100 Best 2024 Shows So Far

It’s best to go into Diarra from Detroit with zero knowledge and expectations, but even if you do know a bit about its comedian star, writer, and director, Diarra still comes at you with wild but always funny curveballs. Some parts of the story are implausible, but it doesn’t matter: Diarra sells them with gusto. And the series has so many other things going for it, not least of which is Diarra’s internal turmoil, which often bleeds into the mystery she obsesses over. It’s crazy but humane, and Diarra’s one-liners are always home runs.

Chimp Crazy, like Tiger King before it, is a difficult watch. It follows chimpanzee owners and their almost fanatic loyalty to the primates (one famously breastfed a chimp and raised her as her child), but mostly it trails Tonia Haddix, an animal broker who is obsessed with the 32-year-old chimp and sometime Hollywood star Tonka. I won’t spoil the things she does to save their relationship, but I assure you it’s chilling and outrageous. That said, shock isn’t the only thing Chimp Crazy has going for it. The curious way it’s filmed is surely cause for debate. And the way everyone here—whether that’s Haddix, the occasional dangerous chimp, or the near-manipulative director Eric Goode—seems at once manipulative and sympathetic is a feat of its own.

Taking a cue from Blaxploitation films, Fight Night looks every bit like the ‘70s movies that screamed fun and danger. But the eight-part series starring Kevin Hart is more than just a schtick. It’s a thoughtfully constructed heist thriller that doubles as a showcase for its stacked cast and a love letter, of sorts, to Atlanta and how it came to be the Black-powered city that it is today. There’s never a dull moment in the show; if it’s not pulling the rug from under you by showing you a heist-within-a-heist, or one backstabber from another, then it’s entertaining you with a wide range of equally compelling performances. There’s the competent Hart, the reliably commanding Taraji P. Henson, the likable straight man Don Cheadle, the surprisingly subdued Samuel L. Jackson, and the impressive ingenue Chloe Bailey, among many, many others. Then there’s Hart’s character’s vision of Atlanta, at once inspiring and chillingly accurate. It’s not a perfect show—it has its cartoonish moments—but it’s enjoyable and insightful as a whole.

It’s easy to forget that Netflix helped boost the popularity of the true crime genre, especially since it’s pumping out a new series almost daily. A lot of them are rushed and sensationalized, but there are a few that are worthwhile. Into the Fire is thankfully the latter. Showrunner Jenna Lamia and Director Susanne Bier tell Terkanian and her daughter’s story in a refreshingly measured way, making sure to hone in on Terkanian’s restless energy. It’s that energy that rallies the community behind her in breaking open the case and uncovering many more missing persons besides her daughter. The same energy makes the show feel more dynamic and alive than other true crime documentaries. It’s also more restrained and respectful. No overdramatized suspense or sensationalized twists here, just an incredibly true story, cleverly and humanely told.

High Potential isn’t the smartest thing out there, despite Morgan’s impressive 160 IQ. It’s also not the quirkiest of its kind (hello, Elsbeth!). But it’s undeniably enjoyable, thanks in large part to Olson, who injects her character with so much wit, charm, and tenderness. Played wrong, Morgan could’ve been yet another annoying Sherlock-type, but in Olson’s capable hands, she’s anything but. It’s still too early to tell whether the surrounding characters will match her infectious energy, but I am seated and excited for more to come.

When a show is focused on a kid and their sport, chances are, the main character holds a passion for the sport itself. They saw it, they thought it was cool, and they tried it out. Blue Box, however, takes an unconventionally depicted, but no less honest, motivation– the energizing power of having a crush. The way Taiki goes about it feels reminiscent of that first childhood crush, with the excitement, the determination, and the pure mortification each time he perceives to have jumped the gun, but it’s all made endearing with the characterization, writing, and the beautiful render, and it’s easily driven by the familiar device of having to share the same residence. Blue Box is just so darn cute.

At a certain age, it can feel like starting over again isn’t possible, especially when all signs discourage you from ever trying again. Dr. Yehya of The Last Round knows this better than most– quitting kickboxing wasn’t an option, but a requirement, with his age and near misses and personal issues taking him out of the arena and into a low point in his life. But despite this, and despite day-to-day difficulties, The Last Round also portrays him getting back up, pursuing his dream one more time. It’s a familiar story, one we’ve seen in many sports shows, but with Ahmed Al-Sakka in the ring, and the careful characterization of the whole team that gets him there, The Last Round knocks our socks out.

Even before the worldwide pandemic, the field of medicine isn’t anymore the straightforward profession it used to be. It’s still a respected position, that’s attached with a certain status, but the demands have risen for those with the title. Doctors don’t only have to be good at their jobs– there’s a certain push for doctors to be also good at publication, lectures, in-office politics, the business, and for some, social media influencing and politics– it’s no wonder that medical workers today are burned out. Doctor Slump explores these themes with the usual K-drama flair, but in doing so, becomes a refreshing and cathartic romance to watch.

From the fantasy-powered folktales to superhero-like depictions, ninjas have captivated the world, but seem to be a relic of the past, with modern day warfare and weaponry turning them obsolete. House of Ninjas imagines a world where ninjas still exist, centering a clan stuck between wanting to abandon the old ways but also having skills that seem wasted in contemporary life. Because of this, the show at first seems boring– the family is severely demotivated, with some members acting out through petty theft, and with out-of-place jazzy musical tracks that undercut the action of the first few episodes. However, House of Ninjas gets better as the Tawara clan gets its act together, revealing the hidden heart each of them has for each other, one that’s been hidden because of the grief that struck the family. The show may be less action-packed than expected, but House of Ninjas comes across as an off-kilter family drama with just enough heart to work.

The first few minutes of The Tourist make it seem like a straight action thriller. It’s cool and gritty, with Jamie Dornan ably playing the role of strong but likable leading man. Then ever so subtly, it shifts its tone into something more playful and wholesome, then shifts back to dangerous territory. The back-and-forth feels jarring at first, almost like we’re seeing the show discover what it should be in real time. But eventually, it settles into a comfortable and confident rhythm, one that’s difficult not to watch. The funny bits are care of silly townie humor and that dry Australian wit, while most of the high-intensity action is thanks to Dornan (though he delivers amusing zingers too, especially when paired with Shalom Brune-Franklin). The Tourist seems designed to reel in broad viewers with different tastes, and it does just that thanks to its strong performances and nicely balanced tone.