The year of 'Peak TV'

The best small-screen offerings of 2015

Four hundred nine. That’s the number of original scripted television series that were available in 2015. FX President John Landgraf calls it “Peak TV.” Whether you like having a Cheesecake Factory-sized menu of television options or not, the number is only going up from here (Netflix is producing 31 in 2016 alone). Lucky for us, higher quantity has also led to higher quality. Dozens of shows are worthy of your time. Here are ten of my favorites from 2015.

The Leftovers (HBO) “The Leftovers” isn’t perfect. It throws a cavalcade of ideas at the audience and not all of them stick. Still, creator Damon Lindelof should be praised for the daring to do so. The radically improved second season starts in a prehistoric age with a woman birthing a child. The scene is not necessary to the plot, but integral to the rich tapestry of emotions “The Leftovers” evokes. I can go on and on about the pitch-perfect cast and enigmatic writing, but it’s their collective force that rapturously (pun intended) resonates long after the final shot. 

Fargo (FX) “Fargo’s” second season did what “True Detective” could not: improve upon the successes of the first season with dynamic characters, a vivid ‘70s setting, and a riveting plot. The Kansas City mafia, a feuding family, Ronald Reagan, and even aliens all made it into the story (and it still mostly made sense). What truly made this season special though was the philosophy amidst the carnage. Why the senseless violence? Can a righteous heart overcome the folly of Man? Hopefully not for a few more seasons, at least.

Hannibal (NBC) Throughout its woefully short run (three seasons), “Hannibal” was the most beautifully macabre romance on TV. I know—romance? For all its delectable murder tableaus and chilling confrontations, “Hannibal” was always about the push-and-pull between Will Graham (Hugh Dancy) and the titular Hannibal Lecter (Mads Mikkelson). The final season brings them together. All it took was Francis “The Red Dragon” Dolarhyde, played by Richard Armitage in the most terrifyingly surreal supporting performance of the year.

Mr. Robot (USA) “Mr. Robot” is about a revolution. It’s also a revolution in itself. The fourth wall is broken repeatedly as our narrator, Elliot Alderson (Rami Malek), addresses the audience. We want to believe in his plan to upend corrupt corporations through hacking, but how much can we trust a drug-addled, possibly unreliable narrator? This uncertainty resulted in some of the most daring surprises of the year.

Better Call Saul (AMC) I’m usually against spin-offs. Anyone remember “Joey”? To create a new series from the fabric of “Breaking Bad,” the peak of the Golden Age of TV, seemed ill advised at best, and I viewed the premiere with severe trepidation. I was wrong. Creator Vince Gilligan and actor Bob Odenkirk tease out the humanity of Saul Goodman (the corrupt lawyer from “BB”) and find new empathy and humor in the process, resulting in a show that’s a little funnier and a little brighter than its predecessor. 

Outlander (Starz) Listen, “Game of Thrones” is an entertaining show, but just imagine how much more interesting it would be if it was told from a more resolutely female perspective without the sensational fantasy. That’s the beauty of “Outlander.” Claire Beauchamp, portrayed by Caitriona Balfe, is the most refreshing and striking female lead of the year. Time travel initiates the plot, but rousing adventures and sweeping romance propel it forward. Sorry, no dragons. You won’t mind.

Master of None (Netflix) Aziz Ansari is a funny guy. What’s even better is that he’s a funny, wickedly smart guy. Rejoice that Netflix gave his voice the proper outlet. “Master of None” tackles the Millennial struggles of modern times with an optimism and hilarity that’s welcome relief from a sometimes dour TV landscape. 

UnREAL (Lifetime) Turns out you shouldn’t judge a network by its original movies—Lifetime’s “UnREAL” is an intelligent, biting lambast of reality television. Shiri Appleby plays a conflicted producer on a dating show called “Everlasting” (modeled after “The Bachelor,” for which “UnREAL” writer/creator Sarah Gertrude Shapiro previously worked as a producer) who’s trapped in the quagmire of a morally bankrupt production. 

Unbreakable Kimmy Schmidt (Netflix) Truly, any product that Tina Fey touches turns to gold. Or, in this case, bright yellow and Jansport purple. “Kimmy Schmidt” is a joy to behold. Every frame erupts with frenetic energy and the jokes whip about so fast you need to pause for your laughter to catch up. Ellie Kemper and Tituss Burgess delight, and Jon Hamm shows up for the funniest cameo of the year. Until next season, PINOTTTTTT!!!

Penny Dreadful (Showtime) While “American Horror Story” continues to shock and sensationalize to diminishing returns, a far more riveting horror series enraptures and enchants on Showtime. “Penny Dreadful” turns a monster mash into a sublime Gothic painting that quickly seduces viewers into the dark underbelly of Victorian London. Where the first season felt scattershot, season two drives its disparate elements together in a terrifying climax against the Devil himself. Check out of “AHS: Hotel” and get lost in the lushness of “Dreadful” instead.

For more from Landry, read his article on Marvel's Jessica Jones.