Whether it’s the conclusion of juggernaut hits or new shows that sparked conversation, the television medium has delivered in 2023.
The anticipated adaptation of “Daisy Jones & the Six” kept us dancing (and crying) in the spring, while the brilliantly devastating conclusion of “Succession” left us catching our breath in May. “The Last of Us” reminded us of the real emotional stakes of a zombie apocalypse, and Netflix’s “Beef” showed us the depths a person can go to when seeking retribution.
As we reach the midpoint of the year, members of TheWrap staff and TV team compiled thoughts on 2023’s best offerings. Check out our picks for the best TV shows of 2023 (so far) below.
“Abbott Elementary” (ABC)
The second season of “Abbott Elementary” doubled down on its excellence when it returned with new episodes in January. From a long-anticipated first kiss between Janine (Quinta Brunson) and Gregory (Tyler James Williams) to the introduction of Janine’s mother, played by Taraji P. Henson. The new episodes also packed on the social commentary, as the titular school setting faced a threat of becoming a charter in its final episodes. Through their dedication and love of teaching, the instructors at Abbott managed to save the school to keep fighting and educating another day. We can’t wait to see where the show goes in its upcoming third season. — Jose Alejandro Bastidas
“Barry” (HBO)
Talk about sticking the landing. The final season of “Barry” is what happens when a group of people get together and work extremely hard to get the story exactly right. The culmination of this “hit man comedy” from Bill Hader took a couple of bold swings, resulting in one supremely satisfying home run as the story of Hader’s Barry Berkman ended the only way it could. This series, all along, had been about extreme denial (in many forms) and what’s truly necessary to attain growth or change as a human being. That Hader (who brilliantly directed every episode of this final season) and Co. were able to tie up the series in a manner that was satisfying on a thematic, story and character level all at once is a minor miracle. “Barry” is artful storytelling at its finest. What a run. – Adam Chitwood
“The Bear” (FX/Hulu)
FX’s surprise streaming hit on Hulu showed no signs of losing steam creatively in its 10-episode second season. Instead, the Christopher Storer-created series gave its ensemble cast the chance to shine with a quieter, more introspective installment allowing for all characters to transform along with the restaurant at the center of its premise. As the crew worked together to transform the Beef sandwich shop into a Michelin star-worthy restaurant, called The Bear, Carmy (Jeremy Allen White), Sydney (Ayo Edebiri) and company faced transformative changes in their personal and professional lives as well. The biggest highlight in a season full of standout moments came in Episode 6, titled “Fishes,” when the show flashed back to a holiday celebration at the Berzatto family home featuring a star-studded cast — Jamie Lee Curtis, Sarah Paulson, John Mulaney, Bob Odenkirk among others! — as the members of Carmy’s dysfunctional family. — JAB
“Beef” (Netflix)
While the hype for “Beef” might have come and gone, the impact of the revenge dramedy has stayed with us for months. Starring Ali Wong and Steven Yeun, “Beef” centers on the escalating feud between an upper class entrepreneur (Wong) and a failing contractor (Yeun), who share similar feelings of despair and loneliness prompted by wildly different situations. The pair keeps at their vengeful relationships even as it further implicates their friends and family and disintegrates their lives, all while building a twisted bond with each other that has the potential of companionship. — Loree Seitz
“Daisy Jones & the Six” (Prime Video)
Based on Taylor Jenkins Reid’s novel of the same name, “Daisy Jones & the Six” finally hit the small screen in February and March 2023, almost five years after the series was first ordered by Amazon’s Prime Video. Riley Keough lived up to her rockstar ancestry by taking on the role of aspiring singer-songwriter Daisy Jones, and Sam Claflin brought Billy Dunne, frontman of The Six, to life. The collision of Billy and Daisy both romantically and artistically led to the rapid rise of their collaboration album “Aurora.” Fellow band members guitarist Graham Dunne (Will Harrison), keyboardist Karen Sirko (Suki Waterhouse), drummer Warren Rojas (Sebastion Chacon) and bassist Eddie Roundtree (Josh Whitehouse) also rose to fame and watched the lead duo of the band unravel, with Billy’s wife Camila (Camila Morrone) in the mix as well. With a perspective-changing reveal at the end of the show, the dynamic limited series demands a rewatch. — Dessi Gomez
“The Diplomat” (Netflix)
Believe us, we also didn’t expect the most fun show we’ve watched in the past six months to be a Netflix political drama, but so it is. Starring Keri Russell as the world’s most frazzled politician and Rufus Sewell as Russell’s charmingly arrogant husband and recognized diplomat, “The Diplomat” follows Russell’s surprise appointment as U.S. Ambassador to the U.K. following a troublesome terrorist attack. She brings along her husband as a backup as she transitions to the appointed role, but Russell’s character must keep her husband at arm’s length to prevent him from doing what he does best: stir the pot. A stellar supporting cast led by Ato Essandoh and Ali Ahn and quick-witted dialogue from Russell and Sewell give the political drama levity without negating the stakes, making this a sharp, savvy and most importantly fun feast. — LS
“Hijack” (Apple TV+)
This Apple TV+ series about the hijacking of a London-bound plane is extra tense because it plays out in real time. Idris Elba stars as a passenger who tries to put his highly paid negotiating skills to work with the criminal gang who’ve taken control of the plane. The first two episodes are now streaming on Apple TV+, with new episodes dropping each Wednesday. — Sharon Knolle
“I Think You Should Leave with Tim Robinson” (Netflix)
As delightfully deranged as Tim Robinson’s sketch series may be, there’s always been a sense of vulnerability hiding behind its humor. Yes, creators Robinson and Zach Kanin’s absurdism manifests as a contestant who goes on a dating show just for the zip line, a fast food customer who tries to con a stranger into buying him the whole menu and a man who has a full-blown existential crisis over a pig in a mask. But there’s always an unsettling amount of truth to this wild show. The perfectly titled Netflix original serves as a reflection of our most anxious, unfit for public selves, the version of us that is so desperate to belong that they’re instantly excluded. Just like the previous two installments, Season 3 elevates cringe comedy to its absolute limits, somehow transforming this niche comedic subgenre into a performance that feels both relatable and uncomfortably human. — Kayla Cobb
“Jury Duty” (Amazon Freevee)
“Jury Duty” certainly wins for the most unexpected hit of the year. Posing the question “What would happen if a real person was put in the middle of a comedy and didn’t know it?” the series gives its viewers just enough comedic beats while letting the ridiculous shenanigans of several improvised situations play out. Filling a jury full of actors — with the most recognizable celebrity being James Marsden — an unsuspecting man named Ronald finds himself in the middle of far-fetched scenarios as the jury for a civil trial is sequestered in a hotel. Instead of falling into the traps of a prank show, the Amazon Freevee series surprises its audience with heartwarming moments as Ronald’s kindness is on full display, mirroring the feel-good instances found in fictionalized shows like “Ted Lasso.” — LS
“The Last of Us” (HBO)
There are few video game adaptations that have been as faithful to their source material as HBO’s “The Last of Us.” The drama series walks the delicate line of giving gamers the Easter egg-filled story that they love, while at the same time building on the world and making slight changes to tell the story in a fresh way for new viewers experiencing the story for the first time. Joel Miller and Ellie Williams’ bond in the PlayStation video game franchise was masterfully brought to life by Pedro Pascal and Bella Ramsey. Other knockout performances include Merle Dandrige, who reprised her role of Firefly leader Marlene, Nick Offerman and Murray Bartlett as survivors Bill and Frank, and Ellie’s original voice and motion capture actor Ashley Johnson, who took on the role of her mother Anna in a full circle moment. While the series had less zombies than die-hard fans were hoping for, co-creators Craig Mazin and Neil Druckmann have already teased that the upcoming second season is gearing up to take bigger swings as the ramifications of Joel’s shocking decision in the Season 1 finale play out. — Lucas Manfredi
“The Marvelous Mrs. Maisel” (Prime Video)
After captivating viewers with its lighthearted comedy, sharp wit and cinematic feel for four seasons, ‘The Marvelous Mrs. Maisel” took her last bow with this year’s excellent fifth and final installment. Viewers were divided with creators Amy Sherman-Palladino and Dan Palladino’s choice to jump back and forth in time to chronicle highlights of comedian Midge’s (Rachel Brosnahan) legendary career, while also following the journey toward her big break. But the storytelling approach helped paint a full picture of the beloved character’s story of determination and strength — and all the mistakes and messiness that comes with pursuing one’s dreams — cementing the series as a satisfying tale for all to enjoy for years to come. If you haven’t joined the “Maisel” train, now’s the time to fall in love! — JAB
“Mrs. Davis” (Peacock)
Usually when someone describes a show as “unlike anything else on television,” it’s empty hyperbole. But in the case of “Mrs. Davis” that’s actually true. It might be unlike any show ever. Created by Damon Lindelof and Tara Hernandez, “Mrs. Davis” follows Simone (Betty Gilpin), a nun at a strawberry-making commune, who is tasked by a malevolent AI (the titular Mrs. Davis) to find the Holy Grail. Yes that Holy Grail. From there, Lindelof and Hernandez weave an epic saga that includes a decidedly “Lost”-like subplot about a scientist on an island (Ben Chaplin); a group of “Fight Club”-quoting, flip-phone-snapping Luddite he-men (led by Jake McDorman and Chris Diamantopoulos); and a lot of glitzy Reno, Nevada-based stage magic (David Arquette has a meaty supporting role as Simone’s doomed father). Nimbly balancing tones, styles and genres, “Mrs. Davis” is a constant, WTF-worthy delight. The fact that a show about the dangers of the algorithm was made by a direct-to-consumer streaming service? It’s downright miraculous. — Drew Taylor
“Never Have I Ever” (Netflix)
The final season of Mindy Kaling and Lang Fisher’s young adult comedy series ends on a hopeful note as Devi Vishwakumar (Maitreyi Ramakrishnan), Eleanor Wong (Ramona Young), Fabiole Torres (Lee Rodriguez), Ben Gross (Jaren Lewison) and company graduate high school to head to college. Paxton Hall-Yoshida (Darren Barnett) comes back into the mix as well, and Trent Harrison (Ben Norris) still has to graduate after getting held back in the last season. Michael Cimino (“Love, Victor) guest stars as yet another one of Devi’s romantic interests, but the original squad from Season 1 make the most of one final year of chaos, shenanigans and adventures at Sherman Oaks High. — DG
“The Other Two” (Max)
Few television shows have mastered the delicate balance of biting satire and human authenticity, but “The Other Two” did more than deliver in its third and final season. The comedy series about two struggling thirtysomethings aspiring to make it in the entertainment industry, while riding the coattails of their successful younger sibling, found the Dubek family struggling to adjust to their Hollywood fame in Season 3 — as Brooke (Heléne Yorke) and Cary (Drew Tarver) struggled with finding happiness in the success they’d already garnered. Their seemingly endless hunger for more praise and recognition took the siblings through a few dark turns in its final episodes, but the Season 3 finale — which creators Chris Kelly and Sarah Schneider said was always intended as a series ender — allowed both characters to redeem themselves for a picture-perfect conclusion to a brilliant show commenting on the toxic consequences of fame and success in Hollywood. — JAB
“Poker Face” (Peacock)
Natasha Lyonne is pure perfection as Charlie Cale, a woman who has the uncanny ability to tell when someone is lying, in Rian Johnson’s loving ode to ’70s detective series like “Columbo” and “The Rockford Files.” The guest stars are amazing and this will surely go down as Lyonne’s signature role. We can’t wait for Season 2. — SK
“Queen Charlotte” (Netflix)
Even if you’re not a “Bridgerton” fan, Shonda Rhimes’ prequel series “Queen Charlotte” is bound to make you swoon. Centering on the backstory of the notorious Queen Charlotte — whose beloved attitude and humor shines in the beloved flagship series — “Queen Charlotte” introduces a fresh-faced cast composed of series newcomers India Ria Amarteifio, Corey Mylchreest and Arsema Thomas. The romantic drama, which also introduces the franchise’s first queer couple, tugs on heartstrings all throughout its six-episode run, with perfectly timed comedy and just enough intrigue to keep us on the edge of our seats. — LS
“Silo” (Apple TV+)
This Apple TV+ dystopian sci-fi adaptation flew somewhat under the radar, but thanks to boosts by folks like Stephen King, it gained steam as it barreled towards its finale. The premise is this: Humanity lives in a silo underground. The landscape above is desolate. Society functions like a machine, everyone serving their purpose. Yet mysteries abound – if someone says they want to leave the silo, they are immediately jailed and prepared for expulsion, and as soon as they set foot outside they die, captured on camera for all inside the silo to see. Rebecca Ferguson plays an engineer on the lowest level who, by a twist of fate, is named sheriff and summoned to the upper levels. “Silo” is like if “Lost” and “Snowpiercer” (the movie, not the TV show) had a baby, packed with mystery, tension and a gut-punch of emotion thanks to stellar performances from Ferguson, David Oyelowo, Harriet Walter and Tim Robbins, among others. It’s a great binge, too. — AC
“Star Trek: Picard” (Paramount+)
In the third and final season of “Picard,” the show transformed into what it had always threatened to become – a full-on “Star Trek: The Next Generation” sequel series. And it’s easy to see why star Patrick Stewart was resistant to the idea. If improperly handled it would not only tank the goodwill of the previous two seasons, but it could sully the memory of “Star Trek: The Next Generation,” arguably the most beloved series in the entire franchise. Mercifully, this didn’t happen. Showrunner Terry Matalas knocked it out of the park. He skillfully deployed fine-tuned nostalgia, particularly in the final stretch of episodes, while delving deeper into the “Next Generation” characters we’ve seen before. Big swings like giving Picard a secret son didn’t backfire; instead they gave the characters even more nuance and humanity. Full of world-class visuals (there are some genuine jaw-droppers in the finale) and a swashbuckling adventurousness, these last “Picard” episodes were enough to make you wish the show wasn’t ending. “Picard” went from being an interesting footnote to one of the most profound, moving and entertaining pieces of the “Star Trek” universe. Boldly go. — DT
“Succession” (HBO)
Whenever a popular show comes to an end, there’s always anxiety about how it will stick the landing. In the case of HBO’s hit drama “Succession,” the season took the bold step of killing off patriarch Logan Roy (Brian Cox) early in on, leaving his children Kendall (Jeremy Strong), Shiv (Sarah Snook) and Roman (Kieran Culkin) left to pick up the pieces. In normal Roy fashion, the trio stab each other in the back in their lust for power. However, its Tom Wambsgans (Matthew Macfadyen) who ultimately comes out on top to become Waystar CEO — thanks to a last-minute betrayal. Not only does the show offer several standout, gut-wrenching performances in its final season, it successfully enters the club of finales that stick the landing with a brilliant ending. And it leaves enough loose ends open to make fans hungry for more if creator Jesse Armstrong ever decides to change his mind about a follow-up. — LM
“Swarm” (Prime Video)
Only Donald Glover and Janine Nabers could come up with a horror comedy as twisted as “Swarm.” Full of irreverent humor and grisly murders, the series revolves around Dre (Dominique Fishback), a lifelong fan of a mega-famous pop star who loses her grip on reality once her foster sister Ris (Chloe Bailey) dies. With no clear path in life, Dre devotes herself to killing anyone who dares to speak ill of her beloved idol Ni’Jah (Nirine S. Brown). A clear allegory for Beyonce and the BeyHive, the series is as coy as it is cutting, as it dissects everything from the toxicity around rabid fandoms to the ways in which murdered Black victims are ignored by police. It’s a show with a scope so huge, it often threatens to topple over. Yet whenever the series is at its most precarious, there’s always Fishback’s terrifying, stunning performance holding the pieces together. In “The Last Days of Ptolemy Grey,” Fishback proved she was an actor on the rise. Now with “Swarm” she has proven she is a force to be reckoned with. — KC
“Unicorn: Warriors Eternal” (Cartoon Network)
Genndy Tartakovsky is responsible for some of the most beloved (and boundary-pushing) animated series of all time — everything from “Dexter’s Laboratory” to the Emmy-winning adult series “Primal.” His latest opus, “Unicorn: Warriors Eternal,” might be the greatest project he’s ever done, an emotionally complex saga about a group of spirits that travel through time battling an ageless evil. This time, the warriors show up in a fantastically steampunk-indebted Victorian England, and they’re going up against something that even they can’t figure out how to fight. With gorgeous animation by Studio La Cachette and a fluid art style indebted to animator Max Fleischer (the lead character is informed by Betty Boop) and comic book artist Kevin O’Neill, “Unicorn: Warriors Eternal” is lush and inviting. But underneath all of this are meaty themes about identity, duty and class (one of the warriors is a Dickensian street urchin). And this is before you factor in the pleasures of watching monsters and werewolves and robots and elves battle it out in elaborately choreographed fight sequences. You know. The kind that only Tartakovsky could imagine. — DT
“XO, Kitty” (Netflix)
Jenny Han’s “To All the Boys I’ve Loved Before” spin-off series stars Anna Cathcart as Katherine “Kitty” Song-Covey goes on her own overseas adventure for a year studying abroad at the Korean Independent School of Seoul. Kitty gets herself tangled up in all sorts of situations, just like the one she ignited in the hit film trilogy when she sent out Lara Jean’s love letters to her past crushes. Mixing the romantic comedy and Korean drama genres, Kitty carries on the torch of Jenny Han’s television adaptations, which will also continue this summer with Season 2 of “The Summer I Turned Pretty.” The fun, heartfelt and hilarious moments are bound to continue in the recently renewed second season. — DG
“Yellowjackets” (Showtime)
There was no sophomore slump for this brilliantly dark Showtime series, with the stranded soccer team plunging even deeper into “Lord of the Flies” territory as everyone went more than a little mad. The contemporary storyline added the perfectly cast Lauren Ambrose as Adult Van and Simone Kessell as Adult Lottie. As circumstances forced a reunion of the surviving Yellowjackets, the demons from their time in the wilderness surfaced in the devastating Season 2 finale. Kudos to this amazing cast, who give their all every episode, from Sophie Nélisse as pregnant Teen Shauna to Christina Ricci’s cheerfully homicidal Misty. — SK
