If the first season’s key setting is the ballroom, Season Two’s is a funeral home chapel. (The mere sound of the AOL knock-knock in the episode “AIM” may have been almost too real of a flashback for those who came of age around the time of Y2K.) It’s not just the deliberate execution of the series’ storyline that works so well, however—that each of the eight episodes clock in at a half-hour makes this mind-bending and surreal comedy so enjoyable and fun. The only shame is that the shortened seasons only leave us wanting more, which is the tried and true sign of a show that is telling a story well. Complete with era-specific fashions and pop-culture references—and a highly realistic recreation of the millennial teenage lifestyle—PEN15 has its stars easily passing as young women decades younger than they are. The journey, while painful, is some of the best acting and most powerful storytelling on TV this year. I remain in awe of how its bright cheeriness has an undertow of wistfulness. With a fully realized cast and direction, Season Five has been half-hour after half-hour of hilarious treats. In fact, it can be an explosion of whimsy, pure delight, and kisses that literally lift your feet off the ground. But they made it work in cringey, amusing, and poignant fashion. It tells the story of the boys who would be first known as the Central Park Five and then, after spending years in jail for the 1989 rape of a young banker, the Exonerated Five, when the real rapist finally confessed. Taking place 30 years after the events of a comic, it introduces a provocative new character in Angela Abar (Regina King), a masked detective who navigates this strange, dystopian world full of squid storms, clones, and drugs that store memories. Yet somehow, the series manages to tell a story of being a teenager more effectively than anyone else on television right now. The strange little utopia created by Dan and Eugene Levy that started out following a recently bankrupted affluent family has somehow turned itself into one of the most touching, thoughtful sitcoms on television. But more importantly: Baby Yoda. The actress honored her late mother, Carrie Fisher, when naming her newborn son. — Justin Kirkland, HBO’s British miniseries about what might happen in the world over the next decade and a half is as haunting as it is strangely relatable. Some of these shows you’ve probably seen; others you may have never even heard about. Though the characters are mostly isolated from one another, set forward on propulsive paths of individual growth, their journeys make for a thematically cohesive story. Esquire participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites. The whole thing is anchored by Dunst, who plays Crystal to glorious perfection. And those won’t be congratulatory series finale nods; every one is earned. Sometimes it’s bleak and depressing. What more can be said about the greatness that Phoebe Waller-Bridge has created? I’ve rewatched Russian Doll more than almost any other show this year. This second season of Mindhunter boasts mesmerizing, astute, and impactful direction from David Fincher and Carl Franklin. The POV shots of rape sequences are bruising without being gratuitous. The Good Fight occasionally bites off more than it can chew, and it’s better at raising questions than it is at supplying answers. The genius of Barry was its ability to engage with deeper issues about morality and ethics while still being immensely entertaining and cleverly directed, week after nail-biting week. Touching on everything from politics to media, the inner workings of the billionaires with a vice-grip on our country, Succession makes our real-life villains into tragic, human figures. Pennbaker’s Company-cast-album documentary, with original music, and a spoof of The Artist Is Waiting that gave guest star Cate Blanchett one of her most iconic roles. Instead of offering up another pair of men acting as “true detectives,” Unbelievable gave us Merritt Wever and Toni Collette as detectives Karen Duvall and Grace Rasmussen, a pair of women so competent, dedicated, and compassionate that by the end of the final episode, you wished they were in charge of solving every crime — make that every problem — in America.

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