The Best TV Shows of 2022
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From subsequent installments of fan-favorite series to breakout debuts, 2022 featured a host of shows across genres, worlds and themes that dominated conversations, engaged our senses and thrilled us to our cores.
Whether it was the plethora of memes that came out of “The White Lotus” Season 2 finale, the numerous analyses about what “Severance” says about our relationship to work-life balance or the collective Twitter fervor over the budding romance between Janine and Gregory in “Abbott Elementary,” we were entertained, shaken, enthralled and captivated by these excellent TV shows.
As we look toward 2023 — and the many, many series (returning and new) that are sure to grace our screens — members of TheWrap staff and TV team took a moment to reflect on some of the standout shows we loved this year. “Pachinko” moved us, “Bad Sisters” made us cackle, “The Bear” stressed us the f— out and “The Rehearsal” pushed the boundaries of our understanding of television.
Read on for our picks for the best TV shows of 2022 in alphabetical order.
“Abbott Elementary” Season 2 (ABC)
Fresh off an Emmy win for Outstanding Comedy, “Abbott Elementary” has not disappointed in its sophomore season so far. After splitting up with Tariq, Janine (Quinta Brunson) returns to Abbott determined to not let her troubles at home spill into the school day — the same overenthusiastic attitude that Barbara (Sheryl Lee Ralph), Melissa (Lisa Ann Walter) and Ava (Janelle James) love to hate. With one season already under their belts, Season 2 dives deeper into our favorite friendships — cue Barbara and Melissa — and the love story we’ve been waiting so long for between Janine and Gregory (Tyler James Williams) — even taking us out of the classroom to a hookah club in the mid-season finale. — Loree Seitz
“The Afterparty” (Apple TV+)
It wasn’t enough for creator Christopher Miller and EP Phil Lord to make a whodunit TV series. In addition, the “Spider-Man: Into the Spider-Verse” and “21 Jump Street” filmmakers set up a unique challenge: each episode of “The Afterparty” is not only told from the perspective of a different suspect, but also shot and presented in a unique genre style. The result — with all episodes directed by Miller — was one of the most refreshing and purely fun shows of the year, as we watched this terrific ensemble (led by Sam Richardson, Ben Schwartz, Tiffany Haddish and Zoe Chao) commit to everything from rom-com to slasher to full-on musical. A pure delight. – Adam Chitwood
“Andor” (Disney+)
Since “The Mandalorian” debuted with the platform, we’ve come to expect a certain kind of “Star Wars” show on Disney+. (And, certainly, “The Book of Boba Fett” and “Obi-Wan Kenobi” have stayed very much in the “Mandalorian’s” lane.) Part of what made Tony Gilroy’s “Andor” such an explosive surprise was just how much it veered from this formula. Ostensibly a prequel to 2016’s “Rogue One: A Star Wars Story” (itself a prelude to 1977’s “Star Wars”), “Andor” was a rich character study of Cassian Andor (Diego Luna) an orphan and refugee who would become radicalized by the Rebellion and, eventually, grow into one of its most impactful leaders. Weaving in elements of a spy thriller, prison drama and space opera, “Andor” revealed the interior lives behind the people responsible for shaping the course of galactic history, with stunning performance by a uniformly excellent cast (including Kyle Stoller, Genevieve O’Reilly, Denise Gough, Stellan Skarsgård, Forest Whitaker and Andy Serkis) and a brilliant score by Nicholas Britell. (“Niamos!” for life.) If your faith in “Star Wars” had wavered, then “Andor” restored it. You are now one with the Force and the Force is one with you. — Drew Taylor
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“Barry” Season 3 (HBO)
The most boring conversation around Bill Hader’s “Barry” is whether the show is funny enough to be a comedy anymore. Even in Season 1, arguably the most traditionally “comedic” season thus far, the focus has always been on telling a compelling story, and Season 3 continued that trajectory while still managing to find laugh-out-loud humor in even the bleakest of situations (like an assassin on the roof of a used car lot). But what makes “Barry” one of the best shows of the year is how the series continues to deal with the consequences of its characters’ actions. There’s no reset button, and the trauma everyone has experienced in past seasons/episodes lingers and directly affects their actions at this point in time, all the way up to that jaw-dropping finale. Is a human being capable of real change? We still don’t know the answer, but it’s enlightening watching Barry try. — Adam Chitwood
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“The Bear” (FX)
This breakout drama about a mom-and-pop sandwich shop struggling to stay afloat and adapt in a rapidly changing Chicago restaurant scene went from producing low-simmering chatter to boiling over in conversations online when it premiered on Hulu in the summer. Starring Jeremy Allen White as a prodigy chef burning the candle at both ends, the story is told with the urgency reserved for a pressure-cooker environment that can only exist in a disorganized, archaic kitchen. The delectable, stress-inducing series also boasts one of the best episodes of the 2022 TV year, with the penultimate “Review,” a stunning, deftly crafted, near 20-minute one-shot episode where all hell breaks loose. Naturally, FX on Hulu has ordered another course of the runaway favorite, which is poised to score big at the Emmys next year. — Natalie Oganesyan
“Better Call Saul” Season 6 (AMC)
The final episodes of “Better Call Saul” solidified it: This series is better, pound-for-pound, than “Breaking Bad.” That’s not a knock on “Breaking Bad” at all — it remains one of the best TV shows ever made. But it’s a testament to the talent of the writers, producers, directors, performers and craftspeople who carried over into this prequel series and continued to hone their craft to the point of near-perfection. Most would be too fearful to attempt something like a time jump to a post-“Breaking Bad” world for fear of treading on (or tampering with) an already well-received series ending. That “Better Call Saul” not only attempted this but managed to give us something surprising, emotional and fitting all in the same go (and for a handful of episodes, not just one) is a minor miracle. God bless this show. — Adam Chitwood
“The Boys” Season 3 (Prime Video)
As X-rated as ever, “The Boys” Season 3 kicked it up a notch with hilarious spoofs (Kendall Jenner Pepsi ad, I’m looking at you) and a handful of bone-chilling scenes that excoriate the rise of the alt-right and mob mentality. With spot-on performances by the ensemble, led by the ever-terrifying Homelander (Antony Starr) and new addition Soldier Boy (an equally terrifying Jensen Ackles), the Boys delve deeper into the conspiracy while navigating crises of identity and moral conundrums. An explosive finale sets up what’s sure to be an uproarious fourth installment, as well as new college-based spinoff “Gen V,” set for release in the new year. — Natalie Oganesyan
“The Crown” Season 5 (Netflix)
Netflix’s prestige drama series “The Crown” went through its third and final cast reset this year as we entered the 1990s in the timeline of the Royal Family, and the result was a thrilling and emotional season that put Princess Diana in the spotlight. Elizabeth Debicki is a revelation here, transcending mimicry to inhabit Diana fully, making viewers feel as though they’re getting to know a side of her they’ve never seen before. It’s a layered, complicated performance in a season that’s wrestling with the dwindling popularity of the Monarchy but also the strain the Monarchy puts on basic relationships, both in Diana and Charles but also in Elizabeth and Philip. — Adam Chitwood
“The Dropout” (Hulu)
Amanda Seyfried gives a career-best (and Emmy-winning) performance in the limited series based on the rise and fall of Elizabeth Holmes, the unscrupulous founder of Theranos, a company that stood to revolutionize the health care industry — that is, if its products worked. Created and executive produced by Elizabeth Meriwether (“New Girl”), the eight-episode series tightly weaves a narrative about narcissism, desperation and the lengths one will go to achieve infamy. Seyfried’s performance is complemented by none other than the Emmy-nominated veteran Naveen Andrews’ Sunny Balwani, a match for Holmes in both ego and malice. — Natalie Oganesyan
“The English” (Prime Video)
What a refreshing surprise of a series. “The English” is a bloody revenge Western with a modern twist — not in terms of setting or characters, but sensibility. The premise is well-worn territory: A wealthy woman (Emily Blunt) arrives in the American West looking for revenge, and ends up paired with an ex-calvalry scout and member of the Pawnee Nation (Chaske Spencer) on her quest. But the way in which writer/director Hugo Blick unfolds this story in six episodes is sprawling yet intimate, and emotional in the most profound of ways. I’m loathe to use this phrase but it truly, honestly fits: This is a six-hour movie, and a great one at that. — Adam Chitwood
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“Heartstopper” (Netflix)
Netflix’s “Heartstopper,” adapted from Alice Oseman’s graphic novel series captured hearts with its cute cartoons and bright look at young love through a queer lens. Charlie Spring (Joe Locke) develops a friendship that eventually blossoms into more with his older school peer Nick Nelson (Kit Connor). Charlie previously came out, though some of Nick’s Year 10 peers pick on Charlie and his Year 9 friends for various reasons. The artistic doodles and other colorful touches capture the flighty feelings of butterflies and first love. Bright hues, soft music and adorably genuine exchanges make “Heartstopper” stand out for its honest and heartfelt themes. Olivia Colman guest stars as Nick’s mother, and [SPOILER ALERT] a particular coming out scene between them steals the spotlight. — Dessi Gomez
“House of the Dragon” (HBO)
A lot was riding on “House of the Dragon.” Would the “Game of Thrones” audience show up for a prequel series? Could it possibly be any good? And how would the baggage of that final “Thrones” season affect fans’ taste for the franchise at this moment in time? All concerns fizzled away within a couple of episodes as it was clear that “House of the Dragon” was a thoughtful, compelling story all its own with a, shall we say, improved approach to its female characters. Which was important, because “Dragon” is foremost a story of women — women with power, women without power and women who have been stripped of power. For all the pomp and circumstance of its production value and effects and dragons, it’s the engrossing and tragic way the relationship between Rhaenyra and Alicent unfurls (and implodes) that solidifies “House of the Dragon” as one of the year’s best shows. — Adam Chitwood
“Industry” Season 2 (HBO)
After “Industry” Season 1, Harper (Myha’la Herrold), Yasmin (Marisa Abela) and Rob (Harry Lawtey) graduated to permanent positions at Pierpoint & Co — and the series graduated from good to great. The HBO drama follows a group of 20-somethings living in London and doing whatever it takes (drugs, ill-advised dalliances and alliances) to survive in the world of high finance. While Season 1 focused on how its characters coped under pressure, Season 2 finds them a little older and a little wiser. That sets the scene for bolder moves from Harper and Yasmin, as well as increasingly volatile power dynamics between various mentors and mentees. With greater thematic and structural clarity, bankers-turned-writers Mickey Down and Konrad Kay prove that “Industry” is more than “Succession”s younger, faster-talking cousin. Unlike many others, the show successfully addressed the pandemic by incorporating it into the main storyline. As hedge fund manager Jesse “Mr. Covid” Bloom, Jay Duplass is a season highlight. So is Ken Leung as Eric Tao, long overdue for awards recognition. Together, he and Harper are TV’s most fascinating mentor-mentee duo since Don Draper and Peggy Olson. In other words, “Industry” is well-worth your investment. — Harper Lambert
“Inside Job” Season 1, Part 2 (Netflix)
Sharp, witty and as Deep as the State itself, “Gravity Falls” duo Alex Hirsch and Shion Takeuchi’s “Inside Job” follows Reagan (Lizzy Caplan), a Type-A scion to an egomaniacal executive of a conspiracy theorist shadow organization that secretly puppets the entire world. At Incognito Inc., the workplace is as dysfunctional as it is deadly — and filled with shape-shifting lizards, social media manipulators, drug manufacturing geniuses and a failed dolphin-man supersoldier. In the vein of “Rick and Morty” and “Big Mouth,” the show blends oft-raunchy humor with razorlike commentary, producing pause-worthy laughs and eliciting strong empathy for a woman who stands poised to make or break the globe. With two batches of ten episodes out now, we need a Season 3! — Natalie Oganesyan
“Interview With the Vampire” (AMC)
Based on Anne Rice’s beloved 1976 debut novel of the same name, AMC’s “Interview With the Vampire” seamlessly blends the gothic horror genre and vampire lore with dynamics that feel current and pressing without being overwrought. The toxic, ever-undulating and power-infused relationship between Lestat (Sam Reid) and Louis (Jacob Anderson), his chosen blood-sucking sire, is one that takes center stage, along with an explicit focus on the queerness previously hinted in the books and 1994 film. With incredible performances from the main couple, a visceral sensuousness and hunger that permeates each scene and a modernized retelling of a tale as old as time, how could you go wrong? — Natalie Oganesyan
“A League of Their Own” (Prime Video)
Abbi Jacobson’s and Will Graham’s “A League of Their Own” series for Prime Video filled in some major historical context that was left out of Penny Marshall’s classic 1992 film of the same name — starring Geena Davis, Tom Hanks and Madonna — in a time that demands that context. Jacobson also stars as Carson Shaw alongside D’Arcy Carden as Greta Gill and Chanté Adams as Max Chapman, backed by an ensemble including Melanie Field, Molly Ephraim, Gbemisola Ikumelo, Roberta Colindrez, Kelly McCormack, Priscilla Delgado, Saida Arrika Ekulona, Kate Berlant and more, while Nick Offerman appears as Coach Dove Porter. The Rockford Peaches center the story of the All American Girls Professional Baseball League, which began in the 1940s as a result of men being drafted in WWII. While Marshall’s movie paved the way for the TV series, it missed the inclusivity of racial and queer themes, which an eight-episode first season of the show had more room to explore. Woven together expertly, the storylines deem most characters stars in their own rights. — Dessi Gomez
“The Lord of the Rings: The Rings of Power” (Prime Video)
At long last, Amazon finally unveiled its “Lord of the Rings” series to the public this year, and they pulled off the impossible — they created an adaptation that stands on its own. In the shadow of Peter Jackson’s heralded trilogy (and less heralded other trilogy), “The Rings of Power” managed to get audiences to fall in love with new characters and buy into previously unseen corners of Middle-earth. Anchored by terrific performances from Morfydd Clark and Ismael Cruz Cordova (just to name a couple), “The Rings of Power” built a solid foundation in Season 1 off of which the planned four additional seasons should benefit. And hey, now Hot Young Sauron is on the board! — Adam Chitwood
“The Midnight Club” (Netflix)
Despite being canceled not long after it premiered, “The Midnight Club” remains one of the best shows of the year. Horror filmmaker Mike Flanagan’s first foray into YA comes by way of this Christopher Pike adaptation, which takes place at a home for terminally ill teens that may or may not be haunted. The characters gather each night to tell spooky stories, and the show brings these stories to life as little short films within the show. This device allowed for this talented young ensemble to play a variety of different characters, but as with most Flanagan projects it’s the emotional center that really makes this one sing. A moving meditation on death and mortality from the perspective of the young, “The Midnight Club” was cut short too soon. – Adam Chitwood
“Only Murders in the Building” Season 2 (Hulu)
The second installment of Hulu’s Emmy-Award winning comedy Only Murders in the Building successfully delivered a fresh mystery that kept audiences guessing — and laughing — as the trio of Mabel (Selena Gomez), Charles (Steve Martin) and Oliver (Martin Short) are tasked with figuring out who murdered Bunny Folger and clearing their own names in the process. Season 2 raised the stakes, offered a deeper exploration of its characters and the Arconia and, most importantly, left audiences wanting more from a third season. — Lucas Manfredi
“Pachinko” (Apple TV+)
The first season of Soo Hugh’s epic adaptation of the novel by Min Jin Lee broke barriers when it landed on Apple TV+ in March 2022. The story stars Sunja — portrayed by three different actresses — who becomes the core of a multigenerational saga spanning three countries (shot in two) and three languages. Sunja connects her parents to her children and grandchildren through their diasporic migration from South Korea, which was occupied by Japan while Sunja grew up in America. Hugh made TheWrap’s 2022 Changemakers List for breaking barriers in Hollywood and getting the huge undertaking onto the streamer, telling an Asian-led story and opening many eyes to a history that deserves more attention. “Pachinko” has been renewed for a second season, and Hugh hopes to plan out the arc in four seasons total. Hugh sold the adaptation idea to Apple TV+ in 2017, before the South Korean storytelling boom brought on by Bong Joon-ho’s “Parasite” (2019) and Netflix’s “Squid Game” series. — Dessi Gomez
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“Peacemaker” (HBO Max)
Don’t mistake the crude, R-rated exterior of James Gunn’s DC Comics series “Peacemaker” for shallowness. The “Guardians of the Galaxy” filmmaker not only managed to craft an emotionally satisfying season with this “Suicide Squad” spinoff following John Cena’s less-than-likeable character, but also deftly explored themes of prejudice and forgiveness all within a show that also features a sequence in which Cena dances in his underwear. If these eight episodes — all written and directed by Gunn — are an indication of where the DC universe is headed, we’re in good hands. Bonus points for crafting the best opening credits sequence of the year. – Adam Chitwood
“Ramy” Season 3 (Hulu)
More than two years after its devastating Season 2 finale, which saw the title character sink lower than previously thought possible, this semi-autobiographical dramedy about a 30-something lost Egyptian American returns with triumph — and plenty of heartbreak. Having thrust himself into his work in attempts to escape the parts of himself he loathes (and also, coincidentally, enables), Ramy is faced with several much-needed wake-up calls from his loved ones and religion alike. At the same time, the series does what it does best in tracing the generational roots of culture, identity, diaspora and belonging, compassionately and humbly summed up in the parental-focused finale “We Gave It All Up for Hot Dogs.” — Natalie Oganesyan
“The Rehearsal” (HBO)
Nowadays, “original” and “provocative” are so frequently tossed around in the TV space that they’ve nearly lost all meaning. Enter “The Rehearsal.” Nathan Fielder’s follow-up to pseudo-reality series “Nathan For You” kicks off with a deceivingly simple premise: The comedian helps ordinary people prepare for important moments in their lives by meticulously replicating the conditions in which those moments will take place, then rehearsing the crap out of them. At first, Fielder’s deadpan delivery, kooky characters and the outrageous lengths they go to in each rehearsal (just how big was the budget?) feel pleasantly formulaic. And then, a storyline involving an aspiring mother sends everything flying off the rails. Is “The Rehearsal” pure performance art? A portrait of a self-hating creator? A joke on everyone involved, where Fielder is the only one laughing? It’s anyone’s guess, but by the end of Episode 6, “The Rehearsal” proves itself utterly incomparable. If anything, it resembles true crime in the sense that you, the viewer, are culpable for enjoying it. And yet, it’s impossible to look away. — Harper Lambert
“Reservation Dogs” Season 2 (FX)
Sterlin Harjo and Taika Waititi’s exploration of a core friend group on an Oklahoma reservation is a must-watch for its earnest depiction of adolescent relationships and what it means to yearn for something greater than oneself. While billed as a comedy-drama, the series resists genre categorization, delving into the complexities of grief, healing as a community and family estrangement, all while deftly balancing the wackiness that is existing as a teen with the weight of an entire culture and loved ones’ expectations on one’s shoulders. Come for the chip truck-stealing shenanigans and stay for the numerous scenes that elicit poignant heartache, like Mabel’s funeral episode. — Natalie Oganesyan
“Severance” (Apple TV+)
“Praise Kier,” a Lumon axiom reads, but enough cannot be bestowed upon Apple TV+’s mind-bendingly original “Severance,” a sci-fi thriller that draws from dystopian workplace dramas of eras past while carving out a distinctly fresh and disturbing path toward the future. In the Adam Scott vehicle, directed and executive produced by Ben Stiller, workers at a mysterious conglomerate can opt into a procedure that separates memories of their work selves from their at-home existence. Spurred by the disappearance of a coworker and friend, as well as a fiery new hire that disrupts the status quo, Mark (Scott) must unravel the threads that threaten to send both his selves into a collision course. — Natalie Oganesyan
“Stranger Things” Season 4 (Netflix)
The long-awaited epic fourth installment of Netflix’s sci-fi series arrived in two parts this year, with Part 1 (the first seven episodes) rolling out May 2022 and the second part (the last two episodes) landing on the 4th of July weekend. Created by The Duffer Brothers and hitting its stride with summery Season 3, the penultimate Season 4 got deep and dark fast. With major callbacks to Season 1, the fourth installment finally fleshed out most of the mythology behind The Upside Down, The Mindflayer and how the alternate world with its portal to Hawkins came about in the first place. Along with our favorites, the original crew of five — Mike Wheller (Finn Wolfhard), Will Byers (Noah Schnapp), Lucas Sinclair (Caleb McLaughlin) and Dustin Henderson (Gaten Matarazzo) plus mage Eleven (Millie Bobby Brown) — Sadie Sink, Joe Keery, Natalia Dyer, Charlie Heaton, Maya Hawke and Priah Ferguson return as adjacent characters Max Mayfield, Steve Harrington, Nancy Wheeler, Jonathan Byers, Robin Buckley and Erica Sinclair. Newcomers include Eduardo Franco as Argyle, Joseph Quinn as Eddie Munson, Mason Dye as Jason Carver and Amybeth McNulty as Vickie. Of course the elite adult tier of David Harbour, Winona Ryder and Brett Gelman as well as Paul Reiser and Matthew Modine cement the frightiening, fantastical fourth season. Not to mention the new big bad Vecna (Jamie Campbell Bower), who also goes by Henry Creel, One and Peter Ballard. The stakes have set with Season 5 bringing about the end of this iteration of Hawkins and the Upside Down. Hopefully the soundtrack will be just as epic. — Dessi Gomez
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“The Summer I Turned Pretty” (Prime Video)
Adapted from the best-selling trilogy by author Jenny Han (also responsible for the “To All the Boys I’ve Loved Before” trilogy), Prime Video’s “The Summer I Turned Pretty” made quite a splash in June. Han played a major role in the book-to-screen process, even making a cameo appearance like she did in all three “To All the Boys” films. Lola Tung brings Isabel ‘Belly’ Conklin, a hopeless romantic teenage girl to life, as do Gavin Casalegno and Christopher Briney with the two brothers — Jeremiah and Conrad Fisher, respectively — between whom Belly finds herself in quite the young adult summer love triangle. Every year Belly’s family — her mom Laurel (Jackie Chung) and brother Steven (Sean Kaufman) join The Fishers, with mom Susannah (Rachel Blanchard) spearheading their vacation through her beach house in Cousins. Susannah and Laurel’s best friendship transfers down to their children, though Belly daydreams about being more than friends, mostly with Conrad, the older and more brooding brother. A debutante ball spices things up with some drama. A sugary teen crush soundtrack — featuring Taylor Swift’s rerecorded “This Love” among other bangers and ballads from the songwriter — completes the series in terms of both nostalgia and recreating that time of young love we all experience. — Dessi Gomez
“Under the Banner of Heaven” (FX/Hulu)
Andrew Garfield has made a habit out of exploring spirituality and faith onscreen, but the limited series “Under the Banner of Heaven” is surely one of the most intense explorations of the subject matter in his filmography thus far. Based on the Jon Krakauer non-fiction book of the same name, Dustin Lance Black’s adaptation chronicles two detectives (Garfield and Gil Birmingham) as they investigate a brutal murder seemingly committed by Mormons. The show does a terrific job of exploring when devotion to faith bumps up against morality, with a specific focus on Mormonism courtesy of Black’s history with the church as well as the role women play and the effects of patriarchal misogyny. It’s a meal of a show, anchored by a moving and empathetic performance from Garfield. – Adam Chitwood
“Wednesday” (Netflix)
Now the second most-watched English-language Netflix series of all time, “Wednesday” was the delightful YA twist on “The Addams Family” we didn’t know we needed. Anchored by a truly incredibly performance from Jenna Ortega, this series combined teen angst with a murder mystery to more compelling results than some other would-be genre mash-ups (looking at you, “Chilling Adventures of Sabrina”). Tim Burton’s foundational vision for the beginning of the series sets a respectably spooky tone, and with a splash of “Twin Peaks” thrown in for good measure, “Wednesday” ended up being one of the most delicious binge-watches of the year. — Adam Chitwood
“The White Lotus” Season 2 (HBO)
From iconic moments by Aubrey Plaza and Jennifer Coolidge to breakout performances by Sabrina Impacciatore and Meghann Fahy, it’s safe to say that “The White Lotus” Season 2 had a chokehold on almost all of America. After proving to be a breakout hit its first Hawaii-set season, the comedy-drama set its sights on Sicily, Italy — whose long-standing history of sexism made for the ideal breeding ground for Mike White’s layered commentary on sexual politics. While Coolidge reprises her role as Tanya with a new crisis on her mind, White introduces a slew of wealthy clientele visting the luxury hotel in various stages of unrest as two Sicilian locals bring an innocent chaos to the mix. If that’s not enough intrigue for you, don’t forget about the mysterious dead body floating in the ocean. — Loree Seitz
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