We’ve said it before and we’ll say it again: There is a lot of television on right now. Some good, some bad. With the year ending, the staff at Metro has come together to chat their favorite shows of the year. Some old, some new — all fantastic.
American Vandal (Netflix)
The documentary-style crime drama — “Making a Murderer,” “Serial” — is a nascent genre, but will the audience still care if the stakes aren’t life and death? Turns out that a parking lot full of cars with penises spray-painted on them lends itself perfectly to the format. Netflix’s original series has been called a parody, but to me it was a rare realistic portrayal of how high school shapes every teenager’s life, from the nerds to the jocks. — Eva Kis
Big Little Lies (HBO)
I ate up the exquisitely shot, groovily soundtracked, ultimately female empowering rich lady drama of “Big Little Lies” and can’t wait to indulge again for season two. Reese Witherspoon 2020. — Kate Mooney
Crazy Ex-Girlfriend (CW)
“Crazy Ex-Girlfriend” has always been good. But this season — with Rebecca confronting her demons, getting a diagnosis and moving on from Josh — has been so unexpected. And so, so fulfilling. Thankfully, just because the series is taking Rebecca’s illness seriously doesn’t mean it’s any less fun — I count “Very First Penis I Saw” as one of the show’s best musical numbers to date. — Rachael Vaughan Clemmons
The Good Place (NBC)
I feel like not a lot of people watch “The Good Place,” which is a shame. It is, straight up, one of the most purely delightful shows in recent memory. Somehow, it perfectly balances intellectual smarts with standard sitcom-y jokes and plotlines. And somehow, the result is deliciously, belly achingly funny. After “The Office” — fine — and “Parks and Rec” — very good — it looks like showrunner Mike Schur has finally crafted the perfect show. Having Ted Danson on board certainly doesn’t hurt, either. — RVC
The Handmaid’s Tale (Hulu)
It’s hard to think of a series that made more of a lasting impression than “The Handmaid’s Tale.” Part of the reason it was so effective was because it showed us a world that wasn’t so far away from our own. And Elisabeth Moss’ performance? *Kisses fingers.* But also? Two words: Max Minghella. Because even when you’re living in a hopeless authoritarian regime, it’s nice to be able to flirt with what Kate Mooney affectionately calls “the lawn boy from dystopian hell.” — RVC
The Leftovers
The third and final season of “The Leftovers” was moving, surreal and magical. Carrie Coon 2020, too. — KM
Legion (FX)
Taking a cue from “Mr. Robot,” “Legion” constantly threw curveballs at its viewers this season with its mentally unstable protagonist, David Haller (Dan Stevens). While the powerful mutant telepath isn’t the most well known character from the X-Men comics, his journey from the psych ward to battling an evil psychic entity lurking in his mind made for one wild ride this year. Aubrey Plaza was the real breakout star of the series, though, and her take on the maniacal Shadow King is still haunting my dreams. — Matthew Juul
Mindhunter (Netflix)
David Fincher delving into the mind of serial killers was always going to be intoxicating stuff. The final result wasn’t only one of the most unsettling and compelling shows in years, but the ultimate proof that Netflix might just be the natural home for his patient, beguiling approach. — Gregory Wakeman
Supernatural (CW)
Shows in their 13th seasons usually drag their feet, recycle storylines or already jumped the shark so long ago that they’re a mockery of themselves. Not so with “Supernatural,” the CW drama that’s always been less about monsters and more about brotherhood, family and friendship. This season’s delicate and savage arc about the destructive power of grief has shown there’s plenty of gas left in the Impala. — EK
Vice Principals (HBO)
“Eastbound and Down” may be my favorite show of all time. But, in some ways, Danny McBride and Jody Hill were able to top it with their second series, “Vice Principals.” The story and characters were brilliant and hilarious throughout — and it wrapped with one of the best series finales I’ve ever seen. — Patrick King
The Vietnam War (PBS)
Ken Burns’ most exhaustive documentary series yet (which is saying something), “The Vietnam War” managed to break down and explore one of the darkest periods in American history in an entertaining, informative and integral manner. Probably still the most underrated American director of the last 30 years. — GW
Your Pretty Face is Going to Hell (Adult Swim)
This workplace comedy set in the depths of hell probably made me laugh out loud more than any other show I watched this year. Henry Zebrowski is a national treasure. — PK
