The 10 Best TV Shows of 2022 So Far (The Hollywood Reporter Critics) – The Hollywood Reporter

ATLANTE (FX)

After a three-year absence, Donald Glover’s sometimes gritty, sometimes surreal examination of race and fame returned with a season in which four of the 10 episodes stood on their own without the main cast. The best of these – ‘Three Slaps’, ‘Rich Wigga, Poor Wigga’ – fit intriguingly with the hilarious and at times deeply sad installments that found the central characters traveling across Europe. —DANIEL FIENBERG

BARRY (HBO)

In its third season, the HBO series plunged into new depths of sadness with its title character’s quest for forgiveness – and, with this stunning freeway chase, also reached new artistic heights. At the same time, it’s always good for a laugh, especially when skewering cruel showbiz nonsense or marveling at the wisdom of a particular donut. Is it still a comedy? Should we call it a drama now? I have no idea. I just know it’s great television. —ANGIE HAN

YOU BETTER CALL SAUL (AMC)

Creators Peter Gould and Vince Gilligan are the masters of pre-finale escalation – and with the ending near (the final six episodes are scheduled for July and August), the series has ramped up the tension, shocking twists and story. of tragic love in his heart. Does Jimmy (Bob Odenkirk) corrupt Kim (Rhea Seehorn)? Does Kim bribe Jimmy? And with the breaking Bad timeline looming, does the future Saul Goodman have hopes for a happy ending? —DF

BETTER THINGS (FX)

Pamela Adlon’s comedy-drama has wrapped up its five seasons in vintage form, as a celebration of our literal families and the families we build for ourselves with friends, loved ones and even strangers we meet in class. of road. Highlights included a trip to London, an appearance by Danny Trejo, a wedding, an abortion, a musical number and, if you squint closely enough, a possible UFO sighting, all delivered with laughs and tears . —DF

HEART STROKE (NETFLIX)

Heart stroke may not be reinventing the wheel with its liberal deployment of YA romance tropes – but it uses them better than any other recent show, and in service of young queer characters defined more by joy than pain. Leads Kit Connor and Joe Locke share squee-worthy chemistry as Nick and Charlie, and their relationship is cast in such a wistful, rosy glow, it could almost make you wish you were a teenager again. Almost. —AH

PACHINKO (APPLETV+)

Soo Hugh’s adaptation of Min Jin Lee’s novel takes liberties with structure and plot, but retains the emotionally epic reach of the multi-generational tale. It’s driven by impeccable period production design, a masterful balance of restraint and melodrama, clever use of language, and a star-studded cast – minari Oscar winner Yuh-Jung Youn, Minha Kim and Jin Ha, among others, to list. Plus, it has the best credit streak on television. —DF

ROTHANIEL (HBO)

From Hannah Gadsby Nanette at Bo Burnham On the inside, upheavals within the special comedy space occur just regularly enough to cause discomfort for stand-up traditionalists. This year’s paradigm shift was the incredibly intimate hour of Jerrod Carmichael – directed and edited by Burnham – which played part faith, part support band. Carmichael’s coming out made headlines, but Rothaniel is as much about the secrets and lies that unite each family. It’s often a hilarious and brilliantly constructed personal storytelling. —DF

BREAK (APPLETV+)

Initially, what’s intriguing about this show is its dystopian premise, or perhaps its weird mid-century-flavored settings. But what lingers after the credits of this thrilling season finale is the humanity of the characters – including depressed Mark (Adam Scott) and defiant Helly (Britt Lower) – who grope toward love, community and peace. rebellion within a system designed to eradicate all of the above. —AH

SOMEONE SOMEWHERE (HBO)

Don’t let the vague title fool you: the series is nothing if not specific about the daily rhythms of the small Midwestern community in which it’s set, and sensitive to heartaches, joys, and laughs — a lot, lots of laughs – his characters find this inside. Bridget Everett’s Sam is its narrative center, as she emerges from a fog of grief to rediscover her creative passions, but Jeff Hiller’s pure and sweet Joel is its heart. —AH

UNDER THE SKY BANNER (HULU)

In a year when it’s hard to throw a stone without hitting a billboard for another new true-crime show, this one stood out for its stellar performances (notably from Andrew Garfield and Wyatt Russell) and its cultural specificity (creator Dustin Lance Black has first-hand knowledge of Mormon life, and it shows) – but also for his insistence on tracing the roots of a murder to the very foundations of the community in which it takes place , raising far more troubling questions than your usual excerpts from the headlines fare. —AH

This story first appeared in the June 22 issue of The Hollywood Reporter magazine. Click here to subscribe.

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