The best shows of 2023, from 'Succession' to 'Vanderpump Rules'

Operating at its base level, "Abbott Elementary" is one of the best sitcoms currently on television. But season two of the show took things a little bit higher, continuing to deliver the pro-school and pro-teacher messages at its core while also delving further into its characters.

There's plenty of room in the "Abbott" sandbox to expand the show's world, taking characters out of their typical settings to embark on teacher conference trips that end in benders, and introducing new figures like Janine's mother (memorably played by Taraji P. Henson) who add new dimensions to the cast.

This season also dives further into Janine and Gregory's affection for each other, one of the best slow-burn romances on television in recent memory. More thrilling, however, is the show's continued potential — one that seems likely to continue paying off. — Palmer Haasch

It's impossible to talk about "Beef" without addressing the controversy that followed its release: David Choe, who stars in the show and whose art was used for many of its title cards, came under fire after a clip from 2014 of him telling a story about sexually assaulting a massage therapist resurfaced. Choe had previously said that the story was fabricated and apologized for it, and "Beef" showrunner Lee Sung Jin, Ali Wong, and Steven Yeun released a joint statement to Variety saying that Choe had "put in the work" to "better himself and learn from his mistakes."

It's a regrettable mark on an otherwise exceptional show, which stars Wong and Yeun as Amy Lau and Danny Cho, unlikely rivals whose mutual ire draws them together after they meet during a road rage incident. At 10 episodes, "Beef" is succinct and riveting: More than anything else, Lau and Cho become dependent on their quest to mutually destroy each other, until it's the only thing left for them to cling to.

With an airtight script, a litany of 90s and 2000s needle drops (including Yeun covering Incubus' "Drive"), and stunning performances not only from Yeun and Wong but breakout stars like Young Mazino as well, "Beef" is one of the best shows that Netflix has put out in recent memory. And while it merits a place on this list, the pall Choe's controversy casts on the show is unfortunate. — PH

When "The Bear" crashed onto our screens in 2022, creator Christopher Storer delivered a masterclass in building a fast-paced atmosphere of tension, stress, and anxiety in the kitchen of a Chicago sandwich shop. And thankfully, season two returned in 2023 with another batch of episodes that were cooked to perfection.

All that pressure of the first season is still there, but on a captivating new level as Carmen Berzatto (Jeremy Allen White) and his team try to renovate the crumbling walls of the shop into a bigger and better restaurant: The Bear.

Each episode flies by in a whirlwind of rapid fire dialogue, packed with hilariously profane insults and arguments. But underneath it all, there's a real sense of camaraderie and teamwork that connects everyone on a deeper level. It's highly relatable for anyone with experience in hospitality – with its euphoric highs, and gutter-level lows.

And "The Bear" season two also fleshes out more of the Berzatto family backstory in an hour-long Christmastime flashback episode that is nothing short of stunning.

To top it all off, this show has some of the best cameos of the year (move over, Marvel) — but to say any more on that front would ruin their magic. — Eammon Jacobs

"Class of '07" is another amazing comedy that flew under the radar this year. The series is a perfect representation of a school reunion — the highlights, friendships, and nostalgic music, mixed with the bad memories we'd rather forget — juxtaposed against a hightened premise.

Set in Australia, a group of women are forced to survive in their former all-girls' high school after an apocalyptic tidal wave hits during their 10-year reunion. The story blends humor with darker moments, exploring mental health, bullying, and teacher-child abuse with a lot of nuance.

The chemistry among the show's ensemble cast is also a highlight. Caitlin Stasey — who plays Saskia Van Der Beek, a former bully trying to repent for her actions in high school — gives a standout performance. — Ayomikun Adekaiyero

Despite the flood of superhero content (and growing fatigue for it), "Extraordinary" manages to be one of the most authentic and clever sitcoms of the year. Series creator Emma Moran takes a simple premise — what would it actually be like to live in a world full of people with superpowers? — and creates wonderful vignettes that feel utterly bizarre yet still grounded and relatable.

No matter how strange the story gets (whether it's a group of men forming their own vigilante group which devolves into a discussion about who knows more about women, or a woman who can be possessed by the dead having a date with the late King Charles II), the path always neatly ties back to realities of being human.

There are also a surprising number of more sentimental moments, such as when lead character Jen (Máiréad Tyers) is able to connect with her dead father using her best friend's (Sofia Oxenham) ability to let the dead possess her to use her voice and body.

And while it may not win any awards, Luke Rollason deserves all the praise for his performance as Jizzlord, a shapeshifter who got stuck as a cat and is now trying to figure out his identity. Rollason nails the movements, physicality, and facial expressions. — AA

This South Korean drama hit Netflix in two parts in the first few months of 2023, and remains one of the most memorable titles from the streamer this year. "The Glory" stars Song Hye-kyo as Moon Dong-eun, a victim of school violence who devotes her life to exacting revenge on her bullies. She does so ruthlessly, but it's not hard to empathize with her: Dong-eun's bullies remain almost wholly unsympathetic even in their adult life. Lim Ji-yeon puts on a particularly chilling performance as Park Yeon-jin, the ringleader of Dong-eun's bullies.

What makes "The Glory" so exceptional is the fact that it doesn't go out of the way to sanitize Dong-eun's actions, nor those of her former classmates, even amid the show's marginally lighter romance subplot. Told in the present and through glimpses of the past with stunningly cast younger actors, it's a show that almost dares you to look away — while simultaneously making it impossible. — PH

In the last few years, it seems like the video game curse of live-action adaptations has finally been broken with the likes of "Detective Pikachu," "Sonic the Hedgehog," and "Mortal Kombat." But HBO's "The Last of Us" stands head and shoulders above the rest.

Taken from the PlayStation games of the same name, it follows Joel Miller (Pedro Pascal) as he escorts Ellie Williams (Bella Ramsey) across the United States after the cordyceps fungus has decimated the planet. Ellie's immunity to the virus could be the key to stopping the fungus, which turns its hosts into vicious creatures.

While the apocalyptic backdrop is eerie and terrifying throughout the series, it's the time spent getting to know the characters which makes the danger more stressful, much like the games. It's a heartbreaking odyssey through the world, with tearjerker episodes focusing on specific relationships — like Bill (Nick Offerman) and Frank (Murray Bartlett), or Ellie and Riley (Storm Reid).

It's not all sob stories and tragic plot twists, though. "The Last of Us" is supremely creepy when it wants to be, perfectly capturing sequences from the games where players have to hide from the infected. And it goes big with its action, but never over-does it.

Joel and Ellie's story is perfectly translated for TV, but with enough flair and originality to make it feel so fresh, even for seasoned game players. — EJ

"The Other Two" went out in an unfortunately fitting manner — on the eve of its series finale, The Hollywood Reporter reported on multiple human resources complaints against the showrunners Chris Kelly and Sarah Schneider. For a show about toxicity and destructive ambition in the entertainment industry, it was a little too on the nose.

"The Other Two," however, is brilliant and extraordinarily funny. After their younger brother, a Justin Bieber-esque teen pop star, becomes famous, Brooke and Cary Dubek leverage the opportunity to advance their own careers. Season three sees them ascend to new, destructive heights: Brooke becomes so obsessed with being seen as a good person that she destroys her relationship with unequivocal good guy Lance Arroyo, and Cary becomes so annoying and self-centered that he destroys all of his friendships.

From extremely good bits (shout out to Globby) to sharp satire — even though it reportedly went a bit too far past the screen — the final season of "The Other Two" was a standout. — PH

Rian Johnson (director of the "Knives Out" films) shows once again why he is king of the murder-mystery format with "Poker Face," a case-of-the-week series led by the incomparable Natasha Lyonne.

The series follows Charlie Cale (Lyonne) as she travels across America, accidentally stumbling upon and solving crimes with her uncanny ability to tell when someone is spouting "bullshit." But Lyonne's captivating performance is not the best part.

Each episode creates a new, fully-realized world for Charlie to play in, ranging from a mountain lodge with no exits due to the winter snow to a retirement home inhabited by two eldery, foul-mouthed best friends with a score to settle. The first half of each episode sets up these locations and the circumstances for murder and then leaves the audience to watch on the edge of their seat as Charlie pieces the dots together and tries to bring justice. But even that is not the best part.

The best part is that the show creates a space for each of its guest stars to give breathtaking performances. Judith Light and S. Epatha Merkerson play a hilarious duo of retirement home residents that really capture the essence of a "ride or die" friend. Hong Chau disappears in her creepy reclusive trucker role. And I still think about Ellen Barkin's show-stopping monologue at the end of the episode "Exit Stage Death."

"Poker Face" is a perfect representation of alluring cinematography and first-rate acting turning a simple story into a masterpiece. — AA

One of Netflix's reality show imports from South Korea, "Physical 100" brings all of the good qualities of a sports anime and competition series like "Ninja Warrior," in the form of athletic challenges featuring 100 of the country's top athletes. Bringing together bodybuilders, crossfitters, Olympians, and legends like MMA fighter Choo Sung-hoon or skeleton racer Yun Sung-bin, "Physical 100" offers the best of the best — not just in terms of athletic feats, but also athletic spirit.

The challenges on "Physical 100" are immense, ranging from hefting a two-ton ship across solid ground in teams to carrying bags of sand across precarious bridges team members have to construct themselves. It's a show where even those who are eliminated get some of the best arcs, where sportsmanship gets more weight than winning, and where sometimes, you get to see athletes pull off some seriously wild feats.

As Insider previously reported, there was some controversy over the finale challenge potentially being rigged. But even outside of the finale itself, what made "Physical 100" so thrilling was that it was always anyone's game — and it was a hell of a time to follow along. — PH

"Queen Charlotte: A Bridgerton Story," a spinoff that hops between two timelines to tell a beautiful story about unyielding love, both re-contextualizes the entire Bridgerton universe and raises the bar for any future installments in the franchise.

The series provides one of the best "Bridgerton" couples so far: King George and Queen Charlotte have a chemistry that leaps off the screen. Their story is fantastical, as all regency romances are, but there is an element of grounded reality within it that makes their love so much more profound than others. The prequel series also finally addresses the unspoken racial undertones of the Bridgerton universe.

"Queen Charlotte" also provides the franchise's best performances, both from new stars (India Amarteifio, Arsema Thomas, and Corey Mylchreest) and "Bridgerton" veterans (Golda Rosheuvel, Ruth Gemmell, and Adjoa Andoh). Showrunner Shonda Rhimes, who has been taking a more behind-the-scenes seat in producing the main series, shows once again why she is the queen of romantic drama television. — AA

Apple TV+ has quietly been making some of the most brilliant shows of the last few years, including "For All Mankind," "Ted Lasso," and "The Morning Show." The streamer has served up another new captivating story with "Silo."

Based on Hugh Howey's "Wool" novels, the show revolves around an underground bunker that houses thousands of survivors, while the outside world has been ravaged by nuclear war. After a brief introduction to the Silo and the struggles of bunker life, it quickly segues into a murder-mystery — which feels unique in the post-apocalyptic setting.

Engineer Juliette Nichols (Rebecca Ferguson) is the one in charge of figuring out the motive behind the murder and how it connects to the secrecy surrounding the outside world. Ferguson carries the show on her shoulders with ease, nailing Nichols' dedicated sense of duty to her jobs in the Silo and to the people she loves.

Although the bunker is huge (and the sets are equally impressive) the cinematography ensures that it always feels claustrophobic and grimy. If that wasn't enough, this post-apocalyptic procedural even has plenty of subtext and commentary lurking below the surface about authority, fascism, and socialism.

Stellar performances, great writing, and fascinating world-building make "Silo" a very rewarding watch. — EJ

In settings far away from the main film franchise, "Star Wars: Visions" moves away from aimless space battles and reasserts the core tenets of the franchise with beautiful tales about hope ("In The Stars"), unity against injustice ("The Pit"), the eternal balance between good and evil ("Journey to the Dark Head"), and so much more.

Each tale in the animated anthology series, created by studios around the world, is elevated by its distinct animation style, ranging from 2D to claymation to CG. Season two, released in May, takes this medium to new heights as characters begin to use the art around them — literally, in "Sith" — instead of it just being a lifeless backdrop to the story. — AA

"Succession," over the course of its four-season run, has always been building to an inevitable truth: Logan Roy will die. In season four, all of the somewhat hypothetical machinations over who will succeed him as CEO of Waystar-Royco suddenly become very real. And it wouldn't be "Succession" if his children were at all up to the task of filling their father's shoes.

Season four, the show's last, is exacting. It contains some of the best work, period, on the show in its third episode, which features a massive 30-minute take executed by director Mark Mylod and cinematographer Patrick Capone that tracks the Roys' descent into disbelieving grief. And while Logan Roy may be gone as early as episode three, he — by no small virtue of Brian Cox's excellent performance — haunts the rest of the season as his family tries and ultimately fails to succeed in a world without him.

Ultimately, this final season puts a cap on career-defining performances from the show's core cast (including Jeremy Strong, Kieran Culkin, Sarah Snook, and Matthew Macfadyen) while also delivering one of the great masterpieces of our current television era. — PH

While "Swarm" wasn't without its fair share of controversies when it premiered earlier this year (mostly due to creator Donald Glover's comments about the portrayal of Black women on the show), it's still a singular and disturbing indictment of the dangers of fan culture.

As Dre, Dominique Fishback gives a nuanced portrayal of a young woman adrift in a vicious world, and the supporting cast, including Chloé Bailey, also skillfully bring the story to life. It's not a perfect show, but "Swarm" stayed with me long after I finished it. — Libby Torres

The stakes were high for "Trigun Stampede." A reboot of the franchise that began with Yasuhiro Nightow's beloved manga series "Trigun" and its 1998 anime adaptation, "Stampede" was entering testy waters: How do you update a character as distinct as Vash the Stampede, and a story as beloved as "Trigun," decades down the line?

Extremely well, if you're Studio Orange, which produced the new adaptation. "Trigun Stampede" follows pacifist outlaw Vash the Stampede, who shies away from violence but is somehow still followed by destruction. Followed by fresh-faced reporter Meryl Strife and her jaded supervisor Roberto de Niro (no, really), he's joined by dubious priest Nicholas D. Wolfwood (you might remember him as "Nicholas of the Bigolas Dickolas") as he attempts to track down his estranged, and much more violent, twin brother.

"Trigun Stampede" takes risks to its benefit, taking a new stab at Vash who's just as silly, if a bit more soft-spoken (and with a much floppier haircut), than previous iterations. It also looks so good that it should be a conversation-ender when it comes to CGI animation in anime — at least, when Studio Orange does it. — PH

After more than a few controversies involving cast members' bad behavior nearly sunk "Vanderpump Rules," it was only fitting that a controversy surrounding a remaining cast member's bad behavior would end up saving it, breathing new life into the series in season 10.

But while the details of the now-infamous Scandoval are lurid — when is it not titillating to learn that a man cheated on his partner of nine years with one of her closest friends? — what actually made this season of "Vanderpump Rules" extraordinary to watch was its uncanny timing. Filmed entirely before the cast learned of Tom Sandoval's affair with Rachel "Raquel" Leviss (that is, until production scrambled to shoot an extra episode with their reactions once the news broke in March 2023) the season is arguably reality television's most potent exercise in dramatic irony.

Forget the Greek tragedies, they should teach the ballad of Ariana Madix in English class. — Samantha Rollins

"You" has always been a show about Joe's internal conflict over whether he can ever redeem himself. Season four, released in February, takes this journey to bizarre and often confusing places before landing the serial killer in the perfect place for a final season.

In part one, Joe tries to find redemption by becoming the detective, whodunnit-style, to find a new serial killer terrorizing London's elite.

However, part two flips the script to a psychological thriller as Joe is finally forced to come to terms with the fact that it's him, he's been the problem the entire time. Now, with Joe accepting that he is irredeemable, all that's left is for justice to prevail and those he's harmed to get their pound of flesh.

The story may be a bit shaky at times, and the portrayal of the British elite is shallow at best. However, season four is carried through the spell-binding performances of Penn Badgley and the new cast members. Tilly Keeper, in particular, really shines as Lady Phoebe, a doe-eyed sweetheart who slows descends into mental instability. — AA