You can't open your phone this month without coming across someone's Best TV Shows of 2024 column. The lists are everywhere. And they all contain many of the same programs. My annual Top 25 list, presented in three parts, includes many of those same shows, along with a few that I am certain will not turn up anywhere else. For those who still prefer that such lists be limited to ten entries, consider the shows below to be my Top 10, beginning with my Program of the Year. For everyone else, there are more to come.
Matlock (CBS) -- I've chosen CBS' new legal drama Matlock as the Top Program of 2024 not because it is arguably the most entertaining new series of the year (for the perpetual plot twists alone) but because it meets a demand that critics once cried out for but barely acknowledge anymore. Above all else, Matlock is a starring vehicle for a spectacularly talented "woman of a certain age" (as women over 40 were and perhaps still are referred to in Hollywood). This might be a record for a drama series, at least as far as age is concerned, because I believe series star Kathy Bates (pictured at top) is older now than Angela Lansbury was during her legendary run on Murder, She Wrote. But that shouldn't be the point (except that it is). Bates is a marvel, the show is smartly written, the cast is collectively ingratiating and, from what I hear, young adults are enjoying the show as much as the rest of us. I also love Matlock because, while it has no significant connection whatsoever to the Andy Griffith classic, except that it is filled with fond references to that show itself, it is not a reboot or a remake. But it is remarkable.
Shogun (FX and Hulu) -- Like many other people, when I first heard about this remake of the classic 1980 miniseries (they weren't called limited series back then) my first thought was, "Can't they come up with anything new?" My second was, "I still hate homework." I was wrong on both counts. This Shogun felt fresh and new, and it showed us that, despite abundant evidence to the contrary, just because something has been done before a remake isn't necessarily a bad thing. The performances were exemplary; the production values even more so. On the downside, the decision to take advantage of its success and expand the franchise from a limited series to an ongoing drama series is a true Hollywood move that could put a ding in its legacy. Regardless, we'll always have this bit of brilliance.
Baby Reindeer (Netflix) -- This autobiographical Netflix limited series is not in any way a feel-good production, but it deserves to land so high on this list because the real-life story behind it is just as fascinating as the show itself, which is itself a real-life psychodrama. Series creator, writer and star Richard Gadd apparently went through very tough times, including substance abuse, sexual assault and a bizarre stalking incident, along with a dead-on-arrival attempt to launch a career as a stand-up comic. That would have permanently crushed the creative drive out of most people. Gadd, however, chose to make himself as vulnerable as possible by turning his ordeal into a riveting television project that proved as popular with viewers as it was with critics. Gadd, here known as Donny, and Jessica Gunning as Martha, his distinctively disturbing stalker, were unforgettable in the lead roles.
Disclaimer (Apple TV+) -- I didn't know what to expect when I settled in to watch this first television project by acclaimed film director Alfonso Cuaron … and for quite some time I didn't know what was going on story-wise, either. And then I figured it out, until the end, when I realized I had it wrong throughout. Cuaron structured it that way, challenging viewers with multiple narrators speaking in varying tenses and a timeline that refused to play by traditional rules and rewarding them when it was all over with a television experience they won't soon forget. A lot was asked from an eclectic cast -- led by Cate Blanchett, Kevin Kline and Sacha Baron Cohen, with invaluable support from Leila George, Lesley Manville and Louis Partridge. Their performances were thrilling to watch, each one in a very different way.
Ripley (Netflix) -- My reaction to this Netflix limited series was not unlike my response to Shogun (see above). Why a remake? Especially when The Talented Mr. Ripley, the excellent 1999 thriller starring Matt Damon, Gwyneth Paltrow, Jude Law, Cate Blanchett and Philip Seymour Hoffman, had already stood the test of time and become a classic. (Of late it plays continuously on Flix.) And then I watched it, and once again had to admit I was wrong. The new Ripley (pictured above) was shot in glorious black-and-white, which elevated everything about it, and Andrew Scott's portrayal of the title character was truly creepy, perhaps because this Ripley was quite a bit older than that Ripley.
Evil (Paramount+) -- One of television's most daringly original series this year came to what many of us believe was an untimely end. After all, Evil seemed to be doing quite fine on Paramount+ -- this after beginning life as a drama on CBS, then migrating to CBS All Access, and then becoming a centerpiece show on Paramount+ … all the while surviving interruptions brought on by Covid and the strikes. It's four-season run (across three platforms) was all too brief, but what a ride it was -- alternately funny, horrific, challenging and thought provoking as it explored themes of spirituality, religion, technology, mental health and the supernatural. I often wasn't sure what was going on, but I was enjoying every minute of it, especially when that demon-fighting no-nonsense nun played by Andrea Martin was on my screen. Netflix really should have grabbed this one.
Hacks (Max) -- Jean Smart once again delivered the comedic performance of the year as Deborah Vance, a tough, tireless, brittle and ballsy legendary Las Vegas comedienne who worked her way to the top and seeks to remain there -- this season by striving to take over as host of a hit late-night talk show. As brutal as she can be, one can't help but feel sympathy for her, or perhaps relate to her ongoing struggle, given her gender and her age, both unfairly working against her. Still, as self-impressed as Deborah is, she has from the start been wise enough to rely on Ava (Hannah Einbinder), a young comedy writer with her own issues to help her remain relevant. Their fascinating mess of a relationship remained the foundation of this thoroughly entertaining series.
Monsters: The Lyle and Erik Menendez Story (Netflix) -- No scripted series in 2024 had the same wide-ranging real-life impact as Ryan Murphy's gripping account of the infamous Menendez family, the members of which became household names in 1989 when teenage sons Lyle and Erik methodically murdered their parents, Jose and "Kitty," ostensibly to end years of brutal sexual abuse by Jose that began when they were little children. This edition of Murphy's Monsters franchise reignited public interest in the matter of the Menendez boys (who have been in prison for more than 30 years) while also reminding us of the endless turmoil of life in Los Angeles in the years that followed the murders, including the Rodney King riots and the trial of O.J. Simpson. Cooper Koch stole the show as Erik. (He was especially impressive in episode five, when the camera remained on him from beginning to end as he recounted his years of torment. It was unlike anything I have seen in my decades of television viewing.) Nicholas Alexander Chavez, fresh off a three-year stint on General Hospital, proved in his portrayal of Lyle that soap operas are indeed ideal training grounds for dramatic actors. But the real surprise was Nathan Lane's emotionally supercharged portrayal of author and journalist Dominick Dunne, who famously covered the boys' horror story and the Simpson trial while also grieving the murder of his young daughter.
True Detective: Night Country (HBO) -- The year began with this endlessly eerie thriller that kicks off with the immediate aftermath of a horrific mass murder in a remote Alaska research station. It still gives me chills (that arm!) and not simply because it is set in a frigid environment (the small town nearest to the station). Jodie Foster gave her best performance in years as a police chief almost crushed by escalating horrors and challenges of the past and present as she suffers through one of the worst holiday weeks imaginable. The loyal trooper (Kali Reis) with whom she seeks to solve the murders doesn't fare much better. One of the most telling compliments I can give in this era of overlong limited series (ie: ten-hour movies) is that I would not have minded additional episodes. Night Country seemed as though its world-building had just begun when the show was suddenly done.
A Man on the Inside (Netflix) -- Of all the shows on this list, A Man on the Inside -- one of those so-called comedies that gives us some of the best drama on television -- is the one I cannot stop thinking about. Is it because there is simply too much happening in its 10 half-hour episodes to properly process the first time around? Or is it the subtle skill with which this series addresses so many uncomfortable everyday matters with uncommon insight and sensitivity, from parent-child relationships of all ages to the challenges faced by elderly people. If we're lucky, we're all going to get old, right? Some of us will fare much better than others. It's hard to believe that a show often described as a light comedy about a man hired by a detective to live in an elder care facility where someone is stealing the residents' valuables is one of the most profound studies of human behavior on television this year. It's also hard to believe that series' star Ted Danson can add yet another television success to his resume. How many have there been, anyway?
To be continued …