100 Best 2024 Shows So Far

This series is fascinating and incredibly easy to root for. The premise itself comes from a well-intentioned place, and is an idea that can even justify filming as a TV show. The presentation packs a layer of dissonance between its often, dare I say, adorable tone and the gravity of the situation that these people are potentially in. It’s not something that I’d say adds to or takes away from the show, but it is something that’s always in the back of your mind when the interview bits get a little too dumb and funny. The idea of prisoners governing themselves reads like a recipe for disaster, so the tension is always there. But when you see a good chunk of them taking it seriously, it’s all you need to want to see the show through.

Dead Boy Detectives is as light fun as it sounds, but breezy it is not. Its case of the episode formula has fun, at times absurd premises that leads to satisfying conclusions, which makes it feel like a vibrant teen cartoon series. But so much of an episode is banter in the form of bloated dialogue that can go in one ear and quickly out the other. It’s colorful, cute, and quirky at times, and it’s easy to root for its energetic bits and seamless tying of threads; but all in all, watching one episode after another, it can feel unnecessarily dragged out for the kind of light mystery show that it is.

Stax’s existence may have been short-lived, but its impact continues to be felt in every R&B record produced to this day. That’s one of the points this four-part documentary from HBO successfully makes so that by the end, you’re convinced Stax should be just as recognizable and appreciated as Motown, Atlantic, and other influential record labels. For the most part, the series resembles the typical documentary in that it’s propelled by animated talking heads and complementary archival footage, but the performances of Stax stars, including and most especially Otis Redding and Isaac Hayes, inject the documentary with an energy and electricity that pushes you to move and groove. The old-school editing feels thoughtful, too, while the additional animation adds a delightfully nostalgic touch. The documentary itself may not be as revolutionary as the events it captures, but it is just as enlightening, electrifying, and enjoyable.

The inherent drama of succession stories has always made for great, entertaining TV. You only have to look at Game of Thrones, Dynasty, Yellowstone, and, well, Succession to know that. With Ren Faire, director Lance Oppenheim (Some Kind of Heaven, Spermworld) ups the ante by following the real and ongoing power struggle between the Renaissance fair employees clawing and scratching their way to the top. They’re so animated and dead-set on inheriting a literal kingdom that Oppenheim and his team hardly have to do anything to color this tale. And yet, color it they do, to wonderfully cinematic and comedic effect. The employees are (willingly) dubbed “Lord of Corn” and “The Fairy Godmother,” while Coulam is of course the longstanding King. You get the sense that their feuds are heightened in the presence of the cameras, but feel entertained nonetheless. To cap things off, the documentary is shot using grainy unfocused film, sometimes edited in the trippy way low-budget 60’s films used to look so that it matches the surreal reality of the fair. The story could’ve been interesting on its own, but the artful and intentional way it’s told elevates it.

The animation of this series feels grand and powerful, something you don’t typically expect or get from kids shows. There are layers to the way the dialogue and plot unfolds, with scenes paced like a movie, and with quality production to boot. It’s also got an impressive atmospheric range, capable of being laid back and smooth with its exposition, suspenseful and nuanced with its story beats, and ultimately friendly enough for bigger kids to enjoy. It’s young adult drama, action, mystery, and comedy, possessing one strong element after another, that genuinely keeps thrill-seeking adults and kids on the edge of their seats.

By now, it’s pretty clear that Apple TV+ follows a less-is-more philosophy when it comes to content. Sure, it doesn’t release a million new titles in a year like Netflix or Prime, but the few originals that it does put out are almost always good (and occasionally great), backed by an astounding budget and ambitious vision. Sunny is the latest addition to that category. The multi-genre show is a deceptively simple robo-buddy comedy that is engaging through and through. Yes, it’s futuristic—and fantastic in that regard—but it’s also funny, heartwarming, thrilling, and tragic. And it juggles all these effortlessly so that the other aspects of the show, such as the artful blend of tradition and tech, can shine through.

As one of the most decorated Olympians in history, the gymnast Simon Biles hardly needs an introduction. It’s better to see her in action, anyway, than read her endless accolades, which is why Simone Biles: Rising wastes no time launching into action and getting to the heart of the matter. The documentary begins with Biles’ controversial exit from the Tokyo 2020 Olympics and rehashes the harsh and unfair criticism she received soon after. We see the toll this takes on Biles and understand how widespread of a problem it actually is–the expectations, the pressures, the sheer physical and mental struggle to go beyond what is humanly possible. The film challenges our ideas of heroism and athleticism, and by the second episode, it touches on something more poignant as Biles shares her traumatic past as a fostered kid and a Black girl breaking into a sport dominated mostly by white, blonde women. With all the twists and turns the dramatic series puts us through, it expertly sets up Biles (and our hopefully more compassionate excitement) for her much-awaited comeback in Paris.

Wyatt Earp’s adventures in the Wild West are the stuff of legend. Indeed, plenty of Hollywood greats have tried to recreate—or at least, emulate—his mythology, from Jimmy Stewart and Henry Fonda to Kevin Costner and Val Kilmer. But maybe non-fiction is the way to go. That’s what I gathered from watching the deeply engaging six-part docudrama Wyatt Earp and the Cowboy War. The series blends well-acted dramatic performances with expert commentary from historians, and the cherry on top is that Ed Harris (The Man in Black from Westworld! Of course!) narrates with the kind of cool and character that makes you want to listen to him forever. But the key here is that balance between drama and documentary: it never feels too played up, thanks in large part to the actors’ lived-in performances (my favorite is Thomas Fitch), nor does it feel like a droning history lesson, even though we do end up learning so much more about Earp and the legendary shootout that occurred in O.K. Corral. It’s all edited so that you get different things, too, per episode. One serves as a riveting legal drama, another is more focused on the juicy love triangle Earp is involved in. All, however, are equally educational and exciting.

Our cold open sees a classic patient on the loose scene, then quickly followed by the multifaceted drama and gang warfare that sits at the heart of the story — a multi-pronged attack that doesn’t always merge so smoothly. High tension happens within the sci-fi elements that the viewer is always learning to process, which can be an efficient way to pick up on many aspects of the story, but it can also feel like a juggling act. There’s a little bit of everything here mood-wise: a little romance, family drama, superpowers, and unintentional comedy. When it all gels, it’s pretty straightforward, but never truly feels like a silky smooth ride.

The easy thing to do would be to give this a 7 and move on; say automotive and makeover reality TV fans will eat this up; say once you’ve seen one you’ve seen them all. But Resurrecting Rides does stand out as lighthearted and accessible for people who may not be its primary audience. It feels like bantering with old friends and funny without forcing any bits and weird editing decisions. Crucially, it also makes use of satisfying visuals in the planning and side-by-side phases, and nothing too stupid happens to the cars. Just a satisfying and rewarding watch overall, whether you take interest in the niche or in Pimp My Ride nostalgia.