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‘The Odd Couple’ | ABC, 1970-75 ABC/GETTY IMAGES Some creators benefit from working with some degree of limitation, but unshackling the Kings has unleashed their creative best selves. Not only could Christine Baranski’s legal grande dame Diane Lockhart now use words she was never allowed to say on Good Wife, but The Good Fight could go to much stranger and more ambitious places in terms of style and substance, as Diane wound up at a predominantly Black law firm and also struggled to accept the surreality of life under President Trump. When that show ended, creators Robert and Michelle King built a spinoff designed for the lack of restrictions of the streaming universe. ‘The Good Fight’ | CBS ALL ACCESS, 2017-20 PARAMOUNT+, 2021-PRESENT ELIZABETH FISHER/PARAMOUNT+įor seven seasons, The Good Wife was a fine example of how loftier creative ambitions could be smuggled into the formula of a broadcast network procedural drama.

Yet in the midst of all the murder, torture, and psychological warfare, Oz was also a thoughtful, deeply experimental drama with a lot to say about the tension between punishing criminals and rehabilitating them, and what confinement does to good men and bad ones. The world of Oz was so vicious that even the relatively benign prisoners - audience surrogate Tobias Beecher (Lee Tergesen), Black nationalist Kareem Saïd (Eamonn Walker), or third generation inmate Miguel Alvarez (Kirk Acevedo) - would be tempted into heinous deeds over time. Simmons), menacing gang leader Simon Adebisi (Adewale Akinnuoye-Agbaje), the predatory Chris Keller (Chris Meloni), and many more. There was sadistic white supremacist Vern Schillinger (J.K. Elsewhere and Homicide: Life on the Street vet Tom Fontana, Oz took place in a maximum security prison that housed some of the nastiest humans depicted on television, before or since. ‘Oz’ | HBO, 1997-2003 HBOīefore The Wire, before The Sopranos, there was Oz, the canary in the coal mine for the idea of scripted dramas existing outside the broadcast network ecosystem. Shadows is unspeakably raunchy, remarkably silly, and diabolical in the way it manages to be stupid and clever within the same breath. The FX version moves the action from Wellington, New Zealand, to Staten Island and focuses on three traditional vampires - preening warrior king Nandor (Kayvan Novak) and narcissistic, sex-crazed spouses Laszlo (Matt Berry) and Nadja (Natasia Demetriou) - who share a house with superhumanly dull “energy vampire” Colin Robinson (Mark Proksch) and Nandor’s frustrated human familiar Guillermo (Harvey Guillen). This one is a spinoff rather than an adaptation, though, since Jemaine Clement and Taika Waititi have appeared on the show in the roles they played in the 2014 vampire rockumentary film. The first of several movie-to-TV projects on this list. ‘What We Do in the Shadows’ | FX, 2019-PRESENT RUSS MARTIN/FX But voters couldn’t resist many standouts of the past few years, including a tragicomedy with a guinea-pig-themed café, an unpredictable comedy set in the world of hip-hop, and a racially charged adaptation of an unadaptable comic book. Many favorites returned, and the top show retained its crown.

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(See the full list of voters here.) Giving no restrictions on era or genre, we ended up with an eclectic list where the wholesome children’s television institution Sesame Street finished one spot ahead of foulmouthed Western Deadwood, while Eisenhower-era juggernaut I Love Lucy wound up sandwiched in between two shows, Lost and Arrested Development, that debuted during George W.

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Once again, we reached out to TV stars, creators, and critics - from multihyphenates like Natasha Lyonne, Ben Stiller, and Pamela Adlon to actors like Jon Hamm and Lizzy Caplan as well as the minds behind shows like The X-Files, Party Down, and Jane the Virgin - to sort through television’s vast and complicated history.

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So, we decided to update our list of television’s all-time best offerings, originally compiled in 2016.

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How do you identify the very best series in a medium that’s been commercially available since the end of World War II? Especially when that medium has experienced more radical change in the nine years between the finales of Breaking Bad and its prequel, Better Call Saul, than it did in the 60-odd years separating Walter White from Milton Berle? The current Peak TV era is delivering us 500-plus scripted shows per year, many of them breaking boundaries in terms of how stories are told and who’s doing the telling.

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