in all areas. And make no mistakes — Age of Resistance isn’t just great for a puppet show — it’s great period.
There are two things that need to be discussed when talking about Age of Resistance and I believe they need to be covered separately. The first, is the plot and story, and this is where those comparisons to Game of Thrones and Lord of the Rings pop up. Age of Resistance can be just as hard to follow from a character perspective as those early seasons of Thrones — but for those willing to stick with it — the world it builds out is so masterfully woven together — it will have you craving to see more of it in any form.
To break down the plot as bare bones as I can, Age of Resistance involves two main races living on a planet called Thra. The first is the evil Skeksis, who are manipulating and exploiting the Gelfiling race on Thra by destroying their planet for the sole purpose of ensuring their own immortality. Meanwhile, three particular Gelfling from different walks of life eventually come together to rise up against the Skeksis and try and save their species from destruction.
It’s, a lot– but trust me — it gets easier as you go — and the way the stories of the three main characters develop on their own and then eventually intersect in the show’s climax makes each of the 10 episodes feel both purposeful and exciting. I will say that I had not seen the movie before watching the series, and did not find it was impossible to keep up with the story.
The other thing that must be discussed with the Age of Resistance is, of course, the jaw-dropping puppetry on display. The show looks amazing — and the amount of time and effort that went into making each character from each of the different species look and feel unique is mindblowing. Baby Yoda is getting all of the puppet love in 2019, but Age of Resistance ddi it first and did it just as well.
The voice acting, featuring a sprawling cast of well-known Hollywood types like Taron Egerton, Anya Taylor-Joy, Mark Hammil, Helena Bonhem-Carter, Natahlie Emmanuel, Andy Samberg, Keegan Michael-Key, Awkwafina and Jason Isaacs, is also outstanding.
I implore anyone who considers themselves to be fans of Thrones, The Lord of the Rings, Harry Potter, or, of course, any of Jim Henson’s other properties such as The Muppets to watch The Dark Crystal: Age of Resistance immediately. This is an epic on every scale — and letting the fact that is a puppet show deter you is a huge mistake. Age of Resistance was not only one of the best shows I saw in 2019 — it was also one of the best fantasy offerings I’ve ever seen on the small screen.
7. Russian Doll
What if Groundhog Day but with Natasha Lyonne? Admittedly that alone will sell a good amount of people on the premise of Lyonne’s star-making Netflix vehicle Russian Doll — but the finished product ended up exceeding even those sky-high expectations by being one of 2019s most original high-concept shows.
In Russian Doll –Lyonne’s Nadia keeps dying over and over again at or soon after her own birthday party — only to wake up back in the bathroom, with the time loop having reset and only her knowing about her many previous ill-timed demises.
The premise alone is enough to hook many looking for a weekend Netflix binge — and the pilot does an outstanding job of drawing you into the world and hooking viewers into the central mystery. However, a lesser show would have faded from there — unable to draw out a clever premise with eight episodes worth of material. Thankfully, Lyonne and executive producers Leslye Headland and Amy Poehler have more than a few tricks up their sleeves to keep the plot moving — one of which I won’t spoil since it changes everything you think you know about where the show is heading.
What really makes Russian Doll though is Lynonne’s performance. Lyonne is a comedian who’s been around the block both in her acting and stage credentials and in her personal life — and she brings a weathered and biting sarcasm into the role which could have easily been taken too seriously.
Russian Doll has a little bit of something for everyone. It is often times hilarious, and Lyonne’s personality and comedic timing is on full display. For those who enjoy a good mystery — the show has you covered there as you’ll be scrambling to craft your theories during your binge. And for those that are interested in a genuine human drama with a message — Russian Doll has a lot to say about grief, mortality and the human connection not to mention an ending that will leave you speechless.
Russian Doll could have worked as a miniseries — but a second season is reportedly on the horizon — so it will be fascinating to see where the show goes next.
6. Barry
If Season 1 of Barry elevated Bill Hader from prolific sketch comedy performer to all-around powerhouse — then season 2 continued that trend taking both Barry the show — and Barry the character — to entirely new and unexpected places.
Season 2 of Barry was a stunning achievement in writing for television, with every single episode raising the stakes and taking the story in an unexpected but completely logical direction. Hader is once again transformative as the title character — and this season he is forced to not only reckon with what he did at the end of season 1 — but also continue to deal with the fallout from his initial decision to leave his life of assassin-for-hire work behind to become an actor.
Barry is the only show on TV that can be as many things as tries to be and pull every single one of them off. Want a straight-up comedy? There’s Anthony Carrigan’s NoHo Hank — one of the most memorable supporting characters of the decade.
Want a serious drama about abusive relationships and the trauma they can cause even years after the fact? There’s Sarah Goldberg’s Sally, who turns in one of the year’s top supporting performances.
Want Henry Winkler being Henry Winkler, but this time with added dramatic material to go with his goofball season 1 character? They’ve got that to.
What about a memorable action thriller about a father/daughter assasin duo who are way too good at karate? There’s one of the year’s best TV episodes “ronny/lilly.”
The list goes on and on, and when you add in Hader’s brillant turn in the season’s final episodes, you’ve altogether got a near perfect season of TV that grabs you right away and never lets go.
5. Bojack Horseman
Of all the shows that were announced to be ending/cancelled in 2019 or soon thereafter (Like, The Good Place — Bojack Horseman isn’t quite finished yet as it will return for its final run of episodes in early 2020) none hurt more than losing Bojack Horseman.
Although the premise of Bojack somewhat lends itself to having an end point in mind, I always just kind of thought (hoped, really) that once a year Bojack would be back, an 8-10-episode blur watched in one entire evening filled with goofy word play, biting sarcasm, self growth, self destruction, hope, despair, laughter, sadness and of course, lots of animal puns.
But yet, if Bojack must end (thanks again, Netflix), at least we know it’s going out on top.
The first half of season 6 of Bojack continued its phenomenal run by pushing the plot forward without losing what makes Bojack Horseman great — but Bojack — the character — tragic. Bojack is trying in season 6, sure, but has he already gone too far to be redeemed? That’s the question creator Raphael Bob-Waksberg presents as we pick up Bojack in a rehab facility where he’s closed off from all of his problems in Hollywoo.
Meanwhile, the rest of the characters are also going through periods of transition. Princess Carolyn is forced to balance her insane work-life with her newfound motherhood, and struggles to cope when being a mother doesn’t fill the void she’s been desperately trying to fill.
Diane is depressed, and her poor attempts at masking it with a new relationship, a move to a new city and a new career opportunity only end up making things worse.
Mr. Peanutbutter’s inabilty to say no and be honest about his feelings have allowed things to spiral with his now fiancé Pickles, who he ultimately doesn’t love.
And then there’s Todd, who is in search of companionship but struggles to find it because of the fact that he is asexual.
As Bojack is wont to do — the half-season crescendos into a heartbreaking conclusion that puts into question if Bojack can truly find peace and redemption — or if the sins of his past will finally catch up to him for good.
Barring a complete disaster in the final eight episodes, Bojack Horseman should go down as one of the decades most masterful turns on the small screen. It was, at times, both the best comedy and drama on TV in the same package, a stunning achievement in having your cake and eating it too. Bojack Horseman — a show about a 90s actor who struggles with depression and selfishness as he attempts to revive his career in Los Angeles while aso happening to be a talking horse — had absolutely no business being on the shortlist for the greatest television shows of the decade. And yet, that’s exactly what it is.
4. Succession
If you’re not watching Succession I can certainly see how it would look — on its surface — entirely unappealing. A prestige drama about a group of horrible rich, white billionaires who run a vaguely-conservative news network and keep failing upwards despite doing terrible things over and over again thanks to their incredible wealth and privilege? It just sounds exhausting. Not to mention, a certain section of the show’s fans, specifically ones that are Extremely Online, will simply not stop talking about it — flooding your Twitter feed on Sunday nights (and throughout the week really) with Roy family gifs, memes and quotes galore.
And yet — you do not know what you’re missing. Season 2 of Succession elevated it from a decent binge-watch with some amusing characters to one of television’s best shows in a powerhouse of episodes that saw a show truly clicking on each and every cylinder.
After finding its voice midway through the first season, Succession has been on all-time roll — with its stellar cast and blade-sharp writing making every episode of delicious family drama a Television Event.
Tom barking like a dog. Cousin Greg’s testimony. Roman and Jerry’s weird as hell relationship. Kendall’s rap. Shiv’s haircut. That baller-as-hell final scene. Succession season 2 is the type of season that is operating in God-mode. It’s a series of writers, directors, actors and network executives all working in perfect harmony — knowing exactly what its audience wants and giving it to them in perpetuity. Almost every scene, line of dialogue and acting choice just works. It’s simultaneously perhaps the funniest and most capital D Dramatic show on TV.
Despite how annoying it can be to see so much about Succession for a show that barely gets any serious ratings — Season 2 is worthy of all the praise it’s getting online. It’s among the best shows of the year and it’s likely only to keep getting better. Is Succession season 2 really really good? As a wise man once said: “If it is to be said, so it be…so it is.”
3. Mr. Robot
When it aired in 2015, the first season of Mr. Robot was a revelation. Not only did it completely transform the image and reputation of USA Network, but it made superstars out of lead actor Rami Malek and creator Sam Esmail as well as reviving the career of former heartthrob Christian Slater.
It was — ostensibly — a hacking show, but what really made Mr. Robot stand out were its world-class directing and its mind-bending twists and turns that culminated with an all-time reveal at the end of the first season.
But then, season 2 happened. And look, I’m not here to argue with anyone about if season 2 of Mr. Robot was good or not good (it was, but still the weakest season) but the fact is that both the audience and the amount of buzz for Mr. Robot shrunk considerably during and after its sophomore campaign– and the final two seasons only received a fraction of the attention that it got during its first year.
But for those who have stuck with Mr. Robot through the thick and thin, what a reward they were ultimately given. Season 4 validated everything everyone has questioned about Mr. Robot and Sam Esmail. Still visually striking and cinematic, still acted phenomenally by Malek and co. and still as twisty as ever, season 4 of Mr. Robot was both a standalone masterpiece and the perfect capper on an all-time great piece of television.
Say what you will about his turn in Bohemian Rhapsody or the upcoming James Bond flick No Time To Die — Malek acted the shit out of the final season of Mr. Robot — capped off by two unforgettable performances in “407 Proxy Authentication Required” and the two-part series finale, “whoami” and “Hello, Elliot.”
In those two episodes — as well as in the season as a whole — Esmail never stopped finding new ways to surprise his audience. Esmail has claimed from the jump that he always had a plan in mind for the end of Mr. Robot, and while not every single looming question was answered and not every fan who spent hours and hours on the Mr. Robot subreddit is going to end up satisfied — Esmail pulled off the near-impossible for a show that leaned into the Mystery Box as much as he did: a generally well-reviewed series finale that provided a satisfying conclusion to the show’s central mystery.
But regardless of how you feel about the plot twists — Mr. Robot proved once and for all to be about much more than just clever reveals or complicated computer hacks. It was a show about relationships. The often complicated relationships with family and friends. The relationship between money, influence and power. The relationship between wanting to do the right thing, and knowing what it may cost you. And ultimately — the relationship between a man the demons of his own mind.
Mr. Robot may have lost its audience along the way (or never really had that much of one to begin with) but I believe it will stand the test of time as one of the best television dramas ever to be produced.
2. Watchmen
Damon Lindelof knew what he was getting into when he decided to adopt the beloved graphic novel series Watchmen into an HBO miniseries. Few pieces of media have as many passionate defenders as the original Watchmen, and its deep themes, complex storylines and many litany of layered, tragic characters make any adaptation extremely tough to pull off. Just ask Zack Snyder.
Still — based off his success on The Leftovers — Lindelof had made up much of the good will he uh.. lost, with the controversial Lost finale — so expectations were high for one of 2019s most anticipated shows.
So did Watchmen deliver? The answer almost universally is an enthusiastic yes. The nine-episode miniseries has the potential to go down as one of the greatest single-season shows of all time should it really not return for more (although that seems far from a guarantee no matter how many times Lindelof says he has said what he wanted to say).
One thing that cannot be said about Watchmen is that is played things safe. Lindelof swung for the fences in every respect, and it’s tough to say he didn’t hit it out of the park in all of the ideas he was attempting to convey.
First and foremost, Watchmen is a brilliant puzzle box, one of the rare shows best viewed weekly so you can play along in the theory crafting and clue deciphering that is specifically made for the modern internet. I imagine those who waited to binge may miss the full experience of keeping up with Watchmen week-to-week.
And better yet — (almost) every mystery has a payoff. Learning from his previous mistakes — Lindelof is careful to answer nearly every question, plot hole and idea raised by the end of his 9-episode arc. Is every answer satisfying? That’s left to interpretation, but one can’t say Lindelof left people hanging this time.
Beyond it’s pure mysteriousness though, Lindelof clearly had something to say with Watchmen. Far more than just a standard superhero flick, the original Watchmen comic was overtly political, and Lindelof leans in even more so to reflect the current state of politics in America in 2019. If you’re uncomfortable confronting the realities of racial inequality that still plague us as a society as we enter the 2020s, Lindelof and Watchmen has no time for you. In this story — race and racism is at the forefront — and it forces viewers to ask themselves some tough questions.
Finally though — Watchmen works because of its tremendous cinematography and acting. An All-Star cast led by the television Goddess Regina King, as well as the likes of Jeremy Irons, Jean Smart, Hong Chau, Yaha Abdul-Mateen II, Louis Gossett Jr, and Tim Blake Nelson each get at least one full episode to show off their chops. Watchmen manages to build a complete world in just nine hours — so much so that even those who had never even heard of the original comic before watching could feel fully engrossed in the world.
Watchmen’s ability to blend unique and complex social themes with a rich and complex superhero story and a dash of mystery goodness makes it one of 2019’s greatest achievements. Only Dr. Manhattan can see into the future and see if there will ever be a season 2 — but regardless of what happens from here on out — it’s hard to call season 1 of Watchmen anything short of a masterpiece.
1. Fleabag
The first season of Fleabag was an out-of-nowhere delight, popping up on Amazon Prime in the U.S. to little or no fanfare but entering the pop-culture conversation due to its lightning-fast joke delivery — powerhouse lead performances and — absolutely zero fucks left to give attitude on sexuality, relationships and femininity.
Still — Fleabag still had a relatively limited reach in 2016 –at least in North America. But in the years since its release, lead writer and actress Phoebe Waller-Bridge has became somewhat of a cultural icon. Another show she created -the spy-thriller Killing Eve became a bonafide smash hit, she had a small but memorable part in Solo: A Star Wars Tale — hosted a memorable edition of Saturday Night Live — took her original Fleabag one-woman show to Broadway — and even was tasked with touching up the script to the latest James Bond film.
So — when it was determined that she would be following up with another season of Fleabag to be released in 2019- — there was considerable more buzz than when the original six episodes were dropped on Amazon Prime three years ago.
And yet — not only did season two of Fleabag deliver well beyond any reasonable expectations — it may have entered the lexicon as one of the best seasons of television this decade and transformed Fleabag into a critical darling that will be revered for years and years to come.
Season 2 of Fleabag takes the story of the otherwise unnamed lead character into fresh and fascinating directions, as she deals with her complicated familial relationships, the guilt she feels over the death of her best friend, and her ever-growing, deep loneliness and depression.
Andrew Scott stars as the “Hot Priest” who is just that — but his presence does far more than to give Waller-Bridge some eye candy to flirt with. Instead, Hot Priest forces the character of Fleabag to question everything she’s ever thought about religion, relationships and love itself.
Waller-Bridge’s writing in the second season is nothing short of a revelation. Practically every joke is picture-perfect, with set up and punchline landing with equal force — but the material feels so much more personal in the second season. Season 1 could possibly be accused for being raunchy for raunchiness sake — but the same cannot be said in season 2. Fleabag is still not embarrassed or ashamed about her overt sexuality — but she’s clearly a person that is using sex to mask other issues with her life — and when Hot Priest enters the picture, it forces her to reevaluate her life choices.
Much was made about Fleabag’s fourth-wall-breaking in season 1 — but Waller-Bridge somehow flips the entire concept on its head in the second season. Now, we the audience are much more than an outlet for one-liners about sex or quips about her stepmom (which, by the way, is Olivia Coleman, in case you needed still to be sold on this show). Instead, the audience becomes a character in and of itself — and when the big twist of the season enters into play — it has you questioning everything you thought about what Fleabag has been telling us this whole time.
In the end — without spoiling things — Fleabag ends with a heart-wrenching final scene that leaves the show on a perfectly tragic note. Waller-Bridge has said she is now done with Fleabag, having said all she wanted to say in its 12 episodes. If in fact that’s true, it’s tough to imagine a better way to go out.
The One Who Knocks 