Best of Television 2021
With movie theaters barely keeping the lights on, at least for the first half of 2021, the year gave television another unique opportunity to shine. But one of the unusual trends of the year (and the past few) is that some of the very finest that the medium had to offer were in the form of limited series — or at least series that were intended to be one-and-done. Many titles on this year-end list were projects that were never intended to be renewed, even though some of them have been.
With network television stuck in spinoff hell (how many nights of TV can Dick Wolf program anyway?), streaming and premium cable again offered some of the more interesting options. When they weren’t rebooting everything anyway. HBOMax, AppleTV+ and Netflix had great years. The broadcast networks? Not so much.
If there’s something that’s on my list that you didn’t particularly enjoy, that’s fine. Not everything is for everybody. If there’s something that didn’t make my list that you think should have, it’s possible that I didn’t see any (or enough of it) to judge — or that, again, not everything is for everybody.
This list serves primarily for me to salute things I did like and to give a few ideas for anyone looking for a new show to watch.
And yes, I watch way, way, way too much TV.
35. Yellowjackets (SHO)
Showtime’s buzz, buzz, buzzy new thriller focuses on a New Jersey high school girls soccer team whose plane crashes in the wilderness on the way to a national tournament. The story switches timelines from 1996 to the present day in order to slowly reveal what happened in the woods and how the ordeal affected the survivors.
With a great cast, including Melanie Lynskey, Juliette Lewis and an absolutely batshit Christina Ricci — all of whom were child actors in the 90s — Yellowjackets had a killer pilot that did a great job of setting up the characters, introducing the premise and making you immediately want more. The subsequent episodes have slowed down the reveals and taken some odd plot turns that seem unnecessary, at least to this point. With three episodes left to air in 2022 — and more seasons on the way — we’ll see how the creators land the figurative plane.
34. Girls 5 Eva (Peacock)
One of two comedies that both debuted on Peacock pretty much at the same time last spring, Girls 5 Eva tells the story of four members of an old-school pop group (Busy Phillips, Hamilton’s Renee Elise Goldsberry, Sarah Bareilles and Paula Pell) who try to put the band back together as a nostalgia play.
The comedy was produced by Tina Fey’s team and if you didn’t know it going in, you’d certainly recognize her joke-a-minute style. Not all of the comedy worked, but enough of it did — and the original songs are a hoot.
33. Tuca & Bertie (Adult Swim)
The story of best (bird) friends struggling to stay close amid work, romantic entanglements and the weird happenings of creator Lisa Hanawalt’s unique plant-and-animal world, Tuca & Bertie was cancelled by Netflix, revived by Adult Swim and actually got better in the process.
A spotlight for both creative animation, wordplay and a bit of edgy, naughty humor, Tuca & Bertie is at its best when focusing on the relationship between its two title characters, voiced to perfection by Tiffany Haddish and Ali Wong.
32. WandaVision (Disney +)
With promos offering little to go on except Marvel characters Vision (Paul Bettany) and Wanda Maximoff (Elizabeth Olson) seeming to be living in domestic bliss in a 1950s sitcom, it took a few episodes to reveal what was really happening. Without going into too many spoiler-y details, let’s just say there was more to it than one old TV show homage after another.
WandaVision mostly worked, though the finale was probably its weakest element and one of the biggest reveals — ahem, that song — was something I saw coming a few weeks earlier. If nothing else, WandaVision sets the stage for more Marvel adventures and left us with a timeless quotation about the nature of grief.
31. Sex Education (Netflix)
Netflix’s Sex Education has always pulled off a tough balancing act — being a high school show with a prurient theme that deals with a lot of adult issues (consent, the lingering effects of trauma, genital appearance, STIs) but does it with care, responsibility and love — while still being entertaining and not preachy. And its two leads, Otis and Maeve, have incredible chemistry.
This season rebounded from a somewhat disappointing second outing and mostly dispensed with the show’s original premise of two teenagers serving as sex therapists for their peers — letting the kids be kids. The finale was a bit over the top both in its melodrama and how it resolved the season’s primary conflict, but I still can’t wait for the show to return for a fourth — and almost certainly final — season in late 2022 or early 2023.
30. We Are Lady Parts (Peacock)
The other springtime Peacock-hosted sitcom about a musical group is this British import about a punk rock band made up entirely of Muslim women and how they try to make a name for themselves. While some of the side characters didn’t get quite enough to do in the freshman season, we can celebrate the good news that another six episodes were finally greenlit.
If you’re looking for a good comedy you can binge in an evening, the six episodes of We Are Lady Parts is a banger of an option.
29. American Crime Story: Impeachment (FX)
In an attempt to duplicate the critical and commercial success that its O.J. Simpson season had, American Crime Story took on the extramarital affair that led to President Bill Clinton’s impeachment in 1998. By focusing mainly on Monica Lewinsky, Linda Tripp and Paula Jones and the prices they paid for their involvement, the series managed to offer three-dimensional portraits of each one — as well as a story that went through a rigid test for accuracy. I thought I knew a lot about this case, but did not know that Linda Tripp was one of the last people to see Vince Foster alive.
While not being available for next-day streaming likely hurt the ongoing conversation about the show — and the extended running times for each episode didn’t help either — it did do some things really well, especially its casting of Beanie Feldstein (as Monica Lewinsky) and Sarah Paulson (great as Linda Tripp, though the makeup was a little much). Cobie Smulders nailed Ann Coulter’s voice and icy demeanor and whoever got the idea of casting Billy Eichner as Matt Drudge deserves an Emmy. On the other hand, Clive Owen’s performance as Bill Clinton never quite won me over and I always saw too much of Carmela Soprano in Edie Falco’s Hillary.
This show will appear on Netflix sometime in 2022, when the national conversation about it can finally happen.
28. The Pursuit of Love (Amazon)
Based on Nancy Mitford’s 1945 novel about two cousins and their adventures on pre-WWII Europe, The Pursuit of Love is a breezy binge adapted and directed by Emily Mortimer, who seems to be channeling Wes Anderson. This is especially true in the opening installment, easily the best of its three hours.
With a cast that includes Lily James, Dominic West (yes, this was the show that birthed their scandal), Emily Beecham and Hot Priest himself, Andrew Scott, The Pursuit of Love is another great British import that comes and goes before it can wear out its welcome.
27. Dave (FXX)
If you’re the type of person who won’t like a show if the main character isn’t likeable enough, then Dave is not going to be the show for you. Viral rap artist Lil Dicky pretty much puts a microscope under his own life, especially his physical insecurities and this year, he deals with writers block as he tries to come up with killer material for his new album.
Dave is a guy who gives divas a bad name. His sense of entitlement has a sense of entitlement. He’s the kind of guy who comes up with an outlandish idea to promote himself and then gets offended when anyone pushes back on account of cost or good taste. Don’t anyone dare try to rein in that artistic vision.
While you’re probably not supposed to like Lil Dicky, you do start to develop empathy for him, especially when the ideas won’t come and his girlfriend — one of the best characters on the show’s first season — is mostly out of the picture. Mostly, this is a cringe show that you watch through your fingers with gritted teeth, thinking, ‘Don’t go there. Please don’t go there.” And then it goes there.
26. How-To With John Wilson (HBO)
How-To With John Wilson is a show that’s better seen than trying to understand via capsule description, but I’ll do my best anyway. It’s mostly a documentary assembled from random images John stumbles across while carrying his camera across New York City. He also gets to meet and interview some unusual people.
A story about the challenges of finding a parking space in his neighborhood evolves into a bigger tale about the need to belong. One installment had him sitting in with a meeting of obsessed fans of James Cameron’s Avatar. And there’s another episode where John details his bizarre past run-in with one of the most notorious subjects of an HBO documentary in recent years. You won’t see this one coming.
How-To is probably the best example of a niche show that would have never existed without a TV landscape that has plenty of room to accommodate weird. You’ll either like it or you won’t. Put me in the former category.
25. Hawkeye (Disney +)
Hawkeye was my favorite of the four MCU television series Disney+ released this year, which is odd because Hawkeye as a character was always the Avenger I cared the least about. To avoid spoiling details of a series that just wrapped up last week, let’s just say there’s a lot to like in Hawkeye that’s not Hawkeye.
There’s also a hell of a prolonged action sequence in the third episode and a finale that manages to use a seasonal New York City icon in an original way. I would not be the least bit surprised if the fictional Broadway musical that gets a couple of shout-outs during the limited series eventually becomes real.
24. The Sex Lives of College Girls (HBOMax)
While the title suggests something you’d find on late-night Skinemax in the 80s, this Mindy Kaling series is far more grounded than a soft-core romp. It focuses on four roommates at Essex College (get it?) a fictional New England Ivy Leaguesque university, and issues both frivolous (naked parties) and serious (cheating, sexual harassment and assault).
The show nails its tone and completely nailed its casting, featuring a group of little-to-unknown, including Pauline Chalamet (yes, Timothee’s older sister). Never quite as raunchy as the title suggests, though it does dip its toes into that water a few times. A good way to think of it might be Sex and the Campus. Season 2 may be at least a year away, but I want it now.
23. Lupin (Netflix)
A quirk of the calendar and the pandemic meant we were lucky enough in 2021 to get two seasons of Lupin, a playful French mystery/thriller about a man obsessed with getting revenge for something that happened to his father — and obsessed with French literary character (and master thief) Arsene Lupin.
While the resolutions to each of his adventures aren’t always grounded in reality, the incredible magnetism of star Omar Sy more than makes up for it. And his little dog, too.
22. The White Lotus (HBO)
When I watched the pilot of The White Lotus, I joked that creator Mike White probably just wanted to do a show that could be produced in a pandemic bubble — and as long as you’re doing that, why not set that bubble in Hawaii? Turns out, that’s exactly what he had in mind all along.
The show sets up a mystery in the pilot’s opening minutes that one of the characters won’t survive a week at this fictional tropical resort, but the ultimate whodunit isn’t why this show is so fun. In a way, it’s more enjoyable to think about which of these horrible characters you want to see dead (and kind of wishing it could be all of them.)
With at least three jaw-dropping “I can’t believe they showed that” moments and great performances by the entire cast, there are few better ways to spend six episodes in a pandemic. While designed as a limited series, it’s no surprise that HBO wanted a second season, this time set with new characters in another one of the world’s most beautiful spaces.
Pretty sneaky, Mr. White.
21. Mare of Easttown (HBO)
The closest American cousin to brooding British mysteries like Broadchurch and Happy Valley, this wasn’t the HBO series that was supposed to go viral this spring. It did, in no small part to seven well-crafted episodes, each capped with a stunning moment that made you crave the next one right away. The jokes about Kate Winslet’s accent also generated plenty of chatter, culminating in one of SNL’s most on-target pieces in recent memory.
Mare of Easttown was supposed to be a limited series, too — but I can’t imagine we don’t pay another visit to that world in the near future. Winslet had a ball making it. And I loved watching it.
20. Dopesick (Hulu)
The only title on this list where all the episodes are available but I’m still in the middle of watching it. But I’ve seen enough to recommend it and place it in the middle of the pack, with the advisory that the final ranking could be higher or lower.
It dramatizes the origins of the opioid epidemic through the eyes of an array of characters, including drug enforcement officers, prosecutors, people suffering with addiction, pharmaceutical sales reps and the Sackler family, who brought it all on.
Two of these perspectives stand out the most — Michael Keaton’s rural doctor who genuinely cares for the people in his community and must live with his actions after prescribing what he believed was a painkiller that would do no harm. The other story focuses on the Sacklers and how they envisioned, developed and promoted a new, largely untested drug in order to keep their pharmaceutical business thriving. Hell is too good for what they wrought.
19. Only Murders in the Building (Hulu)
At once a murder mystery and a sendup of the true-crime podcasts that celebrate them, Only Murders in the Building pairs longtime friends Steve Martin and Martin Short with a youngster they’d never imagined working with before — Selena Gomez — one they now consider part of a comedy triumvirate.
Both the series and the fictional podcast set within take their names from a slaying as fire alarms blare inside an exclusive New York condo tower. Soon, three neighbors — a down-on-his-luck Broadway producer, an actor best known from a hit detective series years earlier and a young woman with a lot of secrets — begin working together to crack the case and make a landscape-changing podcast in the process.
Two episodes stand out: one that takes place amid unusual silence for reasons I won’t spoil, and the season finale, which serves to remind everyone what a gifted physical comedian Steve Martin has always been.
18. Squid Game (Netflix)
The real surprise that Squid Game became Netflix’s most-watched series ever wasn’t that it did — it was a compelling thrill ride in an easily digestible binge, if you could get past the inherent cruelty of the story and the subtitles. The surprise was how fast it reached that mark.
Released in mid-September without a lot of publicity, Squid Game became a word-of-mouth sensation that everyone had to rush through so they could be part of the conversation. Another limited series that will likely spawn a succession of follow-ups, the real challenge will be trying to find a way to catch that lightning in a bottle a second time. Come to think of it, catching lightning in a bottle might be a good game to thin out the next batch of contestants.
17. What We Do in the Shadows (FX)
Not everything worked in this vampire mockumentary’s third season — Kristin Schaal’s character and the various Vampiric Council duties — both struck me as mostly tedious, but it still managed to hit paydirt (or ancestral dirt, if you prefer) in episodes featuring Lazlo’s visits to an all-night gym, the group’s wild adventure in Atlantic City or a bizarre birthday party that will leave one character — and likely the show itself — forever changed.
16. Mr. Inbetween (FX)
The brainchild of Australia’s Scott Ryan, who stars as Ray Shoesmith, a hired gun and worried father of a teenage girl, Mr. Inbetween should have been a bigger cult hit in its three seasons than it is. At once tense, violent and darkly funny, there are few shows this year where I was more excited to see the next episode drop and more determined to savor as the series wound down.
One of the best half-hours of TV in 2021 was the late-season episode that found Ray driving across the outback with his girlfriend, only to have all hell suddenly break loose. Tarantino would be proud.
15. The Great (Hulu)
Easily the funniest show about imperial Russia, well, ever, The Great returned for a second season of bawdy melodrama, double-crosses and a baby on the way. Elle Fanning and Nicolas Hoult make a manic star-crossed pair — Hoult’s deposed emperor Peter may have more casual ease in referring to a particular intimate act than anyone in history — and Gillian Anderson’s appearance as Catherine’s mother took the story in a direction few saw coming.
The Great is only loosely inspired by actual events, which is fortunate for the people who lived through it, but unfortunate for people like me who had to endure a couple of collegiate semesters learning the more boring real version of Russian history. Huzzah!
14. Evil (Paramount+)
Easily the best scripted drama on the CBS lineup in 2019, CBS rewarded the show by shuffling it off to Paramount Plus, its new streaming service. Free from network decency rules and potential boycotts from religious groups, Evil used that “demotion” to elevate its game. Standout episodes involved a viral game involving an elevator (one of the few things on the series that would legitimately give me nightmares) and a mystery set in a monastery where no one is allowed to speak.
If you’re unfamiliar with the show, think a religious version of The X-Files, with Mulder and Scully’s roles filled by an almost-ordained priest, a psychologist and a skeptic, teamed up and assigned to look into miracles and potential possessions. There’s much darker things afoot here, too, with Michael Emerson turning the creepy up to eleven with a character with possible (let’s face it, probable) ties to the devil himself.
13. Mythic Quest (Apple+)
The Office meets It’s Always Sunny in Philadelphia in this workplace comedy set behind the scenes at a video game company. With well-drawn characters and acid-tongued dialogue, the show was already a good hang.
In its second season, it delivered a masterful origin story for one of the main characters, a blisteringly funny bottle episode set during an HR meeting and a finale that makes me very curious to find out where the show goes from here.
12. Ted Lasso (Apple+)
The Emmy winner from season one was a little slow out of the starting blocks in season two, with Ted’s Richmond team caught in an endless streak of draws and the writers doing something I’d always heard audiences would find unforgiveable. But it’s clear that the writers were using these early episodes to lay a foundation for events in the season’s much stronger second half — not to mention a season 3 endgame that they’ve been building toward all along.
Taking two midseason breaks to tell stories largely unrelated to the overall season story, one mostly worked (the Christmas episode) and one mostly didn’t (Coach Beard’s wild night out). The extra stories were a result of Apple wanting 12 episodes after the writers had already plotted out 10, but it did disrupt the flow of the season. Also awkward was the 45–50 minute episode running times, especially for a show that mostly hovered near 30 in its first season. Just because you can go longer doesn’t mean you should.
11. The Other Two (HBOMax)
There were better comedies this year, but few things made me laugh as consistently as The Other Two, which got way better in its second season. Originally premised as the story of the two older siblings to a Bieberesque teenage pop star, the second season found them wallowing in the shadow of their mother, now a talk show mega star in her own right.
Brooke and Cary both saw success within reach for themselves this season, too — only to have it snatched away in the cruelest possible ways. That’s why this show works so well for me. You know their downfall is going to happen. The fun is in finding out how it’s going to happen.
10. It’s A Sin (HBOMax)
The story of the rise of AIDS in early 80s London, as told through the eyes of five young characters caught in the middle of the epidemic, Russell T. Davies’ It’s A Sin is a masterclass of humor, hubris and heartache — all set to an electric 80s soundtrack.
Six years in the making, and cut from a planned eight episodes to five to appease a nervous BBC, the show was a commercial and critical smash in England before airing across the pond. It never quite landed the same way in the United States, making it a perfect show to discover in the years to come.
9. Station Eleven (HBOMax)
Let’s deal with two elephants in this room right away. One: this limited series is set in the hours and decades following a deadly global pandemic that makes COVID-19 look like a stuffy nose. So it may not be exactly what you want to see right now. Two: It’s still airing, with its final three episodes set to drop in early 2022, so I can’t tell you for sure whether the end works or not.
The story opens with an actor’s onstage death in the opening hours of the flu outbreak and cuts back and forth in time from the early days of the pandemic to two decades later, when a group of survivors travel through Michigan to perform Shakespeare. A graphic novel, Station Eleven, circulates among the survivors, giving many of them a sense of meaning in a senseless time. The origin of this novel — and the connections between some of the characters — are just some of the secrets that the show deftly conceals until just the right moment.
The show shares some of the themes and creative team of The Leftovers, so I feel like I’m in good hands from here. I think you will be, too — if the time comes that you’re ready for a show with a pandemic storyline.
8. For All Mankind (AppleTV+)
I’m a NASA junkie, so this series about an alternative history where the Russians won the race to the moon should be right up my alley. But I didn’t get around to watching the first season until after the stellar reviews of season two came out. Was I ever in for a treat. Had I seen it back then, that first season might have been my favorite show of 2019.
The second season is set in the mid 80s, where both the U.S. and Russians have been rapidly colonizing the moon and missions to the outpost have become routine. But a tense emergency on the lunar surface in the season opener endangers two astronauts and kicks off a season-long series of events that culminate in a barnburner finale.
Not everything this season was as perfect as the first (one plot choice was so ill-advised that it may have forever ruined Elvis Presley’s “Don’t Be Cruel” for me), but when For All Mankind works, it really works. Bring on season three, which promises to take us further into this alternative future and much deeper into space.
7. Pen15 (Hulu)
In its too-short two season run (spread over three calendar years), Pen15 managed to capture the awkward cringy experience of early adolescence better than most things that came before. It helped to have its two stars not only base the show on their own experiences, but also have a clarity of nearly two decades of hindsight to ground it.
Maya Erskine and Anna Kunkle still play teenage versions of themselves in this final batch of episodes and, again, they disappear so much into the roles that you kind of stop noticing that they’re thirtysomething moms in real life. What you can’t ignore is the awkward discomfort that these girls so often find themselves in, usually as a result of their own actions. But not always — one character gets blindsided by a moment that involves Santana’s song Smooth — a staggeringly cruel act that packs one of the most emotionally brutal punches that I can remember on TV. And it really did happen to one of them.
6. Reservation Dogs (FX)
A charming slice-of-life comedy focusing on four indigenous teenage rebels in rural Oklahoma, Reservation Dogs populates its world with interesting, authentic characters played to perfection by a cast of mostly unknown actors. The story opens with the teens hoping to move to California, a much-needed escape following the death of one of their friends a year earlier.
But all kinds of bullshit keeps getting in the way: the fallout from a snack truck heist the teens pull off; a visit from one of the teens’ estranged fathers (and the unique gift he feels the need to commission for the occasion); and since it’s Oklahoma, a massive tornado that forces the entire community to shelter together.
Never really laugh-out-loud funny, Reservation Dogs has heart, authenticity and a playful spirit that’s a breath of fresh air, even in this crowded modern TV landscape.
5. Hacks (HBOMax)
Jean Smart channels a late-in-life Joan Rivers forced to work with a young comedy writer she doesn’t like or understand in the year’s best half-hour series. A winning mix of sass, cringe and heart, it’s a treat to watch these two vulnerable characters slowly start to develop a respect for each other — only to let it all fall apart again.
And again.
And again.
Smart’s Deborah Vance should be riding high toward retirement, but is on the verge of losing her longtime Vegas stage. Hannah Einbinder’s Ava is a writer without a lot of prospects and without the personality to develop any. She is, at best, an acquired taste. What follows are a series of adventures that include a road trip for a rare antique, a $1.69 million offer of a lifetime, and a one-night stand with the worst possible ending. Try to envision what could go wrong. Yeah, it’s worse than that.
4. Maid (Netflix)
Margaret Qualley’s Alex has a choice to make: stay with a husband who is emotionally abusive and seems to be just on the bring of physical assault or take her daughter out of that environment and find a new place to live somewhere else. Sounds like that might be an easy call.
She soon discovers how hard that is. With no money in her pocket, motels are out of the question. Temporary housing for domestic abuse victims could be an option, but she won’t qualify without a job. For a job, she needs transportation and child care — and the family members she could potentially turn to for help have plenty of red flags of their own. This includes her mother, played by Qualley’s real-life mom Andie MacDowell, who struggles with mental illness.
It probably sounds like a 10-part downer of a slog, but it’s not. Alex is resourceful. She finds work cleaning houses. She makes friends. She pursues a dream day care option for her daughter, but the ghosts from her past get in the way. She makes bad choices. She makes hard choices. But sometimes the toughest journeys have the most satisfying payoffs.
Inspired by Stephanie Land’s memoir about her own experience, Maid is a rich emotional ride anchored by a starmaking performance from Qualley (and potential Emmy-winning work from MacDowell). Maid is a show that deserves to clean up at awards time.
3. Succession (HBO)
Speaking of awards, does anyone have a shot at winning anything in the categories where Succession plans to compete next year? The season got off to a slow start, but soon gave us moments of “piss madness,” Kendall’s awkward birthday party and the image above.
If you know, you know.
And I haven’t even addressed the game-changing finale that was full of surprises that were telegraphed all season — if you knew where to look.
I did not.
Sorry for doubting you after that slow start, Succession. You have already ascended to the top of the scripted TV dramatic series heap. Your successors will have to wait.
2. The Underground Railroad (Amazon)
Barry Jenkins’ adaptation of Colson Whitehead’s novel was a whale of a television debut. Extremely hard to watch at times — so were the events of slavery — the series delivered image after memorable image and performance after memorable performance.
In this alternate history, the Underground Railroad is a literal subterranean train built and run by Black Americans. Cora escapes a horrific life at a Georgia plantation in search of her mother, who ran away but never came back to get her. On her way north, Cora discovers very different versions of Black life in each state she passes through, all while trying to stay a step ahead of slavecatcher Arnold Ridgway and his young Black assistant Homer.
While again, it’s admittedly hard to watch at times, this is a show full of moments that I’ve been unable to get out of my head since I first saw it. The scorched earth of the Tennessee landscape. The South Carolina community where Black life is presented like something out of a theme park attraction. A prolonged sequence near the end set in a church. And one moment in the series’ final minutes that reveals a major unanswered question — and literally gave me chills.
1. Midnight Mass (Netflix)
Mike Flanagan’s latest miniseries — one based on an original idea he’s been toying with since childhood — took me by surprise, grabbed me by the collar and wouldn’t let go until its stunning conclusion.
Boiled down to the basics so as not to spoil any of its many surprises, Midnight Mass is set on an island community where a few strange things have started to happen. A new priest has arrived to fill in for the beloved older one who fell ill on an overseas trip. A young man who left the community for a better life has returned after serving time for a fatal drunk driving wreck. He’s reunited with his childhood sweetheart, a teacher on the island who is expecting a baby. There’s a woman at the church who’s kind of an asshole. That’s all you need to know going in. Now buckle up.
There are many long monologues on this show. One episode features a prolonged scene with two people talking at 12-step meeting. Another features two characters on a couch imagining what the future may hold for them. There’s a long monologue near the end that could be fodder for church sermons for years to come, at least in some denominations. I practically have it memorized.
But there are also scenes of stunning beauty and horrific shock — sometimes set just moments apart. There’s a scene at the end of one episode that I’ve replayed so many times on YouTube, it’s automatically suggested to me after every video I watch. The series’ final two minutes brings everything to a haunting and gorgeous close.
Midnight Mass won’t be for everyone. But holy hell, was it for me. And for me, it was the best TV had to offer in 2021. Bring on the new year.
