Unlike with movies, there was no shortage of TV shows in 2020. While some shows like the Marvel Disney+ projects got postponed, we also got our fair share of great shows this year.
Honorable mentions include Dispatches from Elsewhere, The Great, The Haunting of Bly Manor, What We Do in the Shadows, The Good Lord Bird, How to with John Wilson, Mrs. America, The Crown and The Last Dance.
The Boys
The Boys season two started a bit slow, but it soon picked up momentum. The show continued its deep dive into the twisted character of The Homelander (Antony Starr) as well as new recruit, Stormfront (Aya Cash). There were important character developments for Starlight (Erin Moriarty), Queen Maeve (Dominique McElligott) and Kimiko (Karen Fukuhara). The action and humor, like always, were on point too. The irreverent take on superheroes went in exciting directions in season two, amping up the craziness (and depravity) and increasing the stakes for the titular crew.
Pen15
Pen15 made waves when it premiered on Hulu a few years ago, showing a cringe-worthy and wholesome look at two best friends’ journey through middle school. Maya Erskine and Anna Konkle are convincing as teens, despite being in their thirties. In the second season, the show dives into new topics of weirdness and cringeness, from participating in the drama club (and wrestling) to getting over parents’ divorces, finding new friends and embarrassing themselves during sleepovers. What makes it so wholesome is the bond and chemistry between Erskine and Konkle. It is a refreshing change of narrative among the glut of shows about high schoolers.
The Mandalorian
The second season of The Mandalorian succeeds in increasing the scope of the show while introducing iconic characters from Star Wars lore. Din Djarin’s journey to reunite Grogu with the Jedi culminates in this season. The action and acting are stellar as always, and standout episodes like episode five featuring Ahsoka Tano and episode eight featuring a surprise cameo from a series mainstay garnered buzz and acclaim from fans across the world. The fanservice might have been a little too much at some points, but the show kept strong momentum on a week-to-week basis.
Dark
Dark season three concluded the complex, time travel story involving interconnected families in a small town. It is one of the few shows in recent memory to maintain quality and momentum throughout its airing, and the finale brought a sad, but well-earned ending to the epic. It is a show where almost each character acts out of love or some misguided sense of protectiveness, and somehow they all end up reinforcing the time loop that is destroying their worlds. Jonas (Louis Hoffmann) and Martha (Lisa Vicari) go through grueling character development and finally choose to take charge of their fates and resolve the time loops, even though it meant a bitter end for themselves.
Bojack Horseman
Bojack Horseman’s final season was still funny, but it was also somber and grim, showing how Bojack’s (Will Arnette) past mistakes finally caught up to him at a point of time where he had almost redeemed himself. We see him lose his relationship with his step-sister, Hollyhock and then go on a bender that pushes him harrowingly close to death. This culminates in an eerie, terrifying penultimate episode where Bojack is trapped inside a performance by all his dead friends and relatives. The finale ends on an ambiguous note as Bojack and Diane (Alison Brie) sit by each other on a roof, harkening back to the first season. Bojack Horseman will be remembered, not only for its take on depression and satire of Hollywood, but also because of the way it handled mental illness, addiction and self-destructive behavior as a whole.
The Queen’s Gambit
The Queen’s Gambit is a runaway success story, leading to a spike in interest in chess and chess board sales. It is an evocative look at a young woman rising to fame as a chess prodigy while dabbling with medical and alcoholic addiction. Anya Taylor-Joy is a delight as Beth Harmon, and her mental chess playing is rendered imaginatively by director Scott Frank. The period details are also lovingly realized, with stylish outfits and impressive sets. If there is one thing wrong with the show, it’s that it doesn’t dive deep into Beth hitting rock bottom, but maybe she doesn’t have to do that, when she has friends like Jolene to reconnect with and boost her spirits.
Normal People
This adaptation of Sally Rooney’s novel felt like a subdued, sincere look at two people finding their way back to- and away from each other- through their lives. Daisy Edgar-Jones and Paul Mescal have a palpable chemistry with each other, and directors Lenny Abrahamson and Hettie Macdonald later the narrative with poetic imagery. By the end of the show, you understand that Connell and Marianne will always love each other in their own ways, but the time had come for them to explore other things with life. Their love made them grow into better people, and it was healthy enough for them to grow apart without leaving a bitter, hollow void behind.
I May Destroy You
Michaela Cole’s I May Destroy You is one of those seminal narratives that you need to watch, especially if you’re concerned with consent and the aftermath of rape. Arabella’s story is layered, covering her love life, family relationships, and perhaps most importantly, her friendships. All the while, she is slowly self-destructing and, eventually, has to pick up the pieces to her life. Inspired by Cole’s own experience with sexual assault, this is a lively, soulful look at the trauma that arises in the wake of rape. The series meanders at times, but most of the story feels like a necessary step in Arabella’s journey.
Lovecraft Country
Lovecraft Country is one of the most original and strongest shows of the year. Tackling horror and systemic discrimination in the fifties, it’s a sprawling narrative of a group of African Americans trying to protect themselves as they get embroiled in magical rituals held by white supremacist sorcerers. Jonathan Majors and Jurnee Smollett are solid as the leads, and supporting characters portrayed by Aunjanue Ellis and Michael K. Williams are also layered and complex. Lovecraft Country didn’t always hit its mark, but it is probably the most ambitious show of the year.
Better Call Saul
Better Call Saul has been building from strength to strength across the last five seasons, and the latest season cemented it as being every bit as good as its much more famous predecessor, Breaking Bad. The show is still funny, and at times adorable, but Jimmy McGill’s (Bob Odenkirk) descent into Saul Goodman is heartbreaking- and eventually, terrifying- as his partner in crime, Kim Wexler (Rhea Seehorn) follows him down the rabbit hole and becomes almost unrecognizable in the process. We also get to see Mike Ehrmantraut (Jonathan Banks) deal with the fallout from killing Werner Ziegler and Gus Fring (Giancarlo Esposito) deal with new rival Lalo Salamanca (Tony Dalton).
