Usually, Valerie Ettenhofer and I do the Midyear TV Report together, but this year we're doing things a little differently, and a little more democratically. We polled the entire FSR team on their favorite shows, we crunched the numbers, and we came up with a list that represents the whole tv landscape... or at least 25 parts of it. And those 25 parts feature not just the best stories, but also the stories we need to hear the most. There are frightening and heart-wrenching and challenging shows on this list, to be sure. Some of them are right at the top. But many more are bright and warm and filled with love in all its forms -- love among friends, love within families, love between couples, and love for the world. Our #1 pick is a self-described love story, with a main character whose love has been displaced and left her lost. "I don't know what to do with it," she says. "With all the love I felt for her. I don't know where to put it now." It's a loss everyone has felt, even if they couldn't find the words. At least on our end, we're putting it in TV. Made with science and magic and lots of Excel algorithms, here's the FSR team's definitive ranking of the best TV the first half of 2019 had to offer. 25. Good Omens It’s been nearly thirty years since the publication of Good Omens, the beloved account of the endtimes co-authored by Neil Gaiman and the late, great Terry Pratchett. And now, with Gaiman himself at the helm, the novel has finally come to the screen in an adaptation that’s remarkable for being what so few things are: utterly true to its source material. And best of all is the unmatched chemistry between David Tennant and Michael Sheen as Crowley and Aziraphale, a demon and angel who love Earth and each other and would rather not do the whole apocalypse thing, thank you very much. While the show occasionally glosses over some details or dwells on others, on the whole it’s a delight. Book lovers will be thrilled and, most importantly, Terry Pratchett would surely have been proud. (Liz Baessler) 24. Euphoria It’s been a particularly anxious and apocalyptic year for storytelling in both movies and TV, and yet nothing could have prepared audiences for the loud and seismic arrival of Euphoria. Deceptively billed by the headlines as an explicit but empty flash in the pan that is the teen genre, the show is instead a visceral and empathetic portrayal of modern teenage life, with a heady tone that suggests desperate times create desperate young souls. Viewers might be turned off by its lightning-speed pace and bleak atmosphere, but this is the first teen drama that refuses to settle for a simple, nostalgic retreat to the awkwardness of high school, instead fueled by a clear intent to capture the current realities of a generation raised on Internet cynicism and Pornhub. And based off its first four episodes, these kids are too busy chasing highs and navigating thrilling situations to simply wallow in despair. When a show opens in utero, follows almost a dozen different characters, and has a mid-season climax shot in long takes at a giant carnival, you know you’re dealing with a new breed of coming-of-age TV. (Fernando Andrés) 23. Brooklyn Nine-Nine It can be a cruel, depressing world out there, and when you’re feeling down there’s nothing quite like the Dan Goor/Michael Schur brand of “nicecore” comedy to take the edge off — which is why last year’s news of Fox’s cancellation of their beloved police sitcom inspired outrage across the internet. Luckily, NBC came to the rescue. While season 6 might have been a little shorter than its predecessors, Brooklyn Nine-Nine remained the same hilarious, wholesome content viewers know and love, no worse for wear after its move. Chelsea Peretti’s departure marked the first exit of a principal cast member, and while Gina will never be replaced, the rest of the 99th Precinct kept going strong throughout the season with a little help from an excellent slate of guest stars including Lin-Manuel Miranda and Sean Astin. Not every sitcom can stay funny after six years, but as the latest season came to an end with more than a few hints towards what’s to come, all signs point to Brooklyn Nine-Nine remaining one of the most consistently enjoyable, warm-hearted sitcoms on television. (Ciara Wardlow) 22. Tuca & Bertie The brainchild of BoJack Horseman producer and production designer Lisa Hanawalt, it’s tempting to approach as Tuca & Bertie as “female BoJack.” And it’s true that the show shares many of BoJack’s best qualities, namely an absurd but devastatingly frank examination of the human condition… with animals. But as distant as BoJack is with his tv career and Hollywoo mansion, the titular Tuca and Bertie (Tiffany Haddish and Ali Wong) are utterly relatable as they deal with anxiety, sobriety, career ambitions, and what it feels like, in seemingly minute but monumental ways, to be a young woman in a man’s world. I’ll admit that I don’t know what it’s like to watch this show not as an American woman in her thirties, but I’d go so far as to call it required viewing for everyone who isn’t. The show starts a little heavy on the kooky side, but stick with it -- there are devastating and vital depths in store. (Liz Baessler) 21. One Day at a Time The multi-cam sitcom is a vivid mix of comforting throwbacks and clever subversions, with a big heart and boldly asserted moral compass. The series follows the Alvarez family; single mom and PTSD-suffering veteran Penelope (Justina Machado), hard-headed queer activist daughter Elena (Isabella Gomez), cool kid brother Alex (Marcel Ruiz), and spirited, traditional grandmother Lydia (Rita Moreno), along with their friends, neighbors, and love interests. As with other seasons, the third’s most memorable moments were teachable ones, like when Elena and her nonbinary partner reveal that they’ve been staying inside because of a threatening experience they had with homophobic strangers, or when reformed addict Schneider (Todd Grinnell) falls off the wagon in a big way. But it’s the smaller moments -- casually spoken Spanish with no subtitles, universally embraced gender pronouns, and the like -- that made ODAAT a truly progressive show, one that will always have a home in our hearts. (Valerie Ettenhofer) 20. Schitt's Creek At present, Schitt’s Creek is the crown jewel of the Canadian Broadcasting Corporation and so it should be. Now finished its fifth season, the show tells of a wealthy family who loses their fortune — but find each other; making a home for themselves in a town they’d originally purchased as a joke. The recent, penultimate season picks up with our established relationships, prodding and poking them to test and breach their boundaries: Johnny is a wreck without Moira, David keeps taking swigs from the well of self-sabotage, and Alexis is…well, Alexis. Creator, writer, star, and director Dan Levy has cemented himself as a force to be reckoned with. Each season of Schitt’s Creek has only improved upon itself; peddling in steady transformations, loopy lightness, and the occasional hard truth. What makes the show so special is the humor it finds in how much its characters care for one another. That’s a rare gift. We’re lucky to have it. (Meg Shields) 19. The Twilight Zone Between the pit of one's fears and the summit of one's knowledge rests The Twilight Zone. Never believing in art for art's sake, co-creator and host Jordan Peele enthusiastically continues his pursuit of social thrillers by resurrecting Rod Serling's brilliant sci-fi anthology series. In the decades since its initial lifespan, The Twilight Zone has seen multiple attempts at new life, but few eras were as hungry for its particular brand of storytelling as 2019. As creators and viewers, we currently have a deep craving for our entertainment to speak truth to power, and every week this reboot forwent subtlety to scream its rage upon the screen. If you're looking for a carbon copy of the classic series you may be disappointed or appalled. With runtimes stretching more than double, and a far coarser language spitting from its players, the new Twilight Zone is allowed to jab more bluntly. We need and deserve its edge. (Brad Gullickson) 18. Broad City After five seasons, it’s time to say goodbye to Abbi Jacobson and Ilana Glazer’s beloved Broad City. The final season was bittersweet and sincere: the perfect swan song for one of television’s most genuine friendships. It’s full of callbacks and Easter eggs without sacrificing the growth necessary for a strong finale. Glazer and Jacobson are as on top of their game as ever but Jacobson is a standout, embracing a new and exciting path in her onscreen alter ego’s journey. Abbi and Ilana are venturing into a new world without each other — and without us — and hard as it is to see the raunchy comedy go, we’re left with more hope than heartache. (Kristen Reid) 17. True Detective After a long hiatus, True Detective returned with a grim story of the murder and disappearance of two children. Many people found the second season to be disappointing, but this third installment brought heartbreaking and surprising moments that made up for it. Mahershala Ali balances playing his character Detective Wayne at three different points in his life perfectly. His chemistry with partner Roland (Stephen Dorff) makes the dark nature of the story a little bit more watchable. This season captures the obsession that follows an unsolved and mysterious case and brilliantly executes the investigation over three different time hops. (Emily Kubincanek) 16. Gentleman Jack Based on the diaries and life Anne Lister, Gentleman Jack is a wholly different kind of period drama. With one of the best performances of the year provided by the impeccable Suranne Jones, Gentleman Jack introduces the world to the first recorded woman to collect her own land tax from her tenants and lead a life as a lesbian woman who toyed with gender identity. This first season chronicles Anne’s return to her home in Halifax in 1832. Having been jilted by yet another partner to whom she was devoted, Anne finds a flame in the young and rich Ms. Ann Walker. The series, draped in stunning period costumes and landscape, allows Lister to take agency over her own story, with Jones consistently breaking the fourth wall -- addressing the audience directly. It’s the employment of and commentary on such necessary topics as female desire, mental health, and open sexuality that the series handles with absolute grace and intricacy much like the lace of Ms. Walker’s shawl. It’s a stunning, riveting series with orchestrations consisting of such an energetic verve. There’s such care handled in this series, and with a second season ordered, the brilliance of Jones and the excitement of Anne Lister’s life will return for yet another chapter. (Julia Teti) 15. Game of Thrones Season 8 of Game of Thrones may not have gone down in a way that satisfied every fan of HBO's flagship show of this decade, but it died as it lived, delivering spectacle unlike anything seen elsewhere on television. And for that, it deserves credit. The writer's room had been playing a dangerous game of adaptation-turned-improv for some time, but the artisans and cast of this show did not flinch -- they delivered some of their best work down the home-stretch. In fact, if you'd like to feel better about how it ended, watch Jeanie Findlay's The Last Watch, the feature-length documentary about the folks who built Westeros with their own blood, sweat, and tears. Season 8 was a much a celebration of what the Game of Thrones team had built in 8 seasons as it was the end of this particular story. And whether you found the ending of the story satisfying or not, it's hard to overlook how great it was along the way. (Neil Miller) 14. The Other Two With The Other Two, creators Chris Kelly and Sarah Schneider deliver an uproariously funny pop culture satire that doubles as a surreal and moving exploration of family, love and identity in the age of Tik Tok. The series follows siblings Carey (Drew Tarver) and Brooke (Heléne Yorke), two struggling artists pushing thirty who are increasingly disillusioned by lack of work and the absurd, rapidly changing entertainment industry they desperately want to be a part of. So when their 13-year-old brother Chase (Case Walker) skyrockets to global stardom with a single YouTube video, Carey and Brooke take it as a sign from the universe to break into the business behind him. But instead of settling for cartoonish narcissism, the series makes creative and mature detours with each episode, putting the siblings through increasingly nightmarish showbiz scenarios that cut right to the emotional and thematic meat of the series. Ultimately, what sets this struggling-NYC-millennial saga above the rest are the subversive and challenging questions it asks with each joke and storyline, covering a range of topics from internalized homophobia, the exploitation of minors in Hollywood, and unprocessed grief, an element explored to great effect through the siblings’ mother, played by the always-excellent Molly Shannon. (Fernando Andrés) 13. You're the Worst Few shows have evolved from average to insightful to addictive to beloved as well or completely as You’re the Worst. The FXX series said its goodbyes this year, and though it was overshadowed by, er, flashier final seasons, you needn’t look further than the series’ final moments to understand its greatness. You’re the Worst follows cynical lovers Gretchen (Aya Cash) and Jimmy (Chris Geere), along with their best friends Lindsay (Kether Donohue) and Edgar (Desmin Borges). The series started out as an exercise in black-hearted bitterness but soon morphed into an immersive, touching exploration of mental illness, even as its comedy became more hilariously surreal. The finale’s last scenes -- one a montage of several years’ time set to The Mountain Goats’ bleakly romantic song “No Children,” the other a jarring yet lovely exchange of dialogue between the two leads -- are singular and hard-hitting in a way that few closing chapters dare to be. You’re the Worst will fuck you up if you let it, but you should definitely let it. (Valerie Ettenhofer) 12. PEN15 Last year's Eighth Grade, directed by Bo Burham, captured the essence of graduating middle school, but there has yet to be another series to capture the full-on embarrassment, awkwardness, and puberty changes displayed in PEN15. The comedy series follows two 13-year-old best friends on their first day of seventh grade, and their struggle to fit in. What makes the series so fascinating is how the series creators Maya Erskine and Anna Konkle play their 13-year-old selves, while 13-year-olds portray all the other kids. Viewers will quickly grow used to these grown women playing kids, as they will soon relate to their middle school experiences, and cringe from the second-hand embarrassment. PEN15 is a time capsule to be enjoyed by all as the series takes place in the year 2000 while still being relatable enough to viewers who didn't experience middle school at the time. The series is smart, weird, hilarious, and most importantly, a triumph in storytelling. Erskine and Konkle play the best damn 13-year-olds you will see on television as they take you through their middle school experiences brimmed with vivid detail. (Carl Broughton) 11. Veep The conclusion of VEEP’s seventh and final season was one of the strongest episodes of TV this year and a brilliant, hilarious, and surprisingly affecting reminder that this show will be dearly missed. The season, with a limited episode count of only seven, took us on one last ride where Selina’s (Julia Louis-Dreyfus) latest presidential bid saw her facing down the worst of the worst that DC had to offer and trading insults faster than the female interns fleeing a room with Jonah Ryan (Timothy Simons). The show packed an unexpected amount of heart thanks to a consistently masterful performance by Tony Hale as Gary, Selina's right-hand man and the only character with a conscience. VEEP's swan song perfectly demonstrated why the show was so beloved without losing its cynical edge with fan-service. It was a fitting end to one of TV’s truly great laugh-out-loud comedies. Now that it’s over, it's time for everyone to focus on what really matters: getting Anna Chlumsky that Emmy award. (Anna Swanson) 10. What We Do in the Shadows A spin-off on the 2014 film of the same name, Jemaine Clement and Taika Waititi invite mere mortals into the shadows for the bloody delightful FX series. Set in the mockumentary style, a la The Office or Parks and Recreation, What We Do In The Shadows follows three vampires of Staten Island in their daily -- in this case nightly -- lives and the shenanigans and hijinks they encounter or find themselves in. For fans of the original film, there’s little disappointment to be found here. Combining vampire lore with an absurdist, idiosyncratic look and tone, the series provided one of the best cameo episodes of the year with more than enough blood in its body for fans to sink their teeth into. The sardonic humor and wryness of its cast make for all-around standout performances, while the writing keeps the coffin cracked for possibilities. The series has been renewed for a second season. Hide the garlic, these vampires are here to stay. (Julia Teti) 9. Big Little Lies A pop culture phenomenon in its own right, Big Little Lies walks the fine line between memeable high melodrama and vital storytelling about the inner lives of women. There are so many reasons to be thankful for this show. There’s the emotionally raw exploration of assault and abuse, which continues now as Jane (Shailene Woodley) and Celeste (Nicole Kidman) struggle to keep their composure when faced with harsh realities about Perry’s (Alexander Skaarsgard) true nature -- with Bonnie (Zoe Kravitz) caught in the crossfire. There’s the wicked commentary on how to parent a generation whose world might be gone by the time they’re grown. And then there’s the downright delicious stuff, like Laura Dern’s screaming boss bitch Renata, Reese vs. Meryl in a battle between the short and the weird, angry-hot-nerdy Adam Scott, and, of course, that dreamily infectious theme song. With several episodes to go in its second season and no source material left to stick to, Big Little Lies is poised to be the prime-time gift that keeps on giving. (Valerie Ettenhofer) 8. Sex Education Look, you guys. It cannot be all of your vaginas. Sex Education fell into our Netflix queues this past January like a delightfully unexpected handful of free condoms. The show follows the precocious (and ironically sexually reluctant) son of a renowned sex therapist, and the unexpected journey he and his ragtag pals take starting a sex therapy clinic at their high school. While the underlying gambit might not be all that earth-shattering (those doing the helping are in need of help themselves), Sex Education’s appeal is in its compelling characters, endearing indelicacies, and undeniable heart. It’s a teen sex comedy that respects its teens and manages to strike the delicate balance between sweetness and wisdom. What’s not to love? Sure doesn’t hurt that it’s gorgeous to look at either. (Meg Shields) 7. Killing Eve Season one of BBC America’s spy thriller Killing Eve took the world by storm last year, garnering a historic Golden Globe win for star Sandra Oh and a BAFTA for Jodie Comer. Self-defined as “untraditional,” Killing Eve gives a different female showrunner a chance to take the reins each season; Emerald Fennell took over from creator Phoebe Waller-Bridge, who stayed on as an executive producer, and Suzanne Heathcote (Fear The Walking Dead) will helm season three. Following a dramatic cliffhanger at the end of season one, Villanelle and Eve’s captivating game of cat and mouse further evolves into something even murkier. The already-cloudy lines continue to blur as each character scrambles to stay just one step ahead of the other. In addition to Oh and Comer’s enigmatic chemistry, Fiona Shaw is a scene stealer with her impeccable performance as Eve’s cryptic and ruthless boss, Carolyn Martens. Season one may have set a high bar, but with a killer follow up, Fennell and Waller-Bridge prove that was by no accident. With another twist-laden finale, we’re once again holding our breaths, desperate for Villanelle and Killing Eve’s return. (Kristen Reid) 6. I Think You Should Leave with Tim Robinson When it comes to sketch comedy, the more ridiculous the better. I Think You Should Leave with Tim Robinson nails that. Each sketch is more bonkers than the last without ever feeling like it's trying too hard to get the laughs. It's hard to have a sketch show center around one comedian when some tend to sit in similar characters, but Robinson's characters are so different and funny in various ways. It's a show that you think you know your favorite sketch but then remember even better ones as you talk about it with other people. The only shame is that episodes are only 15 minutes long, but luckily we are due for more Tim Robinson since the show was renewed for a second season. (Emily Kubincanek) 5. When They See Us When They See Us is the hardest show to watch this year, but the most necessary. Ava DuVernay brought to life the aspect of The Central Park 5 that the world didn't get to see in the documentary about them in 2012: what happened after they were convicted. Perhaps the most heartbreaking aspect of their story is what happens after the entire trial and they are older, struggling to live a normal life when so many deemed them undeserving of one at all. Somehow seeing their story dramatized rather than simply told in interviews makes it more real to those who don't experience this kind of prejudice firsthand. We don't just hear their story; we see it. (Emily Kubincanek) 4. Russian Doll Netflix’s Russian Doll is a dizzying time loop of strange encounters, jarring needle drops, and sudden deaths — it’s also one of the best seasons of television released this year, an eight-episode mind-bender with a raucous sense of humor. Nadia (the incomparable Natasha Lyonne) mysteriously relives the night of her 36th birthday over and over again, unsure of how it began, how to escape, and what she did to deserve it. Her theories grow increasingly nutty: was it the cocaine-laced joint that her friend Grace shared with her? Is the apartment building where her party takes place haunted? Or is it a matter of purgatorial repentance, where Nadia has to do good by those around her to be released from the loop? Saying too much about Russian Doll risks diluting its magic — but rest assured that it is magic, and naughty and exhilarating, like an impossibly addictive video game that won’t let you die without sending you right back to the beginning, forcing you to retrace your steps again and again. (Jenna Benchetrit) 3. Chernobyl We all know that nuclear weapons are scary—it’s why they’re the go-to world-endangering threat of [insert action franchise here]. Nonetheless, it can be easy to forget that the scariest thing about nuclear power has nothing to do with its ability to make the biggest boom, but the radioactive fallout that comes afterward. Or at least, it used to be, until HBO’s impeccable five-part Chernobyl miniseries brought history’s worst nuclear accident to date to life on the small screen in a way that will be seared in every viewer’s brain forever afterward. With incredible sensitivity and an impeccable eye for detail, writer Craig Mazin went back and turned the April 26, 1986 explosion at the Chernobyl Nuclear Power Plant and its fallout into one of the most gripping, horrifying, and well-crafted shows you’ll see on television all year. With a stellar cast led by a magnificent Jared Harris as conflicted nuclear scientist Valery Legasov, Chernobyl is can’t-miss TV that will leave you thinking long after you’ve binged through its 5-hour runtime. (Ciara Wardlow) 2. Barry There are few shows that can handle following Game of Thrones on Sundays, but Barry did it easily. The first season was a solid dark comedy, brilliantly done but simple. This season proved it can get weirder without getting any less serious. Barry hits some tough emotional moments that are not limited to the titular character either. The supporting characters in the show provide some of the season's best moments: NoHo Hank in a wig, Sally's exasperated monologue in "The Audition," and the subhuman girl in "ronny/lily." If you ever doubted that Bill Hader is a talented motherfucker, this second season will prove you wrong. (Emily Kubincanek) 1. Fleabag "This is a love story." The first season of Fleabag was exceptional, but this spring’s second (and final) season is probably one of the best pieces of tv this decade. Written by and starring the inimitable Phoebe Waller-Bridge, the new season follows the eponymous Fleabag as she continues to grieve her mother and her best friend, and does one thing she didn't quite accomplish in the first season: she begins to heal. And as things get better for Fleabag, things get miraculous for the audience. The show’s routine 4th wall breaking, once a fun conceit, becomes integral to the narrative in a way that’s as surprising as it is expertly executed. And the addition of Andrew Scott as The Hot Priest is enlightening. You hear a lot of good things about Scott’s performance (they're all true) but the finest of these is his unbelievable chemistry with Waller-Bridge -- in a show that often makes you want to hide your head under a pillow with anxiety (in the best possible way) their scenes are charged with an electricity and wit that will have you rewinding just to watch them again. Where the first season dealt heavily in grief, bitterness, and comic aloofness, the new season reaches through to what's beneath all those things: love. And it's magnificent. (Liz Baessler)