Welcome to Split Decision for TVJawn! For the end of the year, Associate Editor Emily Maesar posed the question, “What was the best TV show that aired in 2022?” to the wonderful staff at MovieJawn. Here are their answers!

High Heat (Netflix); Gary M. Kramer, Staff Writer

I very infrequently write about television (and haven’t yet for TVJawn—but I want to! My 2023 New Year’s Resolution!) But the best TV series I saw this year wasn’t very good, it was just the one I loved the most: High Heat on Netflix. I am a sucker for Mexican telenovelas, but this series was a new high (or low) in this genre—I enjoyed every minute of its 39(!) episodes. The plot is simple: an exotic dancer goes undercover as a firefighter to seek revenge for his fraternal twin brother's murder by a possible serial killer. (His twin was an investigative journalist who uncovered some corruption). That’s just the first episode. The other storylines include a gay character (he knits!) who falls for an engaged firefighter (they open a shop together), another fireman is a cutter, another in a thruple, another who was a lawyer who helps a young woman get her mother out of jail. Other characters battle cancer, and a den mother mourns her late husband. It’s soapy, it’s sexy, it’s stoopid. It’s addicting. 

The White Lotus (HBO); Audrey Callerstom, Associate Editor

I wasn’t sure if The White Lotus justified its existence in season one. It seemed like an excuse for writer/director Mike White to visit and film in an exotic location (Hawaii). In spite of some standout performances (from Alexandra Daddario, namely) the storylines kind of meandered. Season two exceeded my expectations. Although bringing Jennifer Coolidge’s Tanya over from season one seemed like an odd choice, it built into some exceptional suspense and, dare I say, horror. White is terrific at casting, too. None of the actors outperform the others. Working with mostly (relative) unknowns, White brings us into the beautiful world of a luxurious resort located and filmed in Sicily. White bounces between storylines about jealousy, regret, infidelity, paranoia, and toxic masculinity with ease and dark humor. The White Lotus season two was like a five-course meal where everything is just right, all elements complementing each other. The acting is exceptional, and subtle. The score is exceptional, vivid, and distinct. The way it’s filmed is cinematic. White could easily just use tight shots for everything, but often pulls back to either showcase beauty or to make us feel like a voyeur. The standout performance here is from Aubrey Plaza, an exceptional dramatic actress, but all performances here are outstanding: Haley Lu Richardson, F. Murray Abraham, Michael Imperioli, Theo James, Meghanny Fahy, and Italian actresses Sabrina Impacciatore, Simona Tabasco, and Beatrice Grannò.

Severance (Apple TV+); Billie Anderson, Staff Writer

Apple TV+ is one of the newer streaming services, and so it hasn’t yet convinced enough people to subscribe—it’s quite unfortunate that not only the best television series of 2022, but the best television series of all time is reserved to the few that have been won over by the streaming service. Severance is a show that does (not just discusses but does) philosophy in a way that many sci-fi films have tried and failed, year after year. The difference between doing philosophy and discussing philosophy is very nuanced, but some shows like The Good Place or even Black Mirror give you the answer, while others, like Severance, do not. 

I think the way I gravitate towards this show has something to do with how it lands precisely in our historical moment, not in the sense of the pandemic or ever-increasing political unrest, but in something of a broader sense, pertaining to the climate of our times. I’m not sure if that’s postmodernism or if, perhaps, we’ve moved into some kind of post-postmodernism, or if this kind of terminology is even helpful. Ultimately, this show comes at a time when people are asking more than ever if what they do for work really defines who they are and brings to popular culture discourse discussions surrounding labor and identity that can help a lot of people make sense of their livelihoods. Beyond the ethical implications of the show, the cast is incredibly well rounded, the acting is phenomenal, the off-putting humor intertwined with the utterly atrocious human rights violations makes for the most hold-your-breath-for-the-entirety-of-the-episode television show I’ve ever seen. I have never screamed at my television screen the way I did during the final episode. Do yourself a favor and get a free trial of Apple TV+ for something in addition to Ted Lasso.

Extraordinary Attorney Woo (Netflix); Daniel Pecoraro, Contributor

Anyone who knows me knows I am extraordinarily bad at watching new TV. I’m not a binger, there are too many streaming services to keep track of, I don’t get caught up in multi-episode storylines very well, and I hate when a series is called “an X-hour movie.” I grew up on Star Trek (TOS and TNG), Law & Order, and Monk—the sorts of shows where I can pop in and out as needed and pick up on any multi-episode arcs pretty quickly, or disregard entirely in favor of that week’s story. 

Thus, the main place for me in new-television-land are the self-contained mysteries and procedurals my in-laws watch and recommend to me. Enter Extraordinary Attorney Woo, the K-dramedy co-distributed by Netflix. Featuring the title attorney’s fight to be accepted in her law firm as the first person on the autism spectrum to pass the Korean bar, a patently absurd breadth of different types of case law, and a regular dose of epiphanies capped with visions of whales and dolphins. Extraordinary Attorney Woo is a thoughtful, sweet, and funny program with the minimal connective tissue from episode to episode I look for in a TV show. 

Better Call Saul (AMC); A. Freedman, Contributor

It’s gotta be the final season of Better Call Saul. It had to not only wrap up its narrative, but satisfyingly set up the bridge to the beginning of Breaking Bad, and act as a sequel to it. Somehow it nailed all three. The last handful of episodes were a mournful black and white epilogue, with Bob Odenkirk teetering on the edge between Gene, Jimmy, and Saul. Like the ending of Breaking Bad, the fun excitement is over, and we are left with simply the weight of choices and consequences. But it wouldn’t have stuck nearly as much if there wasn’t a glimmer of redemption at the end—the sense that even at rock bottom, you can still act selflessly and make the next right choice. 

The Bear (FX on Hulu); Ian Hrabe, Staff Writer

I’m a sucker for that show that comes out of nowhere and commands all my attention for the few days it takes me to burn through it. Such was the case with FX on Hulu’s The Bear. It’s a workplace dramady for fans of Kitchen Confidential, and the most beautiful thing about this show about an haute cuisine chef returning to Chicago to run his family’s Italian beef joint is how complete the first season feels. It’s a self-contained arc that underlines the passion that went into this from the writing to the incredible performances (Shameless’s Jeremy Allen White gets his first big starring role here and knocks it out of the park). That sort of “who knows if there’s gonna be a season two, let’s leave it all on the field” mentality is probably part of the reason The Bear quickly secured another season, and it’s hard to think of another show where I felt this much physical pain having to wait another year for more (ironically, Severance hit me with that same vibe so I’m suffering for two).

Interview with the Vampire (AMC); Megan Bailey, Staff Writer

I loved a lot of shows this year, including A League of Their Own, Rings of Power, Heartstopper, and Minx, to name a few. But the hands down, no-contest, best show of the year, in my humble opinion, is AMC’s Interview with the Vampire. Everything about it works: it’s campy when it should be, dark and violent at the right moments, and just a very smart adaptation. The costuming rules, the score is incredible, and then there’s the dialogue, which could sound super overwritten if not delivered by a stellar cast who can make it sound sincere. Jacob Anderson is stunning as Louis de Pointe du Lac (the titular vampire), and Sam Reid serves up campy menace as Lestat de Lioncourt. The show rests on Anderson’s shoulders, and he pulls it off incredibly. The pilot is probably the best episode of television I saw all year, and I’m already itching to rewatch the series.

Reservation Dogs (FX on Hulu); Ryan Silberstein, Managing Editor, The Red Herring

I also don’t watch a ton of TV, and while it was a great year for science fiction franchise shows (Andor, multiple Star Treks, Obi-Wan, Foundation), my true love in television is the sitcom. Packing a whole story into 30 minutes is impressive, especially with an ensemble cast, and newer sitcoms like Our Flag Means Death and Only Murders in the Building (both also great and aired seasons this year) are doing that while also bringing in serialization from more prestige and genre shows. But the best show I watched this year was Reservation Dogs. I would die for any of these characters, and the second season did a great job advancing the arcs of all the kids, while also giving some of the adults in this reservation community more time. What results is an earnest and often darkly funny show. Reservation Dogs doesn’t shy away from tough issues, especially the structural inequalities affecting Indigenous communities in the present day, as well grief, depression, and feeling lost. But at the same time, it allows its characters to find new paths to joy and fulfillment, which makes the journey worth it.

The Bold and the Beautiful (CBS); Ashley Jane Davis, Staff Writer

I know for a certainty that one other person at MovieJawn watches gold star programming The Bold and the Beautiful (because it’s my sweetheart and we watch it together) and before you dismiss this as just a soap opera for moms and grandmas (which it categorically is), I just want to say that wow—this was some year, right folks? I mean, whisperbaby Brookie has been in the trenches all damn year, since she accidentally got drunk and kissed Deacon on New Year’s Eve. The tears Katherine Kelly Lang has shed in the last 365 days—where is her GD Emmy already? Poor lil’ tot Brahms/Douglas got himself tied up in two, yes two “let’s keep that our little secret” bullshit scenarios, and he finally stood up to his absolutely reckless dad Thomas. Don’t get me started on his nonsensery. Ultimate girl boss (and my fave) Sheila has been up to no good all year, and I wouldn’t have it any other way. She cut off her own friggin’ toe to leave behind at her staged “bear attack” fake death crime scene! 

Most shockingly, Steffy actually wasn’t a bitch for once when she stood up against Thomas, and looks like she may be stepping into her bestie era with Hope? But people—when crusty Ridge got dumped by Taylor and Brooke at the same time??? OMG. Absolutely iconic—don’t believe me? Ask yer granny. Although no matter how many times I urged Brooke and Taylor to kiss through the tv screen, it didn’t happen. I didn’t even mention any of the attempted murders or kidnappings or Carter & Quinn (Quinnter? Just trying it on…) or Eric’s “pickleball” obsession, or the fact that Patrick Duffy plays Brooke’s dad even though he’s like 7 years older than her… but seriously, this show delivers me joy and frustration every damn weekday. My Christmas wish would be a Bold and the Beautiful/Pretty Little Liars crossover series directed by David Lynch, starring moi. What???

Chucky (Syfy); Rosalie Kicks, Old Sport & Editor in Chief

Hey telly pals! Your neighborhood old sport swinging by to tell you that if you are not watching Chucky, you are missing out on high quality programming. Not only is there a killer doll, but also a killer cast that includes Jennifer Tilly, Devon Sawa, Brad Dourif, Fiona Dourif, and a bunch of stellar up and coming actors—such as Zackary Arthur, Bjorgivin Arnarson and Alyvia Alyn Lind. Each episode is a gem and just when you think it can’t get any more wild it somehow manages to prove ya wrong. 

Severance (Apple TV+); Tori Potenza, Staff Writer

I also want to chime in and echo that Severance truly is the best show to come out this year. If you like Alex Garland sci fi-esque stories like his show DEVS, then you will probably love this. I was looking for something that would set my brain off and something I looked forward to talking to people about week to week and this was perfect. It has the late-stage capitalism commentary we need while also being incredibly entertaining, having great twists, and being an all-around gorgeous show. The cast is incredible; Patricia Arquette, Adam Scott, Britt Lower, Zach Cherry, Tramell Tillman, Christopher Walken, and John Turturro. They all give knockout performances. If you want something that is funny, dark, moving, and original this is it. It has been a long time since I was this excited about a new show and I am thrilled that it has been picked up for a second season. If you need extra convincing you can read my piece on Season One HERE. 

Better Call Saul (AMC); Billy Russell, Staff Writer

The final season of Better Call Saul was an excellent ending to an excellent show and one of the finest seasons of TV on this year, period. I’m sort of used to excellent shows blowing it at the very end, so I was damn surprised that it stuck to the landing. And, once again, the show defied almost every single prediction I had for it. As for new TV, I loved, loved This Fool on Hulu. Chris Estrada and Frankie Quinones are a classic comedy duo, and I can’t wait until season two.

Transplant (CTV, NBC); Katharine Mussellam, Contributor

We Transplant viewers were spoiled in 2022, with season two airing earlier in the year and a third season that started this fall (currently on holiday hiatus as I write this). Both have matched the quality of the first season, which itself had one of the most exciting and memorable opening scenes I’ve ever watched. Through its main character, Dr. Bashir Hamed, Transplant has always pointed out the unique challenges faced by highly qualified immigrants and refugees who struggle to work in fields they are qualified for when they come to Canada, along with other aspects of their experiences. These past two seasons have continued to highlight those challenges, with Bash on the path to citizenship while finding his stride at York Memorial Hospital, complicated by PTSD and hurdles in his relationships with his younger sister Amira, his partners, and his colleagues. 

The latest episodes have also done even more to develop the other characters in the hospital, pointing out the dangers faced by those in the medical field along with workplace dynamics. Recently it has taken on characters’ efforts to reform and innovate at the hospital, as well as the extremely timely subject of the burnout faced by overworked nurses. No other medical show that I’ve seen has dealt with these topics in the way Transplant does, which is exciting and interesting to watch but also isn’t overly sappy or romanticized. The show is moving at many moments, but it feels down to earth and uniquely authentic in the way it portrays every character in its cast. Some relationships between those in different roles are pointedly strained, with no magical resolution to every problem. Personal relationships are layered with the characters’ histories. This makes it seem more realistic than other, more melodramatic American medical series (not to knock them, of course). I’ve loved other shows this year that also belong on a list like this, including some old long-running favorites, but there’s no doubt in my mind that Transplant is the best show that aired the year, and quite possibly the best medical drama ever. 

Our Flag Means Death (HBO Max); Emily Maesar, Associate TV Editor

There was a lot of great TV this year—our cup absolutely runneth over. Megan already talked about my absolute favorite show of the year: Interview with the Vampire. And, uh, so did I! I covered it extensively. So, my other favorite show this year was the David Jenkins created HBO Max queer pirate show, Our Flag Means Death. It’s a show that had medium attention until it became clear that this wasn’t just a comedy… it was a romantic comedy. The writing is top notch, the performances are delicate and special, and the show’s got the biggest heart imaginable. Besides, everybody’s hot and funny. What more could you ask for?