It’s been a CRAZY good year for television. There was the bittersweet goodbye to Breaking Bad, Netflix kicked off its original programming with some certifiable critical and ratings hits, and across cable and network, many of the headline grabbers were brand spanking new shows. In fact, FIVE of our top ten shows just finished, or are in the midst of, their debut seasons.
When it came down to it, there were 38 shows that earned at least one vote between our four writers. But by using a point system—15 votes for 1st place, 14 for second, all the way down to one point for the 15th ranked show—we were able to add up the points accumulated and whittle it down to our TOP TEN SHOWS OF 2013! We’ll also include our Honorable Mentions, the shows that ranked 11-20 based on our votes.
Keep in mind, there are only four of us. Undoubtedly, there are bound to be those who feel we didn’t recognize the TRUE best ten shows. And that’s fair. But based on what we were able to watch—I know there are at least three shows that I love that I’m not caught up on—this list is pretty representative of the current crop of great shows. And, let’s be honest. The market has almost become saturated with solid storytelling. This is, in my opinion, very encouraging! When it comes time to award the abundance of talent,however, it does become increasingly difficult to give everyone their due.
I’m pretty proud of this list though. Thank you Allyson Johnson, Danielle Gillette and Georgeanne Oliver for their individual ballots. I will include all of them at the bottom so you can see the shows we enjoyed outside the collective top 20.
Enough preamble! Bask in the glory that is the best and brightest of television!
BLAST’S TOP TEN TV SHOWS OF 2013
10. The Blacklist, NBC (15 points)
Georgeanne Oliver—There’s hardly a shortage of shows similar to The Blacklist on TV. In fact, sometimes it seems like crime thrillers staring government agents make up most of network programs right now. So when The Blacklist took the old, overdone concept and made it fresh and interesting, it really was quite the feat. The key to this show’s success is a team of genuinely bright writers, and, obviously, the star power and overwhelming talent of James Spader. This collaboration has lead to a character that jumps of the screen, a relationship that is both enigmatic and believable, and a string of heart-pounding standoffs and situations that feel as though they have real stakes. The underlying mystery is simple but interesting enough and refuses to be answered simply or quickly, stringing the audience along (in a fun way, of course). While the show started with a strong focus on Red, Elizabeth, and Tom, the supporting cast was slowly fleshed out as time went on, creating a likable and enticing ensemble. Most of the characters are still enigmas, but they have strong foundations to build on and their mystery just adds to the show’s fun. It’s hard to give The Blacklist an accurate grade or judgment at this point, given that it just started its first season, but it gained momentum and quality as the season went on, ending on a strong note that will carry it into 2014 and an already ordered second season. Bottom line: The Blacklist was one of the best surprises of 2013.
9. Doctor Who, BBC/BBC America (16 points)
Danielle Gillette—Doctor Who celebrated the biggest milestone of any of the shows on our list this year: its 50th anniversary! “The Day of The Doctor,” the anniversary special episode, aired just last month on TV and in 3D in some movie theaters. Leading up to that special was the second half of the show’s seventh season since the reboot in 2005. The Doctor left behind Amy and Rory at the end of last year, and 2013 was the Year of Clara. Or, more accurately, the year of the Doctor taking Clara on as a companion to figure out why she kept popping up in different incarnations. The eight-episode season doesn’t have many stand-alone gems of stories due to its underlying arc that is figuring out Clara’s significance, but it does bring some of the best acting we’ve seen in a while. Jenna-Louise Coleman and Matt Smith work incredibly well together, and he’s certainly grown on me over the course of his run as the Doctor. Watch Matt Smith’s first episode as the Doctor and then watch something like “Nightmare in Silver” (7.12) where he’s split into Doctor and Cyber-Planner and marvel at how much he’s grown into the role. Season seven, part two also brings back some fan-favorite characters: Madame Vastra, Jenny, and River Song, to name the top three. That’s not counting the 50th anniversary, of course, which brought back David Tennant as the Tenth Doctor, Billie Piper as Rose (well, sort of), and Tom Baker as “the curator.” Christmas will mark Matt Smith’s departure and the beginning of Peter Capaldi’s tenure as the Twelfth Doctor. Top episodes of the year: “Hide” (7.9), “The Day of the Doctor” (Anniversary Special).
8. Arrested Development, Netflix (19 points)
Georgeanne Oliver—Netflix’s unprecedented decision to reboot a near decade-old TV show as a web series may not have pleased every fan, but the ease with which the cast fell back into their roles within the Bluth family is hard to ignore. The performances and the family dynamic are what make the show, and the cast’s chemistry hasn’t been altered by the gap in time. There’s a sense to the new season of old friends happily reuniting; a comfort only found in a cast that truly connects and excels as entertainers. Despite the large group featured, not a one of the performances is anything less than spectacular. This year Arrested Development tried a new, less ensemble-centric formula that become increasingly funny as the season progressed and more details were added to the onscreen events. The cast didn’t miss a beat and the nostalgic feel of the whole season was heightened by a fantastic roster of guest stars. The complexity of the plot and the twists and turns are uncommon in situation comedies. Yet as absurd and wild as the show is, it never becomes annoying or difficult to relate to, always remaining a charming caricature. Arrested Development’s storylines are in it for the long game, and sometimes payoffs won’t come for six or seven episodes, but if you’re willing to put in the effort to focus and remember, it’s a delight to watch.
7. Sleepy Hollow, Fox (20 points)
Danielle Gillette—Sleepy Hollow got its start on Fox this fall, one of the five new shows on our list this year. Now, if you haven’t seen the show yet, I promise it’s better than “a modern retelling of ‘The Legend of Sleepy Hollow’” sounds when you first hear it. The show takes place in, yes, present-day Sleepy Hollow, New York, and yes, focuses on Ichabod Crane and his feud with the Headless Horseman but it’s way cooler than that, I swear. First of all, Ichabod (Tom Mison) is straight out of the 1800s, having fallen on the battlefield after beheading the Hessian soldier that would become the Headless Horseman. His wife Katrina, who’s secretly a witch, had enchanted him back in the day when he was dying, and he rises along with the Horseman in 2013 Sleepy Hollow. Small moments of wacky fish-out-of-time-period antics keep the show fun while Ichabod teams up with local Lieutenant Abbie Mills (Nicole Beharie) to bring down the Horseman. Turns out (and this isn’t really a spoiler) the Horseman is the legendary Death in the foursome that is the Horsemen of the Apocalypse, so Ichabod and Abbie, along with her sister Jenny and boss Irving, have to team up to avert said apocalypse. The show keeps the pace of the mysteries of the week moving nicely along with the overall mythology, and Mison and Beharie are incredibly fun to watch together. It’s all good spooky apocalyptic history-with-a-twist type fun, and there’s plenty of time to catch up before the season starts up again on January 20th (hint hint). Top episodes of the year: “Pilot,” (1.1), “John Doe” (1.5), “Necromancer” (1.8).
6. Brooklyn Nine-Nine, Fox (21 points)
Allyson Johnson—Due to Andy Samberg’s typical comedy stylings, I figured that Brooklyn Nine-Nine wouldn’t be a stand out show and I’m glad it proved me wrong as it turned out to be the breakout series of the season. There’s a confidence about the show’s atmosphere that is usually lacking in first season comedies—the writers are wading around trying to find out what works best for certain actors while the actors are developing chemistry with each other. It appeared the show had no need to any unnecessary leg work and instead had everything figured out. It’s a fun workplace comedy that instead takes place in a police precinct and utilizes each and every one of their actors and their strengths. Terry Crews is hilarious and manages a different delivery for almost every line he’s given and Melissa Fumero is the secret weapon for the show, bringing a stereotypical Type A personality new nuances and getting the bigger laugh because of it. Despite fitting into certain archetypes that we’ve seen before—slacker cool guy, uptight boss, wacky friend, the tough girl—they’ve added different elements to all of them so that it isn’t a by the books show. It’s the show that has me laughing the hardest each week, it tries to serialize its characters storylines so despite the offbeat hilarity there’s also narratives taking place (no matter how outrageous) and it only seems to be gaining more ground.
5. New Girl, Fox (22 points)
Allyson Johnson—New Girl had a pretty phenomenal second season—it created a masterful, codependent chemistry between the main foursome. It managed to develop the Jess and Nick relationship in an organic manner that made every step and misstep all the more heartfelt or hilarious, aided by Zooey Deschanel and Jake Johnson’s effortless rapport. By the season’s end, fans were fully committed to wherever the show was taking us. We’re midway through season three and while it has yet to touch the magic they created in their sophomoric effort, there’s still an ease to showrunner Elizabeth Meriwether’s storytelling. Lamorne Morris has been given more to do due to the writers’ decision to make “crazy” his main personality trait, Max Greenfield has been turning in great performances week in and week out despite the love triangle mess at the start of the season. And the relationship between Jess and Nick, despite hitting some bumps, is still a couple to root for. More than anything what makes this show one of the best comedies on air is that natural interplay between the characters and the addition of Damon Wayans Jr. as Coach has only helped the dynamic. We enjoy watching them whether they’re lazing about in the loft, antagonizing restaurant owners, catching rabies in the woods or falling in love. They’re a group of personalities that are fun, understandable and most importantly, entertaining. So, no matter where they are in their relationships we’re thrilled just to get to see them for a half hour each week. Season three has seen a steady improvement and I’m sure that by the season’s end we’ll be applauding it in the same way we did at the end of season two.
4. Orange is the new Black, Netflix (33 points)
Christopher Peck—Netflix went roaring into 2013 with two highly anticipated premieres on their roster. Whether it was the Kevin Spacey vehicle House of Cards or the reunion of cult classic Arrested Development, the new kid on the block seemed pretty sure of itself. Who knew that the best offering they would produce was one created by Weeds showrunner Jenji Kohan about a privileged white woman who goes to prison for a past crime of runnings drugs. I’ll admit upon seeing the pilot I was only mildly impressed. I wasn’t at all interested in this Piper woman who seems to think herself as above doing time. What struck me was how established the environment of the prison was. Each member of the ensemble was fully realized, not just a caricature (except for “Crazy Eyes” who took some time to grow out of her loose canon archetype), and we could see the layers even before they were shaded in. Then, as the episodes rolled on, we learned Lost-style the backstory for each inmate and began to see that not only was each woman wronged by society or the people around her in some way, but that labeling anyone as a felon and nothing more is a crime in itself. We also had the pleasure of being introduced to Laverne Cox, a transgender woman who provides an incredible warmth and soul to her character Sophia. Also Jason Biggs can actually act. Who knew? Not enough can be said about how deep the bench is on this show and how significant it is to have so many captivating arcs given to an all-female cast. Like The Wire did for its majority person of color cast, this show has paved the way for other networks to see the value in catering to someone other than the middle-aged white man. And I haven’t even mentioned yet the nuanced portrayal of bisexuality offered to Taylor Schilling’s Piper, who the show never identifies as a “recovered lesbian,” but someone who has truly loved men and women. Whether it’s race, sexual orientation or gender, Orange is fearless when it comes to depicting the lives of the marginalized and oppressed. In fact, it excels most when the white cisgender Piper is pushed to the background as someone with a lot to learn about the world.
3. Game of Thrones, HBO (35 points)
Christopher Peck—Last year, this show topped our list as the best show of 2012. By my estimation, it improved upon its success of a year ago. Many of the flaws I pointed out were remedied, and there were water cooler moments aplenty. How about Brienne fighting a bear? Dany sacking a city with her dragon children? There was one other thing…oh, yeah. THE GORIEST, BLOODIEST AND MOST HORRIFYING WEDDING RECEPTION IN THE HISTORY OF FICTION. Known by fans of the books as “The Red Wedding,” the scene that ended “The Rains of Castamere” was traumatic for me to behold, and yet I couldn’t stop watching it. The way the scene unfolds is a clinic in tension, foreboding and stylized violence. Quite honestly, Tarantino could take some pointers. And besides just the sheer impact of these numerous moments there was a considerable amount of deep and wonderful characterization. Whether we saw the emergence of Jamie Lannister as a sympathetic character, the wise-cracking of new character Lady Olenna Tyrell, the escalating sadism of King Joffrey, or the return of badass Daenerys Targaryen (see the incredibly boss photo above) they laid the groundwork for some epic stakes. Among the few missteps was the torture of Theon Greyjoy at the hands of Ramsay Snow. I had no foreknowledge and I could have told you that Greyjoy had been taken hostage by the bastard son of Roose Bolton, but for some reason the showrunners wanted to to make his identity a big reveal. It fell flat (as did Greyjoy’s manhood on the floor), but regardless I can’t wait to see what they do with the talents of Iwan Rheon (formerly of Misfits fame) in that role. Season four is still about four months away and it feels like forever to wait for our return to Westeros, a world so vividly bleak that it feels like home.
2. Orphan Black, BBC America (38 points)
Danielle Gillette—One of the most interesting new shows this year was BBC America’s Orphan Black, which premiered back in March. The show focuses on Sarah Manning (Tatiana Maslany), a bit of a con artist who in the pilot decides to take over the life of the woman she saw commit suicide (Beth Childs, also played by Tatiana Maslany) to make some money and get her daughter back. Sarah soon starts investigating why she looked exactly like Beth, and she uncovers nine more identical women over the course of the season (again, all played by Tatiana Maslany). It turns out they’re clones, and Sarah works closely with three of them (Cosima, Alison, and Helena) to try and get answers about where they came from. The show is worth watching for Maslany alone; she delivers amazing performances as each of the clones, all of whom grew up in different countries and in different socioeconomic classes. It’s easy to forget that one woman is sometimes playing all four characters on the screen, she’s so good at her job. This show could exist solely on that acting force, but Orphan Black has a lot else going for it: the sci-fi intrigue is actually genuinely intriguing, the story moves constantly forward and brings the viewers along with it; the actors who aren’t Tatiana Maslany are also amazing at their jobs (particularly Jordan Gavaris as Sarah’s foster brother Felix); and the writers give each clone great storylines and character development on their own. Bonus? At only ten episodes, season one is totally binge-watchable, perfect for catching up or catching something you might’ve missed on a rewatch. Top episodes of 2013: “Variation Under Nature” (1.3), “Variations Under Domestication” (1.6), “Entangled Bank” (1.8).
1. Breaking Bad, AMC (46 points)
Christopher Peck—The Breaking Bad series finale shouldn’t have needed a lot of hype. As possibly the most critically lauded show since The Wire and The Sopranos ended, Bryan Cranston and Aaron Paul’s performances and Vince Gilligan’s highwire tension were the documented stuff of legend. And yet AMC advertised the crap out of the premiere, and it paid off. Even more satisfying was the product they put out. The last eight episodes of one of my all-time favorites delivered exactly what I’d hoped for. Walter White, the high school chemistry teacher turned kingpin continued to destroy everyone and everything in his path as his own brother-in-law sought to bring down the monster he thought he knew. “Ozymandias,” the third-to-last hour, was quite possibly the most devastating hour of television I have ever seen. No one was safe, and even the unspeakable wasn’t off limits. Some have quibbled with the series finale saying that it was too tidy, that it neatly wrapped up the mess Walter White had made and even allowed him redemption. When you consider that he was a fugitive of the law who would never see his family again and that he (SPOILER!) died lying beside the only legacy he could leave behind (his meth formula), I say it was far from salvation. What I saw was a man on death’s door who let his fear of insignificance and his pride overrule him to the point where the only victory he could have left is saving his wife from indictment and saving his former partner from being tortured (both thanks to him by the way). Heisenberg the despicable meth cook will live on, but the beloved father Walter White died long ago. If that’s not a tragedy, then I don’t know what to tell you. What I can say without a doubt is that Vince Gilligan gave us six seasons worth of masterpieces that will stand the test of time and a final season that served as a exemplar for the power of television.
Shameless, Showtime (14 points)
Allyson Johnson—Technically speaking, this show is a tonal disaster. It never seems able to stick with a genre, traipsing about between comedy and drama and rarely managing to bridge the two with grace. Yet despite this, it’s one of the best TV has to offer. Because when the comedy is good, it’s hilarious and when the drama is good it’s heartbreaking and includes some of the darkest storylines on television because of the enormously talented cast the show has. In the past season, Fiona (a fantastic Emmy Rossum who has yet to recognized for the phenomenal work she’s doing) and the crew have faced more life troubles than ever and this upcoming season seems to have the theme of the Gallaghers vs. the World with Lip going to school, Frank battling his deteriorating health and Fiona trying to move into her adult life. Rossum, Jeremy Allen Smith and William H. Macy continue to turn in fantastically well-rounded performances that make this show a must-watch.
American Horror Story: Coven, FX (14 points)
Georgeanne Oliver—American Horror Story may be the most unique show on this list. The anthology style of the program with its rotating settings and characters but consistent cast keeps it familiar without letting it ever get old. This year we got Coven, a story set in New Orleans about a fighting groups of witches. The already fabulous cast saw the additions of veteran actresses Kathy Bates and Angela Bassett, as well as Precious‘ Gabourey Sidibe, and Emma Roberts, a former teen star who has come a long way since Unfabulous. They all join together to create a refreshingly female-centric, empowering, and deliciously nasty group of witches. In opposition to last year’s dark downer Asylum, which while well-written, wasn’t always inspiring or enticing, Coven‘s stylish witch clothes, fun setting, and historical flashbacks gave this season an exciting and vibrant quality that almost made one want to move to Louisiana and form a coven.
Masters of Sex, Showtime (13 points)
Christopher Peck— Comparing television shows is often unfair, but I myself resisting and yet ultimately failing to compare Masters of Sex to Mad Men. They both are heavy on the thematic, short-story style of drama, they both are period pieces, and they both serve as a way to examine our current archaic attitudes toward sexual relationships through the lens of the past. Their greatest resemblance toward each other, however, lies in its revolutionary energy. Although we theoretically know how both stories will end, I felt during both the first seasons of these shows like I was a pioneer on the cutting edge of something BIG. Maybe that’s why Masters ultimately beat out Mad Men in my rankings, because it felt like fresher territory. It’s not exactly fair, but I can’t help but be hooked by the vibe of Showtime’s new hit. And there are so many selling points. Whether you want to highlight the electricity between Michael Sheen and Lizzy Caplan, the dynamite supporting performance of Allison Janney, or even the heartbreaking storyline of a closeted provost played by Beau Bridges. It wasn’t all success for the first season. There were a few character arcs that fizzled out and often Caplan’s Virginia felt like a cipher for mens’ feelings, but like the subject matters of the study you can’t help but get worked up, for season two.
Top of the Lake, Sundance (13 points)
Christopher Peck—The miniseries has experienced a rebirth of sorts in recent years. Big ratings have been earned by The Bible and Hatfields and McCoys. This miniseries, that aired originally on the Sundance Channel, did not get nearly those kind of numbers, but it piqued critical interest. Between the eerie New Zealand landscape, the feminist bent to the stereotypical child disappearance story and a career-catapulting performance by Elisabeth Moss (Peggy Olsen on Mad Men), it was hard for me to ignore. I’ll admit I don’t frequent the Sundance Channel, but when it became available for Netflix I was drawn in instantly. While some may be deterred by its deliberate pacing and a cult of abused women led by a cryptic Holly Hunter, you can’t ignore the majesty of Jane Campion’s cinematography. The lakeside town is full of mysteries, and some may never be explained, but there are some gut-wrenching answers to questions about the damage done by patriarchal society. Masculinity has never looked so dreadful, but as a man I was uplifted by the message the series conveyed— the cycle can be broken if we just listen to the stories of women. This is a must-watch for mystery lovers and feminists alike that not enough people have seen.
Hannibal, NBC (12 points)
Allyson Johnson—This show is beautiful, masterful with grotesque imagery, disturbing, unsettling and led by two actors who are both charming and unnerving. The disgusting and horrifying has never been filmed with quite the same eye for beauty as it is by Bryan Fuller’s Hannibal which focuses on the relationship between Hannibal Lecter and Will Graham and how the former twists and molds the latter’s mind (already unstable from his career as a criminal profiler) until he is where he wants him to be. It’s one of the most complex relationships on television with Mads Mikkelsen playing up the superiority, devil incarnate-like quality of his character while making us believe he still has some form of remorse for Will’s state of mind. Hugh Dancy created one of the saddest characters onscreen this year as his mental deterioration was one of the most well done as well as one of the most unsettling to watch. Taking twist and turns that I never would have expected, this is a show that leaves audiences riveted and on the edges of our seats.
Avatar: The Legend of Korra, Nickelodeon (12 points)
Georgeanne Oliver—It’s rare that a cartoon intended for children can reach a depth that adults can truly appreciate it, let alone one that can be considered a top show. Nickelodeon, while massively successful, doesn’t find its way onto many critics’ lists. That is truly a shame. The Legend of Korra hasn’t yet become as iconic as the series it serves as a follow up to, Avatar: The Last Airbender, but the underrated show should not go unnoticed because of its channel or medium. In its second season, Korra matured, giving a more sophisticated and realistic look at the world and Republic City’s problems. The characters are multi-dimensional and the relationships are some of the most realistic on TV, starting and ending organically. The word of Avatar is a rich, detailed landscape with beautiful cities and cultures and understandable political and spiritual conflicts, making it as interesting and relevant as any live action program around.
Parks and Recreation, NBC (12 points)
Danielle Gillette—I dare you to watch Parks and Recreation and not be charmed by Amy Poehler as Leslie Knope. Seriously, it should be the new way to distinguish humans from replicants. Parks and Rec went into its sixth season this year and dealt with a lot of changes along the way: Leslie and Ben getting married at the end of season five, April and Andy doing the whole long-distance marriage thing (Chris Pratt was off shooting Guardians of the Galaxy), Leslie in danger of losing her city council position, and Pawnee’s (spoiler!) acquisition of their nemesis town Eagleton. The show doesn’t miss a beat, however, giving its hilarious supporting cast bigger and better plotlines as Leslie tries every way possible to save her spot on the city council. Also, Tatiana Maslany shows up as a guest star love interest for Tom. Told you she was playing everybody. Top episodes of the year: “Leslie and Ben” (3.14), “Jerry’s Retirement” (3.20), “The Cones of Dunshire” (4.9).
Elementary, CBS (11 points)
Allyson Johnson—Jonny Lee Miller’s version of Sherlock Holmes is my favorite version of the Holmes character that I’ve seen. He’s empathetic, he’s vulnerable, he’s a genius and he’s understandable. He isn’t standoffish for the sake of it, all of his actions are backed up by reasoning. This would be enough to make the show watchable but instead the show and creator Robert Doherty try their best to top every other procedural out there. They’ve managed to serialize the series as of late, they’ve solidified the Joan and Sherlock bond and they’ve surprised us. Season one was outstanding because of how it built our characters in new exciting ways—and of course the Moriarty twist—and season two has done it’s best to stand up to the premiere season while adding more and more nuance to their cast and storylines with additional characters.
The Walking Dead, AMC (10 points)
Danielle Gillette—2013 was a great year for The Walking Dead. It wasn’t a great year for all the characters involved – only Game of Thrones tops the beloved character death toll on our list – but for viewers, it was fantastic. The second half of season three brought the Woodbury intrigue to a head and gave us the first Governor vs. Rick battle of the year. We were reunited with Merle and Morgan, the latter of whom was the focus of one of the season’s best episodes, “Clear.” Season four began in October and has been in full force ever since. The showrunners wised up after the stagnant season two and gave the characters a new threat to deal with while they tried to make a home out of their prison: a flu outbreak that suffocated people with their own blood and turned them into zombies with extra-freaky eyes. The midseason finale gave us the second battle between the Governor and Rick, and we’re left waiting for the fallout from that fight. Top episodes of the year: “Clear” (3.12), “Welcome to the Tombs” (3.16), “Isolation” (4.03), and “Too Far Gone” (4.08).
The Americans, FX (10 points)
Christopher Peck—When I heard “In The Air Tonight” blasting in the background as the former Felicity star has sex in a car after dumping a body I knew I was in for a treat. Okay, that’s a shameful plug, but I’m not lying. That happened! And there were many other shocks and inspired music choices to follow. Like Masters of Sex, there is a chemistry that elevates this show between the central couple, played by Keri Russell and Matthew Rhys. But what so intrigued me is that this marriage is a sham, one manufactured as a cover for their true identities as spies for the KGB in the 1980s. Sure the spy thriller is well-trodden ground now, and how are we supposed to root for characters who are actively fighting against American interests? I never said it was plausible, it just works. Add in Noah Emmerich as the neighbor FBI agent who has an affair with a turned Russian embassy secretary and Margo Martindale as the Russian spies’ caretaker and you have a powderkeg of weekly entertainment. While knowledge of the future does often deflate the tension, the show makes up for it with riveting character work and a marriage-and-espionage-aren’t-so-different subject that puts a lump in your throat. Catch up before the new season begins in January if you want to get your fix of solidly plotted and emotional gripping spy drama.
1. Breaking Bad (AMC)
2. Game of Thrones (HBO)
3. Top of the Lake (Sundance)
4. Orange is the new Black (Netflix)
5. Masters of Sex (Showtime)
6. The Americans (FX)
7. Mad Men (AMC)
8. Orphan Black (BBC America)
9. New Girl (Fox)
10. Girls (HBO)
11. Homeland (Showtime)
12. Veep (HBO)
13. Key and Peele (Comedy Central)
14. Arrested Development (Netflix)
15. House of Cards (Netflix)
1. Breaking Bad (AMC)
2. Shameless (Showtime)
3. Orphan Black (BBC America)
4. Orange is the New Black (Netflix)
5. Hannibal (NBC)
6. Brooklyn Nine Nine (Fox)
7. Elementary (CBS)
8. New Girl (Fox)
9. Family Tree (HBO)
10. Sleepy Hollow (Fox)
11. Broadchurch (BBC America)
12. Game of Thrones (HBO)
13. Wilfred (FX)
14. Masters of Sex (Showtime)
15. Teen Wolf (MTV)
1. The Blacklist (NBC)
2. American Horror Story: Coven (FX)
3. Arrested Development (Netflix)
4. Avatar: The Legend of Korra (Nickelodeon)
5. Breaking Bad (AMC)
6. Doctor Who (BBC/BBC America)
7. The Big Bang Theory (CBS)
8. Scandal (ABC)
9. The Graham Norton Show (BBC One/BBC America)
10. Orange is the New Black (Netflix)
11. Once Upon a Time (ABC)
12. Game of Thrones (HBO)
13. The Daily Show with John Stewart (Comedy Central)
14. Orphan Black (BBC America)
15. Psych (USA)