Top 10 TV Shows of 2014

Ahhh, television. That small screen that threatened to kill the movie industry when it first came to be, and that now threatens to kill our productivity and social lives on a daily basis. If you know me well enough, you know I live for television. I breathe sitcoms, feed on anthology series, and dream about legal procedurals.

And we really are in the Second Golden Age of Television. Tune into any network, premium cable or online streaming channel. There's bound to be something for you: funny murders, serious romantic comedies, people of all races, creeds, sexual orientations, identities and sizes mingling about in just any setting you can think of. It's truly a remarkable time to watch television.

Just as I do every end-of-the-year, I tried to come up with a list that encapsulates what was best for me. But granted, this endless variety comes with a price. There has been so...much...television this year, there's no way I could have watched it all. It's been quite a task to choose the best ten for me. But here they are. Enjoy. Or not. You are entitled to your opinions. Whatever.

Some disclaimers about the choices:

1. Some things I took into consideration while making this list are a season's overall writing, performances, thematic resonance, originality and (probably most importantly) how entertaining it was.
2. At least half of a show's season must have had aired between January 1 and December 31st of 2014. This means some shows only had half-of a season on air, others two halves of two different seasons, while a few the whole slate. Eh, what can you do?
3. I cannot comment on some shows that are considered this year's best as I do not watch them (yet). So sorry, Transparent, Good Wife, The Americans and Walking Dead fans. I swear I'm catching up. If you see another option that you think should be here, I probably didn't like what you did. Get over it.
4. And, yes, THERE ARE A LOT OF SPOILERS AHEAD! You have been warned.

10. Veep (HBO)

While I do not enjoy talking about politics whatosever (yes, I'm that kind of person), I have to admit that political television series almost always provide the best drama. It's less about boring and complicated processes and arguments, and more about horrible people doing horrible things. Yes, there's the monstrosity and disgrace of shows like House of Cards and Scandal, but there's also a bigger and scarier type of awful people: the incompetent. And that's what Veep is all about. In a stellar third season, the HBO comedy follows vice-president Selina Meyer's (Julia Louis-Dreyfus, Duchess of Television and Everything That's Great and Beautiful) presidential campagin; a race that she lost even before she had a chance to compete. Besides the top-notch writing and the marvellous ensemble performances, what makes Veep so brilliant is its fearlessness of putting its characters in completely ridiculous and outrageous situations. This season gave us invaluable moments like Selina's affair with her personal trainer, Dan and Amy's (Anna Chlumsky and Reid Scott) power struggle over becoming campaign manager, that gigantic hat on their visit to England, and what I consider to be hands-down the best comedic scene of 2014. With the fourth season going on a new direction now that Meyer has been appointed president (*gulps*), I cannot wait to see in which conondrums the now Presidential Staff will get themselves in. Because you know...you just know they will fuck it up.

9. Looking (HBO)

When it was first about to premiere, Looking was advertised (not formally, but by people who just love to compare shows with each other) as the "Male Girls" or the "Gay Sex and the City" (which is pretty redundant if you ask me). As it turned out, the HBO dramedy was a whole monster of its own. Yes, it does follow a group of friends living life in a big metropolis like these other shows, but unlike them, it doesn't have anything in particular it wants to say. And that's what it's so great about it. Let me explain. Looking follows the lives of four gay men in San Francisco; their friendships, their jobs, their romantic quests, and...well, it's HBO, so plenty of their sex lives. It doesn't dramatize them or make them glamorous or anything out of the ordinary. In fact, I could argue that a couple of the episodes were actually a bit boring. The show is a slow-paced, rhythmic, and completely character-based portrayal of people whose lives don't revolve around their homosexuality, but whose experiences are shaped through its perspective. And it's probably the first show to ever achieve that balance. Sure, I am the niche audience, but Looking was groundbreaking in how ordinary it is, much closer to real life than TV shows usually are. We all hang out doing nothing, half-taking to our friends, half-eating a bowl of pasta; we all suffer from heartbreak, we all deal with creative bumps, we all have boozy one-night stands. We all are looking. And hey, having Jonathan Groff pop up in my screen every week wasn't so bad either.

8. Orange is the New Black (Netflix)

If you are a human with a Netflix account who doesn't live under a rock, you know about Orange is the New Black. You probably devoured the first season in a single weekend. You probably rewatched it waiting for the second one to come out. And you probably binge-watched that one overnight, as well. It is that water-cooler addicting. The second season of the prison dramedy took the very smart choice of giving a step back from having Piper Chapman (Taylor Schilling) as the protagonist, and turning the show into more of an ensemble piece, what it was always born to be. And, oh, what a ride it was! It was risky (it took Piper out of Litchfield not only once, but twice: first to an out-of-state prison in the fantastic premiere episode, then in a controversial furlough), thrilling (Lorraine Touissant's Vee is a straight-up bitch). heartbreaking (Crazy Eyes (Uzo Aduba) and Morello's (Yael Stone) backstories), and always utterly hilarious. As I'm typing this, I'm realizing there was just too much going on to fully encapsulate it on a paragraph, which is exactly both the main strength and the main weakness of the show. You all watched the thirteen episodes in a day. Now try to recall every storyline that happened, with every character, six months after? Not so easy. It's not bad; it's just a new form of watching television. This show is one of the main faces of the Content and Platform Revolution happening today, so let's give it due credit. Litchfield and its ladies will always have us coming back for more.

7. Game of Thrones (HBO)

Oh, Game of Thrones, you beautiful, gut-wrenching, heart-stopping bastard (a description that could also apply to Jon Snow). We're in season five now, and this HBO epic fantasy shows no signs of slowing down, in scope of both storytelling and spectacle. There will always be arguments about whether this was its best or worst season yet, and how faithfully it stuck to the novels. But I take it as an independent piece of television entertainment, not an adaptation. Less tears are shed that way, and this show has plenty already to begin with. Over this year's ten-episode run we were transported everywhere and anywhere in Westeros (the second show in this list with a gigantic ensemble cast, which in my opinion handles it better than Orange): from the roller coaster of emotions that was King's Landing this season (the sheer joy of the Purple Wedding, the astonisment at Tyrion's trial, the agonizing duel with the Viper; yes, my Thesaurus is open), to the coming-of-age of the Stark children (Sansa, Arya and Bran, all in their own particular ways); and from the Watchers in the Wall to Queen Daenerys being sassy and fabulous. Yes, it's a show about dragons and swords and White-Walkers. But its heart always lies with the characters; their emotional journeys, their desires, their secrets. It's a show about people. Really messed up people. Winter came already, and it's a delight to watch everyone attempt not to freeze over.

6. Orphan Black (BBC America)

Last year's breakout show, Orphan Black, returned with a second season in 2014, and if you thought the clone ladies were badass last time, well, then you had another thing coming. While the first season was more about Sarah (Tatiana Maslany, more about her later) discovering that she is one in a myriad of identical clones, the second season takes her and the arsenal of replicas deeper in the conspiracy surrounding them, orchestrated by none other than sister clone Rachel (Tatiana Maslany; I'm going to stop right here and just assume that everyone in this show is played by her unless otherwise noted). But while the main arc was about that quest, each of the clones had their own journeys to fulfill: Cosima trying to break her own bio-medical code to save her life, Helena getting entangled with a religious cult, and Alison... well, she ended up in rehab after a delightful downward spiral from her murder guilt. There were so many standout moments in this season, from the twist in Donnie's arc (Kristian Bruun) to the truly groundbreaking introduction of Tony the Transclone, and that Clone Dance Party, that is hard to think how they'll be able to top themselves next season (the introduction of male clones was a nice way to start). Pardon the pun, but there is no show quite like Orphan Black on the air right now: smart and innovative science fiction writing, thrilling and hilarious moments, and a terrific ensemble cast, led by the oh-so-overlooked Maslany. I can't sing enough praises about her. Seriously. I'm starting a campaign to make her Queen of the Universe. Details to come soon.

5. Homeland (Showtime)

I'd given up on Homeland. I truly had. After a (dare I say it?) atrocious third season which was so unevenly split between mental asylums, a tower in Venezuela, and teenage angst (go away, Dana), it seemed the show had worn down completely after a stellar and respectable first and second seasons, respectively. The murder of Brody (Damian Lewis) at the end of last season promised a rebirth of the series, and yet I was still skeptical. I'm so glad to say I was wrong. Wow. So wrong. What a way to revitalize a show. Going back to its season-1 roots of pure political thriller and conspiracy with just enough hints of human emotion, the fourth season of Homeland felt fresh and energetic all over again. Claire Danes proves again that this is the performance of her lifetime (sorry, Romeo + Juliet lovers), as broken, compulsive Carrie Mathison, especially in the season's best episode, "Redux." Homeland has always been tricky in balancing the spy conspiracy with the human side, but this season attained a strong harmony between them, especially with Carrie's role as a mother, and new sides to Saul (Mandy Patinkin) and Quinn's (Rupert Friend) characters. I'm happy to say I was proven wrong when I thought the show had died. The season finale was a quiet one (unlike many people, however, I thought it was a great closure), so there's little to guess where the show it's heading next. But, and I'm glad to say it, count me in for the ride.

4. How to Get Away with Murder (ABC)

How to Get Away with Murder (which from now on I shall abbreviate as HTGAWM, because I'm too lazy to type in a few extra letters) is the newest creation of the Queen of Network Television herself, Shonda Rhimes. Sure, she didn't create the show per se, and does not run it (let's give due credit to Peter Nowalk, the main mind behind it), but HTGAWM has Shondaland written all over it: glamorous characters that are broken emotionally, gripping (borderline soapy) drama with plot twists around every turn, and a refreshing array of races, sexual orientations and analysis of taboo subjects. The series is led by Annalise Keating (Viola Davis; bow down bitches), a law professor in a Boston college (suspiciously similar-looking to USC) that takes five students under her wing to work for her law firm. In an inventive and intricate double timeline, the show delves into a murder that said students commited, the events that led to it, as well as its repercussions. Before I go any further, I will admit HTGAWM doesn't make for the most quality television; it's camp that sometimes verges on guilty pleasure. But it's so addictive and...yummy. The dramatic reveals, the scenery-chewing characters, the fine lines between sexual tension and murderous desires above everything, Jack Falahee's face (*deep, deep sigh*)... the show reels you in and will not let you go. In addition, it's also making leaps in its portrayal of diversity and sex in network primetime TV. And that is something to admire. The show is only halfway done, but I cannot wait to see why, indeed, his penis was in a dead girl's phone.

3. Jane the Virgin (The CW)

Who would've guessed that a show based on a Venezuelan soap-opera, that airs on the CW, and that revolved around a twenty-something virgin girl that got pregnant by accidental artificial insemination would become the breakout hit of 2014? It had probably every odd against it (a cast of newcomers, a risqué premise, a network with a very specific reputation, being bilingual at some points), and yet it pulled it off. Jane the Virgin is a complete and utter delight. Led by a mesmerizing and sickenly charming performance by Gina Rodriguez (a future Golden Globe winner, fingers crossed), the show works in so many levels at once: it's a compelling family drama, it's a bubbling and sudsy soap opera, it's a perky murder mystery, and a timely and genuine portrayal of Latin culture in the United States (name another show with latino protagonists; you can't). In a genius and little-seen move for American television, it embraces and at the same time subverts its telenovela roots. Whereas there's that passionate Latin narrator telling us the asides with a refreshing wit and plots are propelled by coincidences and accidents, Jane (and everyone around her) is constantly realizing that life isn't quite as that romanticized fiction makes it to be. The ensemble is likeable and charismatic, the episodes are fast and engaging, its form and stories are something we simply haven't seen before. Thank the Virgin for Jane.

2. Fargo (FX)

Aw, jeez. Admit it. You also cringed a bit when you realized the Coen Brothers' masterful 1996 would be translated into a television miniseries. Okay, maybe not all of you are film snubs, but if you are, you most likely did. I was skeptical at best. But all in all, the cast, the little of the premise I knew, and the faint promise that this might actually be reminiscent of the original movie still made me tune in to the premiere. It turned out to be my favorite episode of the year. And, alas, Fargo delivered one of the best miniseries not only of 2014, but since the form was revived. The show was dark and gritty; it was thrilling and emotionally gripping; it was laugh-at-loud funny. All at once, often at the same time. It was led by a magnificent cast that included Billy Bob Thornton, Martin Freeman, Allison Tolman and Colin Hanks. It could be taken as either a provocative murder-mystery/ cat-and-mouse game, or an intricate analysis on the nature of good, evil, and morality. In ten episodes, Fargo not only paid a deserving homage to its source, but set itself apart from other shows completely with fresh and clever writing. A second season is on its way, again with a new crime and a new set of characters. They struck gold once. Let's hope they can find the suitcase under the snow again. (PS. If someone wants to give me a late Christmas present, I want the bloodied fish poster to hang over my bed. Thank you).

1. Masters of Sex (Showtime)

Let's talk about sex, shall we? While the first season of Masters of Sex was about the beginning of the relationship that would turn into the legendary Masters and Johnson partnership (a milestone in the medical field of human sexuality), the second season delved much (sometimes painfully) deeper into the dynamics of them as a couple, both inside the clinic and out. What made this show my favorite of the year was the understated way in which the writers and creators showed that the series is much more than just sex: it's about human connection and the difficulty of attaining it; an episode was devoted entirely to a night spent in a hotel room. It's about the deeper human emotions lying beneath sex; the cancer arc with Dr. DePaul (Julianne Nicholson) was one of the most beautiful and heartbreaking stories portrayed this year. It's about an era of evolving ideologies and changing technologies; "Asterion" was a masters class in doing time jumps, the episodes devoted to the arrival of television foresee the end of a lifestyle, and the show played smoothly with race relations, homosexual desires and issues of masculinity. It's the story of a couple that desperately wants to be together, (played with grace, subtlety and total control by Michael Sheen and Lizzy Caplan, in two tour-de-force performances) and the world around them, their circumstances and their own demons won't let them. It's a quiet show, not built for those looking for thrills and car chases. But it's beautiful, in every sense of the word. At the end of the season, the sixties have arrived, the relationship between Masters and Johnson is stronger and weaker than ever, and I... I just write about the show until new episodes arrive. 

TOO MUCH GOOD STUFF; or The Ones that Almost Made the Cut:

• Mad Men had an oustanding first half of its farewell season. From the Apollo landing and Ginsberg's nipple gift, to Don letting Peggy have it and Sally's "I love you", the slate was filled with standout moments. I can't wait for the end, but don't want it to come.
• Sherlock keeps delivering on every level: performances, writing, and entertainment level. The wedding episode was a definite standout, but the whole three-episode series was great.
• Frank Underwood's implaccable ascent to power showed no restraints in the second season of House of Cards. From that shocking subway murder in the premiere to the finale's table knock, God help us for what's coming next.
• It is not technically a series, it is a television movie, but The Normal Heart was a gut-wrenching, beautiful portrayal of an issue that still resonates today. Best ensemble of the year.

ASIDE, or Some Extra Notes About this Year's Television:

• I really, really wanted to love both True Detective and The Leftovers. I guess neo-noir despair is just not my style. I admire and see the merits on both, though.
• I was about to give the award to this year's best villain to Once Upon a Time's delicious Wicked Witch of the West (Rebecca Mader). But then Dandy (Finn Witrock. God bless his beautiful derangement) from American Horror Story: Freak Show came along, and I can't remember loving a psychopath so hard before.
• Shout out to both of the freshman superhero shows, Gotham and The Flash, which prove that the genre still has a lot to give.
• I wanted to love A to Z. The chemistry between Ben Feldman and Cristin Milioti was so infectious, I'm still watching. But it got cancelled, with reason. *sigh* #CristinMiliotiForever

Top 10 TV Episodes of 2014

Sometimes a single hour of a television series can be enough to convince you to keep watching it, or to use that time instead for something actually productive. Sometimes one episode stands out in quality above the rest (whether it is writing, acting, entertainment, or overall significance for the show), and sometimes, a single scene sticks in your mind as strongly as your ass to the couch while you were watching it.

In any case, while series are composed of a group of episodes meant to be taken in conjunction, it is inevitable that some of them will work better than others. There has been so...much...television this year (so granted, there's no way I could have watched it all). It's been quite a task to choose the best ten for me. But here they are. Enjoy. Or not. You are entitled to your opinions. Whatever.

Some disclaimers about the choices:

1. Some things I took into consideration while making this list are writing, performances, how the particular episode impacted the season as a whole, if there were any major revelations, twists or characters deepened, and (probably most importantly) how entertaining it was.
2. The episode has to have aired between January 1 and December 31st of 2014. This means some shows only had half-of a season on air, others two halves of two different seasons, while a few the whole slate. Eh, what can you do?
3. There's two reasons why some obvious choices might be missing: a) The show was too strong as a whole to choose one particular episode, or b) I didn't like what you did. Get over it.
4. And, yes, THERE ARE A LOT OF SPOILERS AHEAD! You have been warned.

10. TIE

"A Whole Other Hole"
Orange is the New Black - Season 2, Episode 4

Don't lie. You watched all of the new Orange is the New Black before its premiere weekend ended. Maybe even in a single sitting. And precisely because of this binge-watching nature, it might be easier to judge (and even recall) the second season of the female prison dramedy for overall storylines and character arcs, and not individual episodes. You probably know what happened, just not at what exact point. But, after all was watched and done, one particular episode stuck in my mind above the rest because it delivered one of the most unexpected twists of the year. In "A Whole Other Hole", we finally got to see the backstory of Lorna Morello (Yael Stone), one of the most endearing characters of the show. As we see her escape from her hospital rounds to visit the house of her "fiancée", the forever-referenced but never until-now seen Christopher, Morello goes from hopeless romantic yearning for release to borderline psychotic stalker. That's right, folks: Morello is actually batshit crazy. Like restriction-order crazy. She and Christopher were never in  love. She was... obsessed with him (*dramatic music*). The way the show reversed our perception of the character was unforeseen, and heartbreaking, and brilliant; and it's amazing how it made her even more loveable. In addition, the subplot of the women not knowing their own anatomy and Sophia (Laverne Cox) being the one that has to illuminate them about their, ehem... holes, was also superb. An excellent episode in a season that knew too well how to exploit the strengths of the supporting cast.

"Kiss Kiss Bang Bang"

Scandal  - Season 3, Episode 14

It's strange to think this episode aired in 2014; so much has happened in the show since then, for better or for worse. "Kiss Kiss Bang Bang" was one of the first mid-season episodes in Scandal's third year, when the show still hadn't turned into the muddling mess of love triangles and family backstabbings that the new season has been (Okay, you wanted to "stand in the sun" but now everything is different, we get it. Can we move on?) The episode dealt with the aftermath of James' (Dan Bucatinsky) murder and, in a beautiful and heartbreaking juxtaposition, showed in flashbacks how he and Cyrus (Jeff Perry) first met and fell in love. For a show that deals a bit too often with death and acts without consequences, it was a worthy analysis of grief (Cyrus breaking down in the press conference after days of numbness is so powerful) and a beautiful homage to a lesser but beloved character. The flashbacks, in particular, deepened Cyrus' character considerably, showing him still inside the closet and struggling with falling in love with the right person for the first time. It was also the climax of an important arc for Cyrus: James' death weighed on him heavily for the rest of the season. Too bad the show has decided to shy away from these sort of episodes and insists on pushing the "Olvia vs. every man in her life" angle. Oh, well. We'll always have the White House Ball.

9. "Chapter One"
The Affair - Season 1, Episode 1

The Affair tackles probably one of the oldest and more overused stories not only on television, but on every single form of narrative medium: a man and a woman having, as the title suggests, an affair. Because of the borderline cliché premise, it seemed challenging (if not impossible) that a storyline that is usually reserved for the soapier subplots would be able to sustain the entire arc of a series. But it was not the story that The Affair told, but the way it told it that was, in a way, groundbreaking for television. Splitting the hour-long duration of an episode in half, the show takes a "he said/she said" approach by recounting the events of the affair between married novel writer Noah Solloway (Dominic West) and waitress Alison Lockhart (Ruth Wilson) from both of their perspectives. Each remembers the same events in completely different ways down to the very detail: who talked first and what words were uttered, who came on to who, the type of hairdo she was wearing that day. Bolstered by powerful and nuánced performances, the show is a deep examination of the reliance of memory and subjectivity. And all of these elements are encapsulated perfectly in the pilot of the show, which recalls Noah and Alison's first encounter(s) and establishes both as esentially two different people: who they are seen as by the other and who they "really" are. In addition, to notice these disparities and their signifance became a fun game of "Spot the Difference." Unfortunately, a show founded on a gimmick wasn't bound to have its effect last long. After some episodes, the wonderous and fresh novelty wore down, and the narrative felt dragging. At least the pilot was truly outstanding.

8. "Edward Mordrake, Part 2"
American Horror Story: Freak Show - Season 4, Episode 4

Granted. This season of American Horror Story hasn't delivered quite as it should have. On its fourth installment, it feels as if it has started to repeat itself, something ironic for a show that was so groundbreaking when it first premiered. But there are still some rays of truly messed-up brilliance among all of its gratuitous gore, over-the-top campiness, and shameless celebration of outcasts. Freak Show's fourth episode is the second part of the Halloween special, in which the spirit of Edward Mordrake (Wes Bentley) is accidentally summoned into the carnival to claim the soul of a performer. An excuse to explore the backstory of some characters, we learn why Elsa's (Jessica Lange) legs were amputated in an arsty but (let's be honest) gruesome sequence about German snuff films, but the episode is best remembered for giving a soul to the nightmare-inducing character that was Twisty the Clown (John Carroll Lynch). In his early appearances, I couldn't ran fast enough away from him (I had actual nightmares about him). But on "Edward Mordrake, Part 2", we see that deep down he is a heartbroken, wounded man that just wants to entertain children. Sure, his sanity is long gone, his smiling face is completely mutilated, and his methods are less than legal, but compelling reasoning was given to his actions. Also notable is the "passing of the torch" nature of the episode: as Mordrake takes Twisty's soul away, Dandy Mott (Finn Wittrock, bless his soul and his often-naked body), the spoiled and psychotic aristocrat who has become the most fascinating character of the season, as well as the most horrifying villain in all of AHS history, officially becomes the new "Big Bad" of the show. That last scene, when Dandy kills his maid Dora (Patti LaBelle, the only character who would take no bullshit from him) and giggles at the easiness and amusement of it, still gives me chills. This episode is the best example that American Horror Story works best when it balances heart and straight fucked-up derangement.

7. "Beach House"
Girls - Season 3, Episode 7

Girls might be one of the most polarizing television shows currently on air. But whether you identify or are repulsed by Lena Dunham's take on the twenty-something experience, the candidness of the show's writing is something to, if not agree with, at least respect. Yes, most of the times it feels more like The Hannah Horvath Show than the raw ensemble piece it claims to be. But then episodes like "Beach House" appear to remind us why we love to hate these characters. Sometimes it's easy to forget among all the entitlement and faux existentialism that the chemistry, awkwardness and genuine interactions between the girls are what makes this show so compelling, and "Beach House" is the best testament of this. In a smart move, the episode removes the four protagonists from their everyday lives for a weekend stay in the beach house of the title, which allows them to interact with one another in a larger way than we're usually accustomed to. But chaos, resentment and drunken confessions soon arise. Because of course they do. Whether it's Marnie (Alison Williams) resenting Hannah (Lena Dunham) for ruining her carefully planned dinner by inviting Elijah (Andrew Rannells) and his oh-so-gay friends over, Shoshanna (Zosia Mamet) drunkenly lashing out and saying what we've all been thinking for three seasons, or that delightful dance sequence, "Beach House" was a hilarious, honest, and immensely enjoyable reminder of a) why you should always double-think before travelling with friends, and b) why the show is actually called Girls and not Hannah; something that the writers should still keep in mind most of the time.

6. "Crate"
Veep - Season 3, Episode 9

The comedy of Veep works in so many different levels. The brilliant writing. The outstanding performances. The ridiculousness of the situations it portrays. And no episode exemplifies this magical mix more perfectly than "Crate". In the penultimate episode of its best season so far (the first half of the hour-long finale), Selina Meyer (Julia Louis-Dreyfus, proving once again she is the Meryl Streep of television and can do no wrong) finds out that the President of the United States has resigned and she will now take his place. Her lifelong dream has been accomplished, literally against all odds. The episode is the culmination of an impeccable third season, in which the comedic tension and outrageousness escalates with every scene, and the performances of not only Louis-Dreyfus, but the entire cast are spot-on. This may be Selina's show, but she would be nowhere without the incompetence of the staff around her. And that's what makes the show shine. Not only the hilarity, but the painful tragedy that it's all more true than we'd care to admit. "Crate" also has the honor of giving us the best comedic scene of all 2014, and maybe of several years before then, as she delivers the good news to his loyal bagman Gary (Tony Hale) in a public bathroom, with simply priceless results. With all of its bloody noses, a box too heavy to carry, and the brilliance of "Victory Permafucked", the episode will live on as one of the funniest in recent television.

5. "Redux"
Homeland - Season 4, Episode 7

What a way to bring a show back to life. After an utterly dissapointing third season (please, Dana Brody, just shut up) that culminated with the assassination of one of the protagonists, I had my reservations about where the story would head. And, wow, was I surprised. A roller-coaster of emotions and plot-twists, I dare to say Homeland is back to season-1 shape. And no episode had more ups-and-downs and a perfect blend of personal drama and political intrigue (which the show often struggles to balance) than "Redux." Saul (Mandy Patinkin) has been abducted by terrorists, Carrie (Claire Danes, never better) is sleeping with a young boy to gain intel, and the amassador's husband is messing with her meds. The episode advances the intricate and nail-biting season plot and always kept me on edge, culminating in one of the most brilliant sequences in television this year. There are few things I enjoy more than Carrie having a full-on mental breakdown. And this has been the biggest one yet. After having her pills switched, she wanders into the streets of Islamabad becoming increasingly paranoid and hallucinating. She sees Quinn (Rupert Friend) when he's not there, and shoots at officers with an invisible gun. She's finally apprehended and taken to a house, where, in an unexpected and wonderful suprise cameo, Brody (Damian Lewis) welcomes her. Sure, it's all in her mind, but the way Carrie holds on to him, afraid and vulnerable, was heartbreaking. If Brody was bound to come back in any way, this was it. The best episode in a season that gave a lot to choose from. Welcome back, Homeland. You were missed.

4. "Kill Me, Kill Me, Kill Me"
How to Get Away With Murder - Season 1, Episode 9

How to Get Away with Murder was a lot of things. It was a law procedural where each week Annalise Keating (Queen Viola Davis the First) would do anything to win her case, whether it was right or not. It was a double murder mystery in which, in two different timelines, the death of a sorority girl was investigated, as well as the events that led to the killing of Annalise's husband, Sam (Tom Verica) by her law students. It was a soapy, sexy, and addicting ensemble piece filled with twists and one-liners. And in the mid-season finale "Kill Me, Kill Me, Kill Me", all of these elements came together for an intense, non-stop rollercoaster of an hour. Our two fractured timelines finally came together as the whole episode is devoted to the night Sam was murdered. We've spent the entirety of the season seeing fragments of the evening, and to see how it all actually developed was well worth the waiting. And in what ways! He fell off the stairs! Puppy-eyed Dean Thomas did it! She knew all along! The episode delivered an hour of twist after twist in which all that was set in the previous seven weeks was paid off in unexpected yet believable ways. For a show with so many complicated layers, this culmination was impressively manufactured. It also sets very intersting stakes for the second-half of the season, which will have the characters dealing with the consequences of that night. How far will Annalise and Wes (Alfred Enoch) go in their scheme? How long will it take Michaela (Aja Naomi King) to break down? Can Connor (Jack Falahee) be perpetually naked? I need to know how they got away with it.

3. "How Your Mother Met Me"
How I Met Your Mother - Season 9, Episode 16

I am still not emotionally ready to talk about the HIMYM series finale. I thought it was a cheap cop out that betrayed everything the show was the last nine years. But I'm not here to discuss that disappointment. I'm here to talk about what might be the strongest episode of the show since its peak around season six. Making the final season of the show take place entirely during a single weekend was an enormous creative risk (and one that paid off sometimes, and bombed others), but for the 200th episode of the show, the creators decided to take one step further and make it all about the Mother of the title. In "How Your Mother Met Me", we get a recap from The Mother's persepctive (an endearing and sickenly charming Cristin Milioti, perfectly cast) of the last eight years. We got to see how she lived the fateful near-encounters with Ted (Josh Radnor); the wrong class in college, the glimpse of the ankle, the booking of the wedding band. We got to hear her backstory, how she found true love and tragically lost it (as Ted would controversially do later), how everything came together for her to meet with Ted in the Farhampton station with that yellow umbrella. We got to hear the best rendition of "La Vie en Rose" ever on television. We fell in love with The Mother, and understood why Ted did too. What happened after...well, it's still a sensible topic. But I wouldn't mind watching the entire series again from her perspective. #CristinMiliotiForever

2. "Fight"
Masters of Sex - Season 2, Episode 3

Two people. One hotel room. The perfect bottle episode. The second season of Masters of Sex excelled in so many levels that it was hard to single out just one hour above the rest. But this episode is by far the most memorable. It takes place almost entirely in a single night, in a single space: one night in the years-long affair of Masters and Johnson (Michael Sheen and Lizzy Caplan, in the roles of their lives; a quiet and restrained power struggle). As the two of them delve into seemingly shallow conversations about their relationship and the status of things to come, Virginia discovers Bill's troubled childhood and his relationship with his dad. It's filled with subtle moments of mutual understanding and compassion. The two of them go through every possible emotion in the span of a few hours, which talks highly of the people portraying them. The episode is a profound analysis of human connection, masculinity, emotional openness and (as the show itself) gender roles. It gets a little too Mad Men-ish at points with the visual metaphors (especially the fact that it all revolves around a televisex box match). But hey, it serves the purpose. "Fight" is a master class (Ha-ha, get it?) in writing (especially subtext), acting, and audience engagement. And even though it was only episode three, the season just kept getting better.

1. "The Crocodile's Dilemma"
Fargo - Season 1, Episode 1

Aw, jeez. Fargo was probably the biggest surprise of the year. Not everyone was sold on the idea of re-imagining the classic Coen brother's film, but (if you take film snobbery apart. Come on. Do it), it had everything to succeed. A fascinating story and group of characters. Sharp writing that was evocative of the source material and yet wildly original. A talented cast. And the best pilot episode I've seen in a long, long time. With "The Crocodile's Dilemma", I was sold instantly on the show (if you must know the precise moment, it was Martin Freeman's hammer swing at his wife's head). It is grim, dark and gory. It is emotionally thrilling and thought-provoking. It is laugh-out-loud funny. All in once, often at the same time. The cast shines with honors, especially the trio at the center of the story: Billy Bob Thorton as Lorne Malvo, the hitman with no moral compass; Martin Freeman as Lester Nygard, the good-boy turned wife-murdered, and Alison Tolman as Molly Solverson, the good-spirited cop determined to solve the case. Simply said, the episode did everything a perfect pilot ought to do: introduced us to the characters, the world, and the conflict of the show, and put into motion the chain of events that will propel the whole season. And, boy, did we get plenty of that. Oh, you betcha we did.

ALMOST MADE IT, Or Give It Up for Them:

• "Chapter 24" of House of Cards, because, you know, that final scene where everything changed and no one was safe from Frank Underwood's (Kevin Spacey) implacable quest for power.
• "App Development and Condiments" from Community's standout fifth season, because what other show would turn an app into an apocalyptic social hierarchy?
• "Ann & Chris" from Parks and Recreation, because we'll always miss that beautiful sunflower.
• "The Wedding" from Modern Family because a gay couple got married in primetime network TV.
• "The Sign of Three" from Sherlock, because that wedding episode was a writing, performance, and entertainment knockout.

EXTRAS, Or I Still Need To Rant a Little More About These:

• I honor New Girl for naming one of its episodes after a song by Mexican group Maná. And not only that, "Clavados en un Bar" was a great flashback episode. Bravo. 
• Revenge has lost its way recently. No longer a guilty pleasure, sometimes I just feel guilty watching it. But when an episode is titled "Hatred", you know the shade between Emily and Victoria will not disappoint. And oh, how delicious it was.
• Let's not get into the mess that Glee has become. For me, the series ended with the wonderfully nostalgic one hundredth episode "100/ New New Directions". Watch it and tell me that's not a series finale.
• No one watched The Spoils of Babylon. But if you're going to, do it just for the "Kristen Wiig vs. mannequin fiancée" throwdown in "The War Within".
• I gotta admit that no show ever made me feel the way both the pilots of  True Detective and The Leftovers made me feel. But, looking back, I don't know if I want to feel that way again.