There was a lot of great TV in 2022. As the number of networks and streaming services continues to grow, it can be a challenge to decide what to watch, so we’re singling out 14 shows that caught our attention this year. With a mix of new and returning series, comedy and drama, cable and streaming, there’s something on the list for everyone.
Remakes of classic movies and TV shows are everywhere these days. “Reboot” (2022–), a meta new comedy series that just wrapped up its first season on Hulu, makes fun of this trend by taking viewers behind the scenes of the revival of a fictional sitcom. On “Reboot,” the original cast of the popular comedy series “Step Right Up” is reunited after nearly two decades when up-and-coming writer Hannah Korman (Rachel Bloom) pitches a reboot to Hulu, hoping to take the show in a new direction.
In the 2000s and 2010s, network sitcoms were some of the biggest shows on television — think “The Office,” (2005–13) “Modern Family” (2009–20) and “The Big Bang Theory” (2007–19). These days, the era of broadcast dominance is in the past as most network comedies have very little to offer compared to their streaming counterparts. That’s why it’s been such a pleasant surprise to see “Abbott Elementary” (2021–), a half-hour sitcom on ABC, emerge as one of the sharpest and funniest comedies of the last few years.
There has been considerable buzz around “Dahmer – Monster: The Jeffrey Dahmer Story” (2022) on Netflix, created by Ryan Murphy, who is known for his creepy and stylistic anthologies like “American Horror Story” (2011–) and “American Crime Story” (2016–) as well as the less chilling but equally unconventional hit show “Glee” (2009–2015). Dahmer stars Evan Peters, a usual suspect in Murphy’s shows, appearing frequently as main characters in seasons of “American Horror Story.”
According to the Collins Dictionary,a rehearsal can be defined as a “session of exercise, drill, or practice, usually private, in preparation for a public performance, ceremony, etc.” Although it is a term usually reserved for performance art or public speaking, rehearsingcan also be seen in daily life such as thinking over an argument before a conversation. But, what if we could thoroughly rehearse for some of the most difficult and appalling moments of our lives?
Just under a year after its critically acclaimed first season, “Only Murders in the Building” (2021–) returned with a new murder mystery this summer. With a superbly talented cast led by Steve Martin, Martin Short and Selena Gomez, the Hulu original continues to entertain audiences with an impressive blend of comedy and mystery.
After a three-year hiatus prolonged by the pandemic, the cultural phenomenon “Stranger Things” (2016–) finally made its return with a brand new season.
In the era of social media and creation platforms, it has become significantly easier to discover communities of people with common, loved interests. From niche topics like different types of soups to extremely popular Disney movies like "Encanto" (2021), platforms like TikTok and YouTube make it possible for individuals to broadcast their own thoughts and theories about their favorite media pieces and for others to build on or encourage them. A noticeable section of this shared love is shown through fan theories.
Content warning: This article discusses drug addiction.
Wes Anderson’s films are rarely about the story itself — they’re about how the story can be used as a vessel into the vibrant, fantastical world he creates around it. "The French Dispatch" (2021), Anderson’s latest release, embodies his usual film techniques to the fullest.
The name Taika Waititi on any project makes it worth watching – the Māori actor/director/producer extraordinaire seems able to add his certain flair to anything and make it work, whether that be a satirical yet moving look at a brainwashed Hitler Youth in “Jojo Rabbit” (2019) or a vampire mockumentary in “What We Do in the Shadows” (2014). More recently, he has lent his star power as an executive producer and writer for “Reservation Dogs” (2021–), his second team-up with FX on Hulu after the success of his “What We Do in the Shadows” spin-off series.
After a painfully long three-hour ceremony stuffed with awful sketches, lengthy acceptance speeches and questionable wins, television’s biggest night is finally over. Allow me, also named Emmy, to walk you through this year’s Emmys.
The “Scooby-Doo” franchise is possibly the prime example of an intergenerational cultural touchstone. The Mystery Gang,their iconic outfits and their groovy Mystery Machine have remained something most audiences can connect with in some way. That’s partially thanks to the various installations of “Scooby-Doo,” which have spanned a handful of animated films, video games, television shows, merchandise and live-action movies.
Following the episodic adventures of Batman, Robin and Batgirl, the series takes on a darker tone that feels inspired by both Tim Burton’s two Batman films and the ‘70s and '80s comic books. Those interpretations are seen in every detail: Gotham City’s skies are dark even during the day, the buildings are tall and gothic and gangsters sneak around in alleys and side streets.
In this column “Comfort Cartoons,” my goal is to revisit some of the most formative and re-watchable animated shows. We’ll be discussing their nostalgia, their merits, how they’ve held up and what it’s like to watch them again as a (relative) adult.
The ten-episode series debuted August 16 and has since been produced in weekly installments until October 18. As the brainchild of such notable executive producers Misha Green of "Underground" (2016-2017), Jordan Peele of "Get Out" (2017) and "Us" (2019) and J.J. Abrams of "Star Wars: The Rise of Skywalker" (2019), among others, the show is a true fusion of genres.
Considering that “Avatar” first debuted over 15 years ago, it hardly seems the candidate to make such a strong comeback as (technically) a children’s show. However, “Avatar’s” newfound popularity –– as well as “Korra,” its sequel/spinoff series –– proves not only their mastery of TV storytelling, but their timelessness and relevance of cultural commentary.