The best TV of 2. Yesterday, The A. V. Club began its survey of the year’s best television programming, counting down from No.

Today, we make our cases for the absolute best TV that 2. Contributors’ individual ballots can be found here. It started out as a show about a lawman—a brusque cuss named Raylan Givens, more concerned with the broad strokes of justice than the fine print.

By the end of six seasons, Justified had become an often- heartbreaking study of one hardscrabble Kentucky county, where poverty and pride mean that nearly everyone’s doing something illegal. Never an “antihero” per se, Raylan remained an unrepentant asshole from the start of the series to the end, even as he had a kid and formed semi- friendly relationships with his boss and co- workers. But he was also a Harlan boy, and after dancing around the meaning of that for five years, Justified’s final season completed the story it had been telling around the edges all along, about the angry kid who chose to insult his criminal jerk of a dad by putting on a badge, and about his two old friends—Boyd and Ava Crowder—who tried to make a stable- but- shady life for themselves in their crooked hometown, even as they were hounded by gangs and cops.

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As befits an Elmore Leonard adaptation, Justified ended with a few unexpected but satisfying twists; what mattered more was that showrunner Graham Yost honored what the characters had lived through, and gave his magnificent stars Timothy Olyphant, Walton Goggins, and Joelle Carter one last chance to deliver some of the most flavorful dialogue on television. And with Jessica Jones, she does her best work to date as the whiskey- slinging private investigator. Pda Formats Pray For Rain (2017) Review Film.

Jessica has moments of intense strength (literally) and moments of intense vulnerability, and Ritter nails it all. And David Tennant is equally successful as the depraved Kilgrave. Despite his superpowers, he seems so real—his actions and words mirror the way abusers treat and speak to their victims in real life. He’s an abusive ex.) His evil masterplan isn’t some spectacular goal like taking over the world or destroying a government. He just goes through his life taking whatever he wants and raping and manipulating young women, and as a result, Kilgrave became the most terrifying supervillain Marvel has ever tackled.

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Jessica Jones works brilliantly with this part of the story, and the whole season explores abuser dynamics beyond just Kilgrave, making for very dark but very smart television that digs much deeper than a “hero versus villain” tale. Mike Colter and Rachael Taylor round out the cast with compelling performances, and Taylor’s Trish Walker becomes a breakout character—more than just a mere sidekick. But in expanding Ansari’s voice to sitcom- size, Master fleshes out the idea of who he is as a comedian and as a person, and he couldn’t be further from the swagger- obsessed Tom Haverford on Parks And Recreation. Ansari’s character Dev is an earnest, well- mannered actor in New York City just looking for a cool woman and the perfect plate of pasta, but Ansari elevates the low- concept log line by infusing the show with his singular perspective.

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Both episodes feature conversations you’d never hear in any other show, but even when Master takes on broader subjects like the creeping inertia of long- term monogamy, it does so with ambitious structural experiments. The show is also the most cinematic and visually appealing sitcom of 2. Ansari’s point of view.

With help from veteran Parks writer Alan Yang, Ansari turned his life into a comedy that shows up fully formed in a way sitcoms never do. To watch it is to see Ansari evolve from a casual acquaintance to a friend you wish you’d gotten to know sooner. Evermore’s conflicted but dogged Sheriff Carl Daggett make his boldest moves yet in getting to the bottom of the crime that sent series protagonist Daniel Holden (Aden Young) to death row; meanwhile, J.

Smith- Cameron’s luminously devoted mother Janet finally makes plain the depth of faith she has in her tortured son. Young’s Daniel himself faces exile from sister Amantha’s (Abigail Spencer) apartment—and his hometown—with the same inscrutably wry stillness that’s made him Rectify’s riveting, enigmatic center throughout.

In the final scene, Daniel and the people who’ve stuck by him through his incarceration and tumultuous release gather around the apartment- complex pool Daniel’s scrupulously been repainting on the final night before his banishment, drinking beer and embracing a last, stolen moment of improbable serenity before the world sweeps them back up in its implacable current. Such are the moments upon which Rectify is built. The season concludes with a rapturously warm and heartbreaking road trip for Janet and Daniel, but their poolside exchange in “The Future” is just as moving in its simplicity: “I wouldn’t mind seeing the ocean again, Mother.” “Why not.” . Jaime Camil’s Rogelio). But just like the telenovelas Jane The Virgin so expertly parodies, the plot could get increasingly complicated as the show moved on from its already high concept of a goody- two- shoes virgin (the divine Gina Rodriguez, who snagged a Golden Globe award for the role) who’s artificially inseminated by her rich former crush’s lovesick sister. So there was some trepidation after the excellent first season, especially with the addition of Jane and Rafael’s (Justin Baldoni) baby Mateo.

But the second season has been just as strong as the first, expertly pulling in the cast of characters that exist within Jane’s orbit. Petra’s (Yael Grobglas) pregnancy scheme, for example, could have been a ridiculous swerve if it didn’t make sure that Petra stayed in Jane’s life for a reason that benefited the plot. Tonally, Jane The Virgin’s second season is also as sweet and funny as the first, possibly more so now that the impossibly cute Mateo is a living, breathing baby, and not just a specter that haunts Jane and all of her relationships.

But none of this would work without Rodriguez, who remains an endearing center to the show, but is able to take on the news layers and complexities that come along with her new role as mom. But the acerbic, hilarious Rick And Morty uses high- concept sci- fi rigmarole to explore the inherent chaos of humanity, and how trying to construct order within it is a fool’s errand.

This season, creators Justin Roiland and Dan Harmon took the misadventures of our favorite alcoholic scientist and his nebbishy grandson (both played by Roiland) to new heights—the literal fracturing of time, battles with memory- manipulating parasites, exploits in universes within car batteries—but what remains constant is how traditional, Earth- bound ethics have no place in the infinite universe. While Rick operates on the assumption that the absurdity of the universe demands a callous, hedonistic approach to everything, Morty tries desperately to do “the right thing,” but the casual horrors of life with his grandfather force him to question everything he holds dear. This extends to Morty’s family too, as Beth (Sarah Chalke), Jerry (Chris Parnell), and Summer (Spencer Grammer) are compelled to examine their own fleeting existences by proxy.

But as much as Rick And Morty illustrates the myriad conflicts that render life such a confounding mess, it also demonstrates how sacrifices small and large (okay, mostly large) can engender good will among those closest to you. Maybe it’s the most unlikely bonds that can transcend the disorder of modern life. Its incisive Hollywoo(d) satire cut even deeper as it tackled institutional sexism, the ethics of eating meat, and the static nature of broadcast television. The absurdity ramped up gloriously with such highlights as a vision quest into a Thomas Kinkade painting, improv comedy as a stand- in for Scientology, and a J.

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