‘Criminal Record’ (Apple TV+)

A wonderfully unfussy detective yarn, Criminal Record follows two London cops — June Lenker (Cush Jumbo), a relative newcomer to the force, and Daniel Hegarty (Peter Capaldi), a respected veteran and part of the department’s old-white-guy wall of silence — as they clash over the 2012 conviction of a Black man (Tom Moutchi) for his girlfriend’s murder. Created by Paul Rutman (Indian Summers), Criminal Record eschews narrative gimmicks in favor of a straightforward — and superbly nuanced — story about generational conflict, the intractability of institutional racism and sexism, and the quiet satisfaction of tenacious police work. That, and the absolute brilliance of Capaldi and Jumbo as well-matched foils, is all the razzle-dazzle this drama needs.

Read the full review of Criminal Record.

‘Shōgun’ (FX)

In an era of second-screen viewing, Shōgun is the rare show that requires — and earns — our full attention. This opulently produced, sprawling adaptation of James Clavell’s bestselling novel makes a knotty power struggle between feudal Japanese leaders into a riveting — and sometimes laugh-out-loud funny — historical soap opera. Anchored by the romance between Mariko (Anna Sawai), loyal interpreter for Lord Toranaga (Hiroyuki Sanada), and captive British sailor John Blackthorne (Cosmo Jarvis), Shōgun is an epic, moving testament to the transcendent power of honor and sacrifice.

Read the full review of Shōgun.

‘The Vince Staples Show’ (Netflix)

I went in expecting a Curb-style meta-spoof about Vince Staples’ life as a well-known rapper and actor. Instead, this five-episode reverie offers a dark, funny exploration of the 31-year-old’s attempt to exist outside of the spotlight in Long Beach, Calif. Navigating challenges from the banal (a condescending bank manager; cops who confuse him for another Black man) to the surreal (amusement park mascots hellbent on vengeance), Staples presents himself as a guy whose biggest goal in life isn’t fame — it’s uneventful anonymity. Featuring an exceptional performance from Vanessa Bell Calloway (as Vince’s hilariously ill-tempered mom, Anita) and a shockingly bleak cliffhanger, The Vince Staples Show might just be the most underappreciated comedy of the year.

Read the full review of The Vince Staples Show.

‘Mr. & Mrs. Smith’ (Prime Video)

Another stellar entry in the recent wave of nostalgic procedural mysteries (see: Peacock’s Poker Face, CBS’ Elsbeth). This TV-series spin on the 2005 Brad and Angie blockbuster pairs globe-trotting, big-budget spy adventures with a sharp and comedic portrait of a marriage in nearly constant crisis. Bolstered by the undeniable chemistry of leads Donald Glover and Maya Erskine (who may or may not return for season 2) and packed with Emmy-worthy guest stars, Mr. & Mrs. Smith is the exception to the “most reboots are unnecessary” rule.

Read the full review of Mr. & Mrs. Smith.

‘Hacks’ (Max)

In its seamless third season, Hacks finds an authentic way to bring wealthy, whip-smart comedian Deborah Vance (Jean Smart) and her rising-star writer, Ava Daniels (Hannah Einbinder) back together, evolving their relationship from one of cross-generational mentorship to true — but turbulent — friendship. Even with two scene-stealing stars to service, Hacks managed to mine new comedic gold with the essential ensemble (three words: “What a c—!”) and guest casting that was unpredictable yet perfectly on point. “My mom’s Deidre Hall from Days of Our Lives,” notes Deborah’s agent, Jimmy (Paul W. Downs), casually uttering one of the biggest TV reveals of the year. Yes, these Hacks are at the top of their game.

‘Evil’ (Paramount+)

Evil began as a smart but somewhat routine science-vs.-religion procedural, following a trio of supernatural assessors — forensic psychologist Dr. Kristen Bouchard (Katja Herbers), Father David Acosta (Mike Colter), and atheist/tech whiz Ben Shakir (Aasif Mandvi) — working for the Catholic church. Four increasingly weird seasons and one liberating network change later, Robert and Michelle King’s drama is an otherworldly wonder that interprets the dread of modern living through pitch-black humor, empathy, and an unfaltering undercurrent of hope. The final season finds snide and sinister psychologist/devil-worshipper Leland Townsend (Michael Emerson) struggling to be a single father to a cute baby boy named Timothy — a.k.a. the “living Antichrist” — while Kristen wrestles with the urgent desire to tune out of our grim reality. “More and more,” she laments, “everything seems threatening.” Thank all the gods for Evil, which reassures us that there’s nothing more human than being afraid.

‘Fantasmas’ (HBO)

“I wake up and I just sort of Julio.” Indeed, that’s just what Julio Torres —comedian, visionary, and creator/star of Fantasmas — does throughout this five-part fantasy set in a cartoonishly dystopian New York. Desperate to avoid the prison of conformity, be it an “unremarkable black puffer coat” or the government-issued “Proof of Existence” card, Julio searches for an all-important oyster earring. Meanwhile, Fantasmas veers into lavishly absurd vignettes, featuring some of the most delightful guest-star turns of the year. (Steve Buscemi as the letter Q! Pose’s Dominque Jackson as the Algorithm! Emma Stone as a Real Housewives-esque reality star!) In the end, Julio learns that the power to be exceptional (and exceptionally weird) was inside him all along.

‘Fallout’ (Prime Video)

There’s nothing like a nuclear apocalypse to shatter a person’s faith in humanity. But 200 years after the end of the world, rule-following patriot Lucy MacLean (Ella Purnell) works to be a model citizen in her subterranean survival vault so she can one day emerge and help rebuild the nuke-shattered society. Aboveground, though, it’s every man, mutated mega-salamander, and irradiated zombie humanoid (Walton Goggins) for himself. A multifaceted apocalypse adventure that interrogates the concept of self-governance through the lens of morality, nihilism, and “the great game of capitalism,” Fallout believes that not even an A-bomb can eradicate our nation’s determination to survive.

Read the full review of Fallout.

‘The Traitors’ (Peacock)

In season 2, this “murder”-mystery competition ditched the dead weight of real-people contestants, stacking a grand Scottish castle with reality TV luminaries, fame-adjacent public figures, even a former U.K. politician — and may the best manipulator win. Lording over the deliciously melodramatic proceedings is Alan Cumming, whose theatrical commitment to the bit puts most reality TV hosts to shame.

‘The Jerrod Carmichael Reality Show’ (HBO)

“Cameras make me feel more comfortable. It feels permanent and it seems dumb to lie. I keep saying I want to live more truthfully.” With that as his mission statement, comedian Jerrod Carmichael delivered the realest celebrity reality show since… maybe ever? Eschewing the impulse to curate his life for the cameras, Carmichael instead shows us everything: Cheating on his boyfriend with a series of grindr hookups; letting down a close friend on his wedding day; confronting his dad, Joe, over his infidelity and his mom, Cynthia, for her Bible-based rejection of his homosexuality. Painful and cringe-inducing as it can be, the Jerrod Carmichael Reality Show finds its power and purpose in radical, almost revolutionary, transparency.

Read the full review of Jerrod Carmichael Reality Show.