We all agree that it’s nigh on impossible to keep up with every TV show we’re told we simply must watch. But there are some that are just too good to miss—15 in total, according to V.F.’s staffers, who joined forces to select the best TV shows of 2022 so far. These are our favorite TV and streaming comedies, dramas, and specials from the first half of the year, listed in alphabetical order—with links to where to watch them.

Abbott Elementary

Where to begin with Abbott Elementary? There’s all the usual stuff: great writing, phenomenal acting, relatable story lines. Created by Quinta Brunson (who also writes, produces, and stars on the show), Abbott is the kind of sitcom you can’t help but root for, a mockumentary-style series about a scrappy elementary school in Philadelphia. Just one season in, the show has become an instant hit, credited with reinvigorating the sitcom as a form, breaking ratings records, and introducing viewers to a wide array of genius comedic voices. (Janelle James and Zack Fox in the same cast? Perfection.) Aside from the cozy chemistry that flows from cast member to cast member, it’s the show’s tender core that makes it resonate, highlighting the very real struggles teachers actually experience—from spending their own money on classroom necessities to caring for students with tough home lives. All of it is handled with a light touch, side-stepping the sad-com trend for something so much brighter. —Yohana Desta

Atlanta

The FX series from the mind of Donald Glover, returning after four years away, continues in its third season to break rules with grace and confidence, taking bold swings and challenging viewers to embrace its storytelling even as it strays further and further from its central narrative of Earn, Van, Paper Boi, and Darius. As self-aware as ever (the description of this season’s ninth episode even reads, “Black and White episode? Yawn. Emmy bait.”) this season is packed with standout moments, from the group’s adventures in Amsterdam and disturbing run-ins with a Dutch blackface tradition to the stand-alone episodes that use stories, both surreal and real, to explore race and whiteness. Maybe it’s because we get to spend less time with the main cast, but when we do—as with Zazie Beetz’s incredibly intense work in the final episode—it’s very much worth the wait. —Rebecca Ford

Barry