The 20 best TV episodes of 2023

Great episodes this year featured apocalyptic romance, creatures from outer space, and a top-notch Taylor Swift needle drop.

2023 was a good year for television — and a great year for the television episode. In a TV landscape cluttered with “12-hour movies” and shapeless streaming binges, we want to take a moment to celebrate the best individual TV episodes of 2023. Our list stretches across every genre, from jaw-dropping reality show reveals to carefully crafted sci-fi sagas, and the result is an eclectic mix of everything the year had to offer.

Here are EW’s picks for the 20 best TV episodes of the year (listed alphabetically).

‘The Afterparty’ — ‘Travis’

(Written by Christopher Miller and Mike Rosolio, directed by Christopher Miller)

Each episode of The Afterparty presents a different character’s testimony of a lavish wedding that ends with the groom’s murder — and each one parodies a different movie genre, whether it’s a Steven Soderbergh-inspired heist or a Hitchcockian gothic melodrama. The funniest episode sees Paul Walter Hauser’s Travis frame himself as a hard-boiled noir detective investigating the shady cryptocurrency endeavors of Zach Woods’ Edgar. Hauser has repeatedly proven his dramatic talents in high-profile projects like Richard Jewell and BlacKkKlansman; here, he gets to flex his robust comedic chops as an inept fedora-donning conspiracy Redditor with a ridiculous case of Main Character Syndrome. Travis’ empty-headed confidence and questionable vocabulary make for pitch-perfect noir parody, weirding out all the other guests by firing off over-the-top gumshoe slang (he calls crypto “web-cheddar” and describes Edgar as “dirty as the boots on a box turtle”). It’s all presented with charming commitment to the genre’s unmistakable style: moody lighting, black-and-white cinematography, and a crackly, sweeping Old Hollywood score. —Wesley Stenzel

‘Ahsoka’ — ‘Shadow Warrior’

(Written and directed by Dave Filoni)

Star Wars has always loved the mystic and ethereal, but the fifth episode of the latest Disney+ series is a mind-bending meld of past and present, following former Jedi warrior Ahsoka Tano (Rosario Dawson) as she suffers a near-death experience and wakes up in the Force dimension known as the World Between Worlds. There, she has a long-overdue conversation with her dead former master Anakin Skywalker (a returning Hayden Christensen), reflecting on their traumatic days together in the Clone Wars. (Ariana Greenblatt plays the younger Ahsoka.) It’s an emotional reunion and a thrilling return for Christensen, who gets to show off his acting chops and his lightsaber skills. —Devan Coggan

‘The Bear’ — ‘Forks’

(Written by Alex Russell, directed by Christopher Storer)

What, you expected to see the star-studded “Fishes” on this list? Sure, that episode is certainly the flashiest installment ever of the Chicago restaurant drama, thanks to all the yelling and high-wattage surprise appearances (Jamie Lee Curtis, Bob Odenkirk, John Mulaney, Sarah Paulson, Gillian Jacobs). But while that occasion went big, bigger, and biggest, the actual creative high point of season 2 was a much smaller story, as we watched Ebon Moss-Bachrach’s Richie essentially clean forks for an hour. The appropriately titled “Forks” follows the rough-around-the-edges Richie as he is sent against his will to stage at a hip, upscale eatery — forcing him into a new and uncomfortable relationship with his alarm clock. The transformation that takes place as Richie slowly learns to respect his coworkers, respect the diners, and, most important of all, respect himself is the most powerful character arc yet on a show filled with them, culminating in the year’s most surprising T. Swift singalong. —Dalton Ross

‘Beef’ — ‘Figures of Light’

(Written and directed by Lee Sung Jin)

“You are f---ing proof that Western therapy doesn’t work on Eastern minds!” This road rage feud reaches the end of the road (literally and figuratively) after Danny (Steven Yeun) and Amy (Ali Wong) drive each other off a cliff, inadvertently stranding themselves at the bottom of a canyon overnight. Delirium and exhaustion make way for the nemeses to discover that they understand more about each other than they realize. Yeun and Wong are mesmerizing and hysterical, even with broken bones and bloodied faces, spewing rambling self-reflections that get to the core of the series’ existential themes of rage and isolation. It results in one of the most captivating episodes of TV all year, steered by an unflinchingly honest Lee Sung Jin. —Jessica Wang

‘Bupkis’ — ‘Do As I Say, Not As I Do’

(Written by Pete Davidson and Judah Miller, directed by Jason Orley)

A tragicomic triumph, this flashback episode takes place on Sept. 28, 2001, just two weeks after young Pete Davidson (the delightful Preston James Broderick) lost his firefighter father in the 9/11 terrorist attacks. Dragged by his reeling mom (Edie Falco) to the wedding of her sister Mary (Danielle Dallacco), Pete spends some quality time with his new Uncle Tommy (Bobby Cannavale), a Staten Island tough guy with cocksure charisma and a bit of a coke problem. “Do As I Say, Not As I Do” — named after Uncle Tommy’s oft-repeated advice to his young nephew — is a showcase for Cannavale’s preposterous comedic and dramatic range. Whether passionately belting out Creed’s “My Sacrifice” or menacing the DJ while dancing to “Cotton-Eyed Joe,” the actor is hilarious, heartbreaking, terrifying, perfect. The episode jumps between 2001 and present day, where adult Pete spends the day with his uncle, now a dispirited 50-year-old with an unhappy marriage, a sketchy job at a Russian bank, and the jittery energy of a man on the verge of a nervous breakdown. Whatever you think of Pete Davidson, the man knows television’s golden rule: Bobby Cannavale should be cast in everything. —Kristen Baldwin

‘Daisy Jones and the Six’ — ‘Rock ‘n’ Roll Suicide’

(Written by Harris Danow, directed by Nzingha Stewart)

From the opening title cards of Daisy Jones & the Six, we know the band will break up; in this finale, packed with drugs, sex, and rock & roll, we finally learn why. Fans of Taylor Jenkins Reid’s novel had an inkling, but Scott Neustadter and Michael H. Weber tweaked things just enough to deliver a finale that plays like a perfect rock song — sweaty, emotional, intense, loud, familiar, and surprising. Watching the Soldier Field concert play out in real time is rock soap opera at its finest, soaked in a haze of 1970s booze and glitter. The concert itself is more electric than some actual rock docs. But it’s the twists and turns of Daisy (Riley Keough) and Billy’s (Sam Claflin) relationship and their precarious journey toward sobriety that truly packs a punch. When Billy makes the heartbreaking plea to Daisy that they be “broken together,” that’s the moment we know it’s all over. Daisy Jones is about addiction, genius, and fame, but the show’s bittersweet final moments remind us that above all, it’s a love story — one filled with regrets, recriminations, and ultimately, redemption. —Maureen Lee Lenker

‘Doctor Who’ — ‘The Star Beast’

(Written by Russell T. Davies, directed by Rachel Talalay)

Like the TARDIS itself, the first of the Doctor Who 60th anniversary special episodes seemed to contain more wonders than the laws of physics should allow, many of them paying homage to the time-travel show’s storied history. Written by returning showrunner Russell T. Davies and directed by fan favorite Rachel Talalay, “The Star Beast” reunited David Tennant’s Doctor and Catherine Tate’s Donna Noble for a rollicking London adventure with “new” aliens, including the Miriam Margolyes-voiced Meep, which actually dated back to a 1980 comic strip. Amongst all the nostalgic fan service, Davis even found time to introduce Donna’s daughter Rose, played by Heartstopper star Yasmin Finney, and hint at a mystery which would be played out on the two subsequent specials. As with all the best Doctor Who episodes, the result was a treat for Whovians and the perfect entry point for folks boarding that big blue box for the very first time. —Clark Collis

‘Good Omens’ — ‘Every Day’

(Written by Neil Gaiman and John Finnemore, directed by Douglas Mackinnon)

Good Omens season 1 was a fairly straightforward adaptation of Terry Pratchett and Neil Gaiman’s beloved 1990 novel, following angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) as they worked together to thwart the apocalypse. In season 2, the unlikely pair chart a new adventure, as they start to wonder whether their millennia-long friendship might be something more. The season culminates with the emotional sixth episode, when angel and demon finally admit their feelings for each other, only to split as Aziraphale takes a new job running heaven. The episode itself is jam-packed with cameos, an over-the-top bookshop battle, and Buddy Holly needle drops, but it’s anchored by Tennant and Sheen’s emotional performances. It’s a heavenly episode with a break-up scene that leaves you feeling like hell.  —D.C.

Harley Quinn — ‘Killer’s Block’

(Written by Sarah Peters, directed by Joonki Park)

Is this the TV episode that most explains the 2023 Hollywood strikes? Bear with us: The whole premise of Harley Quinn season 4, overseen by first-time showrunner Sarah Peters, was that gal-pal protagonists Harley (Kaley Cuoco) and Ivy (Lake Bell) had been elevated to positions of power in the DC Universe, with Harley filling in for an absent Batman while Ivy took over Lex Luthor’s seat atop the Legion of Doom. Although this seemed like a rich premise (especially since it placed these two lovebirds on opposite sides of the good/evil line), the show quickly made clear how hollow their achievements really were. It turns out that putting people who aren’t white men in powerful roles doesn’t matter much if the underlying conditions of oppression and difficulty remain the same. Together, Harley and Ivy learn that it’s much more productive to destroy the businesses oppressing you and send your enemy through an interdimensional portal to a planet of pure hellfire. Now, their future looks brighter than ever. —Christian Holub

‘Jury Duty’ — ‘The Verdict’

(Directed by Jake Szymanski)

Watching Jury Duty, you can’t help but wonder: How on earth did the cast and crew pull this off, making unsuspecting everyman Ronald Gladden believe that he was in the middle of a fake jury trial for weeks on end? The final episode answers that question, pulling back the courtroom curtain to reveal the care and attention to detail that went into planning. But more than anything, the finale is a showcase for Ronald, who proves to be a kind, thoughtful protagonist, even when the show throws him yet another insane twist. The verdict is in: Ronald is a star. —D.C.

‘The Last of Us’ — ‘Long, Long Time’

(Written by Craig Mazin, directed by Peter Hoar)

The third episode of HBO’s acclaimed zombie series aired back in January, but even then, we knew it would make our list of the year’s best. “Long, Long Time” is an all-timer of a standalone episode, an emotional tearjerker that splits away from protagonists Joel (Pedro Pascal) and Ellie (Bella Ramsey) to focus on apocalypse survivors Bill (Nick Offerman) and Frank (Murray Bartlett). A brief mention from the Last of Us video game becomes a fully realized love story, and the episode follows Bill and Frank as they flirt, grow strawberries, and build an entire post-apocalyptic life together. (You’ll never listen to Linda Ronstadt the same way again.) Not only do they learn how to survive, but more importantly, they learn to live. —D.C.

‘The Marvelous Mrs. Maisel’ — ‘Testi-Roastial’

(Written and directed by Daniel Palladino)

Midge Maisel’s career-making four-minute set in the series finale was the stuff of TV legend, but it was another episode of the final season that won our hearts. Episode 6, “Testi-Roastial,” uses the format of an infamous Friar’s Club Roast — this one of comedy manager, Susie Myerson (Alex Borstein) — to fill us in on crucial details in the dynamic duo’s careers. Spanning four decades, the episode is packed with sight gags and mile-a-minute jokes about Susie’s legendary client list (and don’t get us started on the hilarious sequence in which Midge (Rachel Brosnahan) forces Susie to call off her wedding to Philip Roth because he doesn’t make her laugh). But it’s the episode’s more brutal moments that elevate it. We finally learn what drove Midge and Susie apart — and it’s a doozy. First, we watch Joel (Michael Zegen) sacrifice himself on the altar of the mob for Midge (a move that ultimately lands him in jail and makes him the noblest character on this show). Then, we witness his arrest and its fallout: the bruising breakup (which Borstein and Brosnahan act the hell out of). In their fight and the episode’s final steps toward reconciliation, “Testi-Roastial” cements Susie and Midge as the show’s greatest love story and the show as one of the most complex, interesting portraits of female friendship ever to hit the airwaves. —M.L.L.

‘Our Flag Means Death — ‘Calypso’s Birthday’

(Written by Zayre Ferrer, directed by Fernando Frías)

This delightful pirate comedy is at its best when it just lets its crew hang out, doing pirate stuff together. Episode 6 does exactly that, following the shipmates of the Revenge as they celebrate the made-up holiday of Calypso’s Birthday. There’s food, drinks, costumes, and all sorts of swashbuckling shenanigans, including a standout drag performance from Wee John (Kristian Nairn). But perhaps the most emotional moment comes later, as the ship’s grumpy first mate Izzy Hands (Con O’Neill) lets loose, delivering an emotional rendition of “La Vie en Rose.” —D.C.

‘Poker Face’ — ‘The Orpheus Syndrome’

(Written by Natasha Lyonne and Alice Ju, directed by Natasha Lyonne)

No one understood the possibilities of Poker Face better than Natasha Lyonne herself. The show’s anthology nature was immediately viewed as a throwback to classic cop shows like Columbo, but it’s more than that. The case-of-the-week structure allowed creator Rian Johnson not just to introduce Lyonne’s living lie-detector Charlie to different characters each episode, but also to indulge in different filmmaking styles. In her debut as both a writer and director, Lyonne delivered a heartbreaking story that also doubled as a love letter to stop-motion animation and its veteran practitioners like Mad God director Phil Tippett, who contributed effects work to the episode and whom Nick Nolte homages in a sweet performance. —C.H.

‘Queen Charlotte’ — ‘Crown Jewels’

(Written by Shonda Rhimes, directed by Tom Verica)

This Bridgerton prequel gave us a glimpse into the relationship between Queen Charlotte (India Ria Amarteifio) and King George (Corey Mylchreest) and portrayed his mental health decline in a heart-wrenching way. Amartedifo and Mylchreest took the challenge of embodying the younger versions of established Bridgerton characters and delivered beautifully, and the final episode of the limited series left audiences heartbroken... yet satisfied. By ending in a flash-forward sequence following present-day Charlotte (Golda Rosheuvel) bringing news to present-day George (James Fleet), the series was able to convey that their love was everlasting and made the episode the best of the season. —Jessica Leon

‘Reservation Dogs’ — ‘Friday’

(Written by Erica Tremblay, directed by Tazbah Chavez)

This underrated comedy packed its final season with starry cameos and big moments, but one of the season’s best episodes is decidedly low-key. Episode 4 follows our heroes — Willie Jack (Paulina Alexis), Cheese (Lane Factor), Elora (Devery Jacobs), and Bear (D’Pharoah Woon-A-Tai) — as they return from California and spend a day at the local Indian Health Services clinic. The result is a slice-of-life hangout story that captures everything that makes this show special. —D.C.

‘Scott Pilgrim Takes Off’ — ‘Whatever’

(Written and directed by Akitoshi Yokoyama)

A major reason that Scott Pilgrim vs. the World has endured as a cult classic in the years since it underwhelmed at the box office is its plethora of memorable characters, many of whom were portrayed by rising Hollywood stars. The beauty of Scott Pilgrim Takes Off (overseen by BenDavid Grabinski and original franchise creator Bryan Lee O’Malley) is how it often eschews the titular character in order to spend more time with the deep supporting cast. The fourth episode is a highlight of the new Netflix anime (and 2023 in general), not just for giving a whole new dimension to Chris Evans’ Lucas Lee but also by using his fictional celebrity as a jumping-off point into all kinds of movie-within-movie metafictive fun. Edgar Wrong! —C.H.

‘Succession’ — ‘Connor’s Wedding’

(Written by Jesse Armstrong, directed by Mark Mylod)

Titling the best episode from the final season of the media world dramedy after the nuptials of Alan Ruck’s Connor Roy was undoubtedly a joke on the part of the Succession writers, given how fulsomely that event was overshadowed by the death of his father Logan Roy. The juxtaposition between the approaching wedding and the demise of Brian Cox’s character on the Waystar Royco company jet provided the perfect opportunity to foreground the mix of pathos and bleak humor that creator Jesse Armstrong and his collaborators, on- and offscreen, turned into an artform during the show’s four-season-run. —C.C.

‘Survivor’ —‘Following a Dead Horse to Water’

Nobody likes to have their heart ripped out of their chest and repeatedly stomped on. Watching it happen to someone else on television, however, is an entirely different matter. In the era of kinder, gentler Survivor, most players take their vote-out in stride. Not Kellie Nalbandian. The New York City nurse’s mixture of shock, grief, anger, despair, and outright confusion was an intoxicating punctuation mark to an episode that showed the gold standard of reality competition TV at its very best. Not only did “Following a Dead Horse to Water” provide a positively startling blindside on one of the season’s most popular players, but the long-awaited Survivor auction returned as well, with an ingenious twist that forced contestants to strategically weigh risk vs. reward in the form of a Tribal Council vote as they bid on slices of pizza and chocolate milkshakes. And as if all that was not enough, host Jeff Probst at one point went crazy and straight-up stabbed a giant bag of rice. Which was appropriate, because this entire episode killed. —D.R.

‘Wheel of Time’ — ‘What Was Meant to Be’

(Written by Rafe Lee Judkins and Timothy Earle, directed by Sanaa Hamri)

Season 1 of The Wheel of Time, like the first novel in Robert Jordan’s iconic series, was very recognizable to fantasy fans: Normal villagers were guided by a mysterious magician on a continent-spanning quest to save the world from a dark lord. But that was only the beginning. In season 2, the arrival of the Seanchan Empire scattered the main characters across the map and shattered viewer expectations by doing things as unthinkable as turning the powerful heroine Egwene (Madeleine Madden) into a subordinate slave. But because of those defeats, the epic action of the season 2 finale felt truly earned. After a dark and twisty season, the sight of our heroes united again in power against the forces of evil was inspiring enough to make you want to stand up and cheer. —C.H.

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