Best Of 2024: Television

best oftv
Written By GPCD Contributor

The panelists and Patreon supporters of the Great Pop Culture Debate have nominated their favorite TV shows of 2024. Check out their recommendations below. (Unlike previous years, we did not do an actual episode devoted to Best Of 2024; we’re just doing listicles on the website.) Shows mentioned include: 3 Body Problem, A Man on the Inside, Baby Reindeer, Dune: Prophecy, English Teacher, How to Die Alone, Matlock, Nobody Wants This, The Penguin, Ripley, Shogun, X-Men ‘97 and more.

Want to drop your own favorite shows of the year? Feel free to share them in the comments.

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3 Body Problem (Netflix)

This American adaptation of Chinese author Liu Cixin’s sci-fi epic was met with significant pushback and middling reviews (7.5/10 on IMDB, 79% on Rotten Tomatoes). I wonder how much of that had to do with the merits of the series, and how much was audiences (and entertainment press) trying to punish producers David Benioff and D.B. Weiss for the final season of Game of Thrones. I found 3 Body Problem to be totally engrossing, a fascinating story about aliens making contact with humans, layered against human cultures exerting their control on one another. While I concede that the season finale was a letdown, everything up to that point was exceptional; the first season contained some of the most memorable sequences I saw on TV this year (I will literally never forget the ship going through the canal, or some of the ecstatically trippy VR sequences). In May Netflix announced the show was renewed for seasons 2 and 3, which will bring the series through its planned conclusion. (Eric Rezsnyak)

9-1-1 (ABC)

This year, I discovered 9-1-1 and quickly binged every season, leading up to some standout moments of 2024. The latest season showcased the show’s signature blend of wildly imaginative emergencies and heartfelt character arcs. From Athena (Angela Bassett) heroically landing a plane on the I-5 during the killer bee-nado crisis that opened the latest season to Buck’s (Oliver Stark) emotional journey of discovering his sexuality, the series balanced procedural drama with over-the-top scenarios that gleefully defy reality. Hen (Aisha Hinds) and Karen’s (Tracie Thoms) adoption challenges brought genuine emotional weight, while the writers’ creativity and flair for spectacle ensured the season remained thrilling and unpredictable. (Joelle Boedecker)

A Man on the Inside is a heartfelt comedy series that follows a retired professor who goes undercover in a retirement home to recover stolen jewelry, while exploring themes of friendship, death, and compassion. The show, created by The Good Place creator Michael Schur, stars Ted Danson in a curious, caring role similar to his character Michael from The Good Place.  I love that show and re-watch it often, appreciating its focus on philosophy, our humanity, and the meaning of life. A Man on the Inside continues that show's themes of friendship, compassion, and making the most of one's life in a more natural setting, making it a perfect continuation for fans of the earlier series. (Jim Czadzeck)

The Acolyte (Disney+)

It saddens us when sci-fi series come around that show such promise, only for the studios at the helm to hurriedly cancel any continuation of said series when their streaming numbers weren’t immediately astronomic. Such was the case with The Acolyte, a Star Wars story set in the Old Republic that felt fresh and compelling, with breakout performances from Manny Jacinto and Amandla Stenberg. It really left us wanting more. We can only hope that one day Disney sees fit to continue the story. (Derek Mekita)

Agatha All Along (Disney+)

In hindsight, it’s a bit of a marvel (pun intended) that we got this series at all. Initially greenlit in the immediate afterglow of WandaVision’s success in 2021, the show’s slow development process saw it gestating during more than one anus horriblus for the Marvel Cinematic Universe, with costly flop after costly flop seeing much of the Marvel slate overhauled or abandoned. And yet this project persisted, featuring a C-list Marvel character (a villain at that!), set squarely in the barely explored mystical side of the MCU, focused almost entirely on women and female power. The end result may be Marvel’s best live-action TV project to date. Kathryn Hahn is delicious as the title character, but we also got strong turns from Joe Locke as a pivotal character, Aubrey Plaza absolutely devouring every scene she was in, and – in my opinion – Patti Lupone’s best-ever turn on screen. Showrunner Jac Schaeffer created a wonderful, winding tale that I was sad to see end. (Eric Rezsnyak)

Baby Reindeer (Netflix)

Baby Reindeer was electric. It seems an odd thing to say about a show that speaks seriously about stalking, sexuality, and abuse, but it was impossible to not press "Next Episode" time after time while watching what Richard Gadd created. He and Jessica Gunning bring a pretty harrowing story to life in nuanced, terrifying, and somehow wildly entertaining ways. (Amma Marfo)

Bridgerton Season 3 (Netflix)

Bridgerton Season 3 centers on Penelope and Colin's friends-to-lovers storyline, with Benedict exploring his sexuality, setting up his own plotline for Season 4. Francesca enters the marriage market, determined to quickly secure a match, while Eloise grapples with her identity and her relationship with Penelope. A standout moment was Penelope’s curvy body being proudly showcased in steamy scenes, including one involving a carriage ride home. The season explores themes of longing, love, self-discovery, and personal growth, adding complexity to the Bridgerton family dynamic. (Joelle Boedecker)

The series Dead Boy Detectives followed two ghostly teenagers both murdered in the same boarding school decades apart, who have chosen not to “move on,” but instead remain and solve mysteries both mortal and undead. This Netflix show was not only full of humor and scares, but gave us one of the most truthful portrayals of the anxiety and terror of coming out to yourself and others. The fact that it was canceled after one season is infuriating. (Bob Erlenback)

This locked-room murder mystery set on a cruise ship will only have its single 10-episode season, but is definitely worth a watch. Starring Mandy Patinkin and Violett Beane, this fun series in the vein of Knives Out and Glass Onion will scratch every Agatha Christie itch you may have, and it’s the second-most-fun cruise-based show in our picks for this year… (Karissa Kloss)

It's hard to explain the appeal of Dinner Time Live with David Chang. On the surface, it’s just a cooking show with a famous chef, but the stakes are higher as he executes a multi-course meal live on Netflix on Tuesday nights. Viewers join in live to interact with Chris Ying, “Voice of the Internet.” The show is also filled with hijinks, especially when guests like Terry Crews jump behind the counter to help cook, and Fortune Feimster brings her comedic energy — her Halloween episode with Rachel Bloom in costume was especially hilarious. (Joelle Boedecker)

Literally half of the Great Pop Culture Debate panel is obsessed with this soapy cruise-ship medical drama from Ryan Murphy, starring Joshua Jackson, Hamilton’s Phillipa Soo, and Don Johnson. One of the buzziest shows on network television in recent memory, and just a hell of a lot of fun.

Doctor Who (Disney+)

The latest season of Doctor Who introduced a new Doctor in Ncuti Gatwa and marked a significant shift after a substantial hiatus. Under Russell T Davies’ leadership, the show boldly embraced queer storytelling. Standout moments included Jonathan Groff's performance in a Bridgerton-inspired fantasy episode and an emotionally charged story where Ruby, the Doctor's new companion, is mysteriously erased from everyone's memory. While individual episodes offered thrilling adventures, heartfelt compassion, and compelling mysteries, the overarching season narrative stumbled, relying too heavily on frustrating retcons stemming from a single moment in the Christmas special. Overall, the arc lacked cohesion despite memorable highlights. (Joelle Boedecker)

Dropout (Dropout)

Not to be confused with the Elizabeth Holmes Hulu mini-series from a few years back, Dropout is an independent streaming app that is the continuation of College Humor. For just a few bucks a month you get a surprisingly robust catalogue of wildly inventive comedy and game shows; there is literally always something new to watch, and so much of it is great. Standouts from this past year include the bonkers improv talk show Very Important People, in which Vic Michaelis interviews comedians in wild prosthetics who make up complicated backstories on the spot; drinking game Dirty Laundry, in which guests spill embarrassing secrets while getting soused; cooking show Gastronauts, which is like Chopped directed by chaos goblins; and my personal favorite, Thousandaires, basically bougie show-and-tell where the players are each given $1,000 with which to buy something to impress everyone else. I have replayed the capes segment in Episode 1 way more than I care to admit. In 2025, look for a return for Brennan Lee Mulligan’s Dungeons & Drag Queens RPG live play featuring icons from RuPaul’s Drag Race. (Eric Rezsnyak)

Dune: Prophecy (HBO/Max)

After House of the Dragon Season 2 completely squandered its first season’s potential – what a disaster – I was ready to walk away from HBO fantasy drama for a while. Then came this prequel series, set 10,000 years before the birth of Paul Atreides, and exploring the origin of the Bene Gesserit religious order working behind the scenes of the Dune novels and films. The premiere is the weakest episode of the first season, and since then the show has layered intrigue on top of intrigue to create a truly thrilling mystery (or mysteries, really). Emily Watson and Olivia Williams are the rocks of the series, playing sisters trying to mitigate multiple crises facing their order – and the Empire. The visual design of the series is intricate and evocative, clearly relating to the aesthetic of Denis Villeneuve’s films but set away from the vibrant sands of Arakkis. The cliffhanger revelation in the penultimate episode helps to reframe much of the first season’s confusion, and sets up a truly juicy dynamic between multiple leads going forward. Definitely worth the binge, especially for sci-fi/fantasy fans. (Eric Rezsnyak)

English Teacher (FX/Hulu)

The funniest sitcom to debut this year is about a gay English teacher (creator and star Brian Jordan Alvarez) at a Texas high school, his teacher friends, and the Gen Z students they all have to deal with. Refreshingly frank and surprisingly hopeful, the show’s short 8-episode season is begging FX for a renewal. (Karissa Kloss)

Franklin (Apple TV+)

Michael Douglas proves he hasn’t lost a step, even when said step has a bit of a limp. He so perfectly captures Benjamin Franklin’s disarming charm and legendary wit, balanced by his advanced age and ailments, to portray how this founding father’s masterful maneuvering won America its first ally, all while partaking in the decadence and drama of 18th century France. It is truly a feast for the senses, and highly recommended for anyone who enjoys period drama. (Derek Mekita)

Heartstopper Season 3 (Netflix)

Heartstopper is a show pretty universally praised during its first two seasons for being a joyful celebration of love between queer teens. Those of us who read the graphic novels knew challenging times ahead, and the TV adaptation handled those challenges beautifully. Season 3 addressed self-harm, eating disorders, mental illness, and emerging sexuality in ways both serious and sweet. (Amma Marfo)

Natasha Rothwell has needed to be a star for ages. And this vehicle, which she created and wrote for herself, gives her the chance to do so beautifully. The supporting cast around her is hilarious, touching, and highly watchable. Not to mention, as someone who watches a lot of TV, I love genuine surprises in a finale - and this one had several! I literally cannot wait for what's next. I’ll knock on Natasha’s door (via social) weekly until I know when it's back. Hulu, don’t fail me now. (Amma Marfo)

Seth Meyers is the voice that we all need right now, mixing a comedic tone into the real news (which can be a lot to process). His delivery of “A Closer Look” most nights of the week is a deft combination of informing his audience of the news of the day in a format that makes the news palatable and digestible. What Seth is doing with his show is reminiscent of The Daily Show, but he’s doing it on a network that has a much broader reach, and is more comedic than satiric. He is a salient voice in a media sea, and makes the news of the day understandable for a broad swath of the public that may not necessarily consume regular news. Visit his show for a good time with the news and pop culture interviews in a way that will make you still enjoy those things through his relatable personality and funny comments. It’s worth a watch live or on YouTube a day later. (Steve Nikoloff)

Matlock (CBS)

Kathy Bates delivers an exceptional performance in this modern take on the classic lawyer show Matlock. Rife with moral ambiguity, Maddy Matlock seeks to take down a crooked law firm from the inside, but doesn’t anticipate the questionable lengths she’ll go to, or the close relationships she’ll make. All episodes available now on Paramount+. (Bob Erlenback)

Ryan Murphy’s Monster anthology on Netflix is undeniably a hard watch; they bring to life some of the most notorious true-crime stories in recent history. This year’s edition focusing on the Menendez Brothers is not perfect, but made for a compelling watch that helped recontextualize the sensationalized story of two affluent brothers who brutally murdered their parents in the 1990s, allegedly after years of horrific abuse. Cooper Koch gives a star-making performance as Erik, the younger brother and by far the more sympathetic of the pair. Javier Bardem is at turns terrifying and pitiable as the family patriarch. The show succeeds in making the viewer understand how brutally the brothers were railroaded by a court system that didn’t actually care about justice, without ever letting them off the hook for their horrific actions. (Eric Rezsnyak)

Nobody Wants This (Netflix)

What a fun surprise. This may be the best romantic comedy in years. First of all, you cannot go wrong with Kristen Bell and Adam Brody. They are both so unbelievably charming and engaging. This series follows a relatable new relationship, with the hard parts that naturally come with one, as well as external obstacles, including family dynamics. Bell and Brody are the main draw here – and their first kiss is very satisfying – but come also for the performances of Timothy Simons, Justine Lupe, and Jackie Thon. They are truly epic and you will find yourself hoping for and against these characters in a way that will make you both laugh and question your standards. This romp is worth all your time, and you will be dying for the second season – which has already been ordered. (Steve Nikoloff)

Palm Royale (Apple TV+)

I felt like I was on a bit of an island for Palm Royale. This show was created by Abe Sylvia and follows Maxine Simmons (Kristen Wiig) as she attempts to break into 1960s Palm Beach society. The show looks stunning, the production and costume design are easily some of the best I have seen this past year in both film and television, and amidst this sumptuous world, you had an incredibly funny ensemble with other standout performances from Allison Janney, Carol Burnett, Ricky Martin, Leslie Bibb…I could go on. Wiig gives the performance of her career (so far); she is incredibly grounded while also bending into her terrific comedic timing, and she brings some of the dramatic chops she can flex. This show is the soapy fun we have been missing on television. (Kevin Dillon)

The Penguin (HBO/Max)

I struggled when beginning to watch this show, not because of its quality, but because of its bleak nature. As someone who has two Batman tattoos on his body, I love the dark tales of Gotham City – but I also love the colorful good side to these characters, and prefer a bit of balance. At the end of the day, The Penguin continues to build on the world and character of Oz Cobb from Matt Reeves’ The Batman film in one of the best television shows of the year. Colin Farrell continues to burrow deep into this role, and you truly explore some of the darkest stories I have ever seen, including one involving a game of flashlight tag that gave me shivers. My favorite part of the series was Cristin Milioti, who plays Sofia Gigante (Falcone). Her – for lack of a better phrase – cat and mouse game (her half sister is Catwoman, I had to) with Oz is so engrossing, and she plays this role in a way that keeps you on the edge of your seat. I loved getting into the intricacies of this world, watching this fight for power consume everyone involved. (Kevin Dillon)

The Perfect Couple (Netflix)

The Perfect Couple, based on the novel by Elin Hilderbrand, was the perfect summer soap opera. Was it deep and meaningful? No. Was it wildly entertaining? Yes! This show was a twisty turn through a family drama that had moments where I was truly left wondering what was going on. But when you get to the end – which admittedly you can see coming – it is no less satisfying. The show differs from the book, so if you think you know the story, I say still give it a watch. If you are looking for a fun few episodes in which to lose yourself, you have found your show. Nicole Kidman as Greer Garrison is as good as you hope she would be, and the supporting cast is there to meet her. If you are looking for deep, introspective analysis, this is not your show. But if you are looking for an easy weekend watch over the holidays, or in the new year, cue up this show. You won’t be disappointed! (Steve Nikoloff)

Presumed Innocent (AppleTV+)

I feel like this show is the Rodney Dangerfield of 2024 TV; it gets no respect. I was hesitant to watch it, because it was based on a film, and that model has flopped a lot recently. But boy, did this television series break that mold. The show follows Rusty Sabich (Jake Gyllenhaal), who is sleeping with a colleague who is then murdered. This is both a whodunit and also a great family drama; it blends these worlds together perfectly. I will add that I often am in the bag for a David E. Kelley drama, and he does not disappoint here. Also look for great supporting performances from Peter Sarsgaard, Bill Camp, Ruth Negga, and Elizabeth Marvel. (Kevin Dillon)

Ripley (Netflix)

Is another retelling of the story of fraudster Tom Ripley and the murderous consequences of his schemes too much? Not this adaptation. Sumptuously shot in black and white, this 8-episode Netflix series starring Andrew Scott and Dakota Fanning is well paced, with a ratcheting tension to keep viewers on edge – even if you already know where this story goes. (Karissa Kloss)

Technically a 2023 series on Max, this animated sci-fi gem hit Netflix in 2024 and is worth seeking out wherever it appears. Nothing feels or looks like Scavengers Reign. This is genuinely strange, unsettling, captivating science fiction, taking you to truly alien worlds (and some disturbing body horror). Grounding it, though, are the human characters, enduring situations we cannot fathom, but with emotions and motivations that feel far too real at times. You've never seen anything like it, so why not give yourself a treat? (Brendan Hay)

Shogun (FX/Hulu)

An ambitious retelling of James Clavell’s 1975 novel, Shogun gave us an intense, though deliberately paced tale of warfare and politics in feudal Japan, as well as some of the most lauded performances on television this year (it won 18 Emmys, including Best Drama Series, Best Actor for Hiroyuki Sanada, and Best Actress for Anna Sawai). I didn’t love the fact that a story focused on Japanese culture was told via a white protagonist (though I didn’t mind looking at Cosmo Jarvis in his skivvies…), but aside from that this was a nearly flawless project…up until that final episode. Not a great ending. But apparently they’ve decided to expand the story into a second season, so maybe they’ll have better luck next time. (Eric Rezsnyak)

Shrinking Season 2 (Apple TV+)

After such a memorable first season, I did wonder how Shrinking would top what they’d already done. But I said out loud after the second new episode, “We are SO back.” We got new depth from a number of characters we’d only previously scratched the surface of, and Harrison Ford is doing some of the best work of his career here. I know what I said and I stand by it! (Amma Marfo)

X-Men '97 (Disney+)

I never thought I’d say it again, but... To me, my X-Men! Marvel’s X-Men ‘97 on Disney+ reminded me why the X-Men were my favorite superhero team growing up, and made me fall in love with all of them all over again – and even with Gambit for the first time ever. Rather than merely settle for a nostalgic revival of the classic Fox Kids series from the 1990s, the series evolves the concept in every way possible. The animation is epic and cinematic, the characters have depth and nuance (even Cyclops now!), and the plot lines embrace moral ambiguity and maturity to create an allegory for what it feels like growing up as an “other” -- be it mutant or any minority group -- in the 90s, or any time. All that while still being incredibly fun and exciting, and true to the X-Men’s messy soap-opera roots. No single episode in 2024 surprised and shattered me more than “Remember It,” and there was no series I looked forward to episode to episode more than this. (Brendan Hay)


In the 90s, we had great television. We had great cartoons. Possibly peak for comic-book cartoons was the Fox X-Men series. It did have a slow start, and the final season did suffer from budget cuts. But for a moment in the 90s, it was peak superhero entertainment that we had every weekend. Fast forward a few decades, post the birth of the MCU. We finally have a continuation from the series that had ended on a bit of a cliffhanger: X-Men ’97. The continuation picked up practically where the origin series left us, and continues to up the ante. Bringing in real-life topics and situations that are relatable to our current time, also having real stakes and making us feel feelings as we say goodbye to beloved characters we may or may not ever see again. It’s possibly one of the best things from Marvel in the past few years. (Zack Derby)

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