Another year, more notable shows attempted to condense into a single, limited list. Scripted television is perhaps better than ever because of new seasons of popular shows like Stranger Things. The quality of the shows people receive from streaming juggernauts like Netflix, AppleTV, and HBO Max is simply outstanding.

This year, 2022, has seen the comeback of many beloved shows, but there have also been a lot of brand-new productions that have hit the small screen. These are our best TV shows of 2022.

Moon Knight: 7.3

Moon Knight, the most recent addition to Phase Four of the Marvel Cinematic Universe television series, rapidly won over the audience. The program follows Steven Grant, played by Oscar Isaac, as he attempts to solve a fatal mystery while coping with his dissociative personality condition.

Oscar Isaac and Ethan Hawke both deliver excellent performances in their respective parts. The series continues to undertake a detailed character analysis with deep-seated wounds, as it did in Phase Four. The MCU received several welcome additions in this thought-provoking character study, much to the delight of Marvel fans.

Andor: 8.4

As a precursor to a prequel, the drama takes place in the Star Wars world and follows Cassian Andor (played with great feeling by Diego Luna) on his road to Rogue One and during his early days as a rebel. However, strangely, it is more than simply plain, unquestionably excellent TV in our world.

The Rebel Alliance is revealed on a new, more grounded level as Cassian’s story fragments as he joins the Rebellion. In light of what the show does offer, including Mon Mothma (Genevieve O’Reilly) at her most conflicted; Stellan S. Karsgrd’s Luthen, the franchise’s most thoughtfully nuanced character to date; and the best little droid to ever roll around town, it almost seems cliché to point out that this is a Star Wars devoid of the hallmarks of the universe. In just one season, Andor created an entire village and its culture, revealing much about the characters and the wider world.

Like other shows on this list, there are many reasons why Andor is so incredibly captivating. You can sit in practically any part of Andor and find a depth that feels opulent to delve into.

House of the Dragon: 8.5

There are numerous criteria you may use to gauge House of the Dragon’s success: As a more carefully constructed precursor to The Lord of the Rings: The Rings of Power, it triumphed in the fantasy program competition. It brought in a record number of HBO viewers and rekindled interest in blonde characters in Game of Thrones in 2022. None of these is nothing!

Fortunately, none of these are as important as the fact that the show is excellent. House of the Dragon is excellent television in its most fundamental sense because it grounds each plot twist in complex, perceptive characters. Although there are certainly wicked people in Westeros, it’s thankfully difficult to truly root against practically anyone on this program.

Each decision, both in front of and behind the camera, combines to create a complex image of imperfect individuals who condemn a kingdom to a conflict it didn’t deserve. Every move was considered and layered, which gave the conflict an earned feeling that the late Thrones could never achieve.

Heartstopper: 8.7

Heartstopper, the newest Netflix sensation, is the year’s biggest hit thus far. The Heartstopper series by Alice Oseman, which follows young kids Charlie and Nick’s surprising friendship, inspired this upbeat program.

This beautifully touching coming-of-age story approaches teenage sexuality in a way that is respectful of its characters. Viewers adored the warm and heartfelt character of the program. Heartstopper was a wonderful and refreshing diversion for fans because many high school musicals have darker tones and deal with upsetting topics.

Severance: 8.7

It doesn’t seem like severance should function as well as it does. Every aspect of the sci-fi thriller feels like a high-wire act, like a sequence of plates spinning on sticks while remaining perfectly balanced, from its well-tuned performers to the moodily low-key score, even the notion of the program itself. The world created by Lumon Industries, where employees must choose between their identities at work and at home, is methodical and surreal, like something out of an Escher picture.

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