100 Best 2024 Shows So Far

A Round of Applause is just so darn weird. We’ve seen stories about people remembering their past lives, but we’ve never seen them able to recall and yearn for their life as pulp in an orange, of all things. We’ve seen fetuses as characters, but we’ve never seen them as a neurotic chainsmoker, tugging at the umbilical cord in complaint. These strange, existential ideas get to amusingly absurd paths, leading to punchlines that aren’t expected but pulls out unexpected laughter while making us contemplate the lives we’re currently living. Even if the offbeat humor isn’t to your taste, A Round of Applause just feels so original that it’s worth a look.

The first thing that hits you about Sugar is its style: this is a show tailor-made for fans of a bygone Hollywood era, an era dominated by film noir and dapper leading men like Humphrey Bogart, whom Sugar emulates throughout the series. The show inserts clips from old films and, even better, echoes their style through tasteful jumpcuts and fisheye lenses. It’s dripping with panache, and Farrell is undeniably cool as he narrates his investigation and inner demons. That said, Sugar is also a show that’s more style than substance. If you strip it off its snazzy clothes, you’re left with the barest bones of a mystery that is simply too cliched to stand on its own. If you’re looking to dive into a heady mystery with surprising twists and thrills, you’re better off watching something else. However, if you’re a true blue fan of vintage noir, the kind who still puts TCM on religiously and swears nothing new can compare to the old, then this is your show.

Understandably, people get nervous when delinquent boys team up into groups and start beating the hell out of people, but in WIND BREAKER, masculine strength isn’t used for aggression– instead, the boys of Furin High use their fighting skills and penchant for violence into protecting the town. Of course, with this premise, there’s fun fight sequences and all the youthful misdemeanors that kids probably should not do in their real lives, but at the heart of all the action is the question as to how boys can positively grow into the strength they are granted. It also never forgets to show the goofy, endearing side that’s often forgotten and rarely encouraged when talking about young men of today.

When it comes to true crime series, it’s rare to hear of teenage girls participating in murder. But it does happen, on occasion, and one instance is now portrayed in Under the Bridge, based on Rebecca Godfrey’s non-fiction account of the murder of Reena Virk. As Virk goes missing, the show alternates between different perspectives, with Archie Panjabi and Ezra Farouke as Virk’s concerned parents, Chloe Guidry as foster child queen bee Josephine Bell (name replacing that of one of the real perpetrators), and deviating from the real case, Lily Gladstone leading the case as fictional cop Cam Bentland, and Riley Keough as Godfrey herself. With the number of shifts, it does occasionally feel like it loses focus, but the deviations make the introduction feel compelling, especially with the performances of the whole ensemble.

When Cristobal Balenciaga was in his prime, the courtier was lauded for his technique. More than anything, his dedication to the tiniest detail of dressmaking, not just design, made his sculptural dresses stand out. This titular miniseries about his years in Paris is made in the same vein. It has a strong foundational form, from smart camerawork and beautiful lighting to period-accurate backdrops and tight storytelling. But it has plenty of substance too as it’s clearly, and endearingly, in love with haute couture. Every scene is dripping with elegance, and every gown (even the supposed bad ones!) is so gorgeous that you must pause and take a moment to marvel at it. But perhaps the most impressive thing about the series is that it doesn’t shy away from history; in fact, it welcomes it fully, even the controversial parts of Balenciaga’s past. What we get isn’t a glorified icon, but a flawed human being who is all the more resplendent in his wholeness.

Just when you think you’ve heard enough origin stories for a lifetime, in comes Me with probably the most poignant one yet: 12-year-old Ben, overcome with so much anxiety and yearning to be someplace else, transformers into a different person. Though Me is outwardly a sci-fi show, and the main plot is fueled with mystery and fantasy, it’s also an emotionally attuned, self-aware coming-of-age story that follows Ben through his ups and downs. Almost overnight, he gains a new sister, a new school, a new set of classmates to figure out, and unlike most superhero narratives, these are just as confounding and important to Ben as his powers. There is no double life, it’s all just him. But the best thing about Me is that despite its G rating, it’s just as enjoyable for adults as it is for kids. It’s not cheesy or corny, but gentle and comforting, and you learn lots about yourself in the process.

Apple TV+’s stunning Omnivore is sleek and stylish enough to make it stand out from the usual food and travel shows you might find on TV. There are expertly shot scenes from around the world, exclusive interviews, and maybe best of all, a well-written script that’s just as colorful and delectable as the dishes onscreen. Each episode, which hones in on a specific ingredient like corn or chili, has a tight runtime at just 30 minutes, making it extremely bingeable (though ideally not on an empty stomach). That said, the show might be too polished for viewers who are expecting the gritty and immersive approach of a chef like Anthony Bourdain. Omnivore, for all its explorative language, is suspiciously idyllic at times, all too eager to paint the global food industry as a harmonious process as opposed to an enterprise that is involved in global warming, animal poaching, and deforestation, among others. Every industry has a dark side, and I just wished the show appreciated the nuance in that. Still, it’s an engaging watch with glowing moments.

Except for the fact that it’s a genderswapped reboot starring the Kathy Bates, Matlock is hard to distinguish from the rest of the legal dramas airing on network TV. It follows the same formula shows like Suits, Law & Order, and The Good Fight do, where each episode is dedicated to an interesting case that also happens to reveal something new about the characters and whatever they’re going through. But what sets it apart (again apart from Bates, a force to be reckoned with), is its folksy humor and a consistent, throughline advocacy that would be a spoiler to reveal if you haven’t seen the pilot yet. That advocacy is a strong one, and not all that is represented yet on TV, so for the show’s enlightening and empathetic take on it alone, it’s a good watch. But add reliably engaging procedural cases and enjoyable performances, what you have is something great—or at least way better than most things currently on weekly TV.

Starting 5 takes some of the best players in the NBA’s current roster and follows them throughout the latest season. We follow them in their training sessions, their homes, their private jets, and even during the most intense games, where we get to hear them trash-talk their opponents through their mic’d uniforms. As to why these five specific players, one can only guess (there are certainly others in the league who lead more interesting lives, or whose rise to fame might be equally if not more promising) but they do contrast well enough to entertain. Rising stars Jayson Tatum and Anthony Edwards are positioned against NBA veteran LeBron James, whose only true nemesis at this point is himself. Jimmy Butler, by far the most entertaining, is the comic relief who proves there’s more to life than just ‘ball and family (everyone here is a dedicated father), while Sabonis’ patience and gentleness temper passions. The series doesn’t go too in-depth into the athletes’ lives or their psyches, but it has a template that’s enjoyable and easy to replicate. It’ll be fun to see which five it’ll deem worthy in the following seasons.

After more than a decade apart on-screen, Gael Garcia Bernal and Diego Luna finally reunite in La Máquina. While they maintained their friendship off-screen, it’s just so fun to see them take on a more comedic dynamic as they snipe at each other, get into trouble, and scramble to get things right. It’s the best part of this series, and with Gabriel Ripstein’s direction, the series is never boring, continuing to move in unexpected directions with swiveling camera movements and such a slick score. While there are some issues with the pacing, La Máquina is fun to watch, especially when focused on their leads.