Master of None (Netflix)
Aziz Ansari’s 10-chapter series is a remarkable assembly of talent. Its understated, comedic sensibility gives it the feeling of a program that doesn’t belong on Netflix, but a more irreverent network like IFC. Ansari plays Dev, a man-child living in New York City that gets by with tangential roles in films and commercial. His claim to fame is a Go-Gurt commercial. Each episode corresponds to a different element of adulthood with which Dev reckons — the Plan B pill, old people, mornings and parents. The particularly profound episode “Indians on TV” zeroes in on how white actors will often take on Indian roles; it’s both devastating and comic genius. Writing credits go to Ansari, co-creator Alan Yang and a third Parks and Rec alum, the late Harris Wittels. The directorial talent matches the writing talent, with directors including Tim & Eric’s Eric Wareheim and indie-film director Lynn Shelton. – Emerson Malone
Master of None (Netflix)
Aziz Ansari’s debut sitcom is modern comedy at its best. It’s relatable, it’s funny, and it’s smart. Netflix’s show is a lot like others that feature stand-up comedians and their exaggerated problems, except this one explores problems our society faces daily. Over the course of 10 episodes, Ansari’s character, Dev, experiences problems with family, race, gender and relationships. It even features Aziz’s parents as Dev’s parents who tell their real story of how they came to America.The soundtrack has everyone from Dean Martin to Father John Misty. The supporting cast offers great perspectives that Aziz can’t give in unique and amusing ways. Master of None is just a really good sitcom that doesn’t pander to its audience. It’s the show Aziz Ansari wanted to make and the one we needed to watch. – Alex Ruby
Mr. Robot (USA)
Rami Malek plays Elliot Anderson, a neurotic, messianic coding geek. His mental instability, evident from the first frames, is manifest in the narration as he speaks to the viewer, an imaginary character conceived in his head. This drives the show’s ambiguous reality, as it’s entirely told from Elliot’s point of view. Showrunner Sam Esmail’s program centers on Elliot, a cybersecurity worker by day, who’s recruited into an underground group of hackers who are planning to take down a large corporation and dissolve all student loan debt. Originally written as a feature-length film, the show’s cinematic writing and pacing is an intriguing draw; not a moment nor line of dialogue is wasted. Mr. Robot is an example of incredible storytelling on a network channel, when it could have easily landed on HBO or Showtime. – Emerson Malone
Mad Men (AMC)
Showrunner Matthew Weiner guided his series to a graceful ending in 2015, even as AMC chose to split the final season across two Emmy seasons. Jon Hamm’s Don Draper became less of a polished adman and more of a woebegone American tragedy as the episodes wore on, as every other character underwent similarly profound trajectories. The most gripping and heartwrenching element of watching Draper’s final ad idea capping the end of the series, wasn’t just that it meant the conclusion of Mad Men, but with it came the certainty that these characters were still out there somewhere, continuing to live their lives. – Emerson Malone
The Jinx (HBO)
Andrew Jarecki lucked out on The Jinx. Like, really, really lucked out. After Jarecki put out his 2010 film All Good Things, Bob Durst agreed for a sit-down interview. The interview was the catalyst for the documentary miniseries, as Jarecki pries closely into the string of murders for which Durst was accused. In six episodes, viewers get to know Durst better – arrhythmic blinks, mumbling and all. Durst’s arrest occurred the day before the miniseries’ finale, which further goes to show that law enforcement has no sense of creative timing. – Emerson Malone
Fargo (Showtime)
In 2014, two anthology detective series – True Detective and Fargo – became definitive releases for the genre. In 2015, the latter effectively proved to be the superior one. Fargo’s second season, a new story from the first go-around, rewinds to Minnesota and North Dakota in the 1970s. This season stars Jesse Plemons, Kirsten Dunst, Ted Danson and Nick Offerman. It retains much of what makes the show inimitably brilliant: a complex murder mystery, well-etched characters and countless peripheral, winking references to Coen Brothers’ films (not just the one that inspires the series’ title). – Emerson Malone
Deutschland 83 (SundanceTV)
SundanceTV’s German-language miniseries follows Martin (played by Jonas Nay), a 24-year-old, sleepy-eyed worker for the East German military, who’s swept away to West Germany to serve as a spy covertly under the West’s military. Upon being tossed across the Iron Curtain, Martin is taught how to adjust to life in the West and not blow his cover, how to properly be a spy and to adapt to the West’s lingo. The pacing and elegant visualization of Deutschland 83 is comparable to the likes of a Martin Scorsese production. Wunderbar! – Emerson Malone
South Park (Comedy Central)
The gentrification of South Park, Colorado set off a chain reaction that nobody saw coming. It’s been 19 seasons since we first met the foul-mouthed kids who court controversy like no other. And yet, the show pushed the envelope further this season; nothing is sacred in South Park. ISIS, advertising, the politically correct movement of 2015, Yelpers, college “safe spaces,” Donald Trump, Caitlyn Jenner, Whole Foods, police brutality, guns, the death of Reality, immigration and Jared from Subway all received the South Park treatment, leading to arguably the greatest single season in show history. Instead of mercilessly mocking the above categories, creators Trey Parker and Matt Stone take an objective look at these issues and make the viewer decide what is right and wrong. The show that began with Eric Cartman receiving an alien anal probe has evolved into one of the most intelligent comedies on television and a force in social commentary, long after the time when most shows would have been cancelled. – Craig Wright
Better Call Saul (AMC)
Yes, Breaking Bad is over, but that doesn’t mean we can’t will it back into a small form of existence. Creator Vince Gilligan once again returns to the Breaking Bad universe, this time focusing on Jimmy McGill, the man who will one day become Walter White and Jesse Pinkman’s crooked lawyer, Saul Goodman. The first episodes focus on his humble beginnings, as the underachieving younger brother to one of the top lawyers in the area. (“Slippin’ Jimmy with a law degree is like a chimp with a machine gun!” his older brother decries.) The show does a great job of foreshadowing his arrival as the sleazy infomercial dwelling lawyer he will one day become, complete with characters from Breaking Bad, this leaves enough of a connection to Breaking Bad to cure the instant nostalgia we all crave, but also pushes the show forward to unexplored territories. – Craig Wright
Rick and Morty (Adult Swim)
Rick and Morty is a perfect blend of science fiction, dark comedy and overly realistic dialogue that will command your attention from the moment you start watching. The show, created by Dan Harmon and Justin Roiland, follows the adventures of an alcoholic scientist named Rick Sanchez and his awkward grandson Morty as they travel across the universe and to different dimensions having all sorts of strange encounters along the way. Even though the show takes place in a fictional universe, the main cast of characters is unexpectedly relatable and interesting to watch. The ratio of funny to serious is just right, with the majority of episodes being comprised of clever jokes and slapstick comedy, but ending with serious scenes that genuinely surprise you and make you question what you just watched. If you’re looking for a sci-fi show that is interesting but doesn’t take itself too seriously, Rick and Morty is for you. – Mathew Brock
You’re The Worst (FXX)
When two dysfunctional, awful people get together it’s never a a good sign, but You’re The Worst makes it work, and it works really, really well. 2015 marked the second season in FXX’s anti-romantic sitcom that stars Aya Cash and Chris Geere as two self-destructive people who end up falling for each other in Los Angeles. While first season merely set up its characters, the fantastic second season delves deep into each characters’ motivations and personal problems. It came out as a detailed, powerful look at clinical depression and how it played into modern relationships. The show definitely has humor, but its heart shines through so much more because the characters’ problems are so very real. – Alex Ruby
Marvel’s Jessica Jones (Netflix)
The newest entry in Marvel’s Cinematic Universe is a dark, almost disturbing show set in the seedy neighborhood of Hell’s Kitchen. It marks a drastic shift in tone from the family-friendly Avengers movies with sex scenes, painful violence and psychological breakdowns. Not only is her story unique and compelling, but it features a strong female lead that was previously unheard of in the Marvel universe. She’s wickedly smart, she kicks ass and she has a killer, cynical sense of humor. Jessica Jones also has Marvel’s best villain yet: Kilgrave, a disturbed man with the power to control people’s thoughts and actions. His presence was everywhere, even when he wasn’t on screen. If Marvel’s Netflix shows continue on this track, they’ll definitely turn out better than the movies. – Alex Ruby