The Kallys: TV & Streaming: Best of 2023
As 2023 draws to a close, I wanted to try and capture some of my favourite TV and streaming shows that I watched during the year (including a handful of pre-2023 shows). To make things slightly more interesting for myself, rather than creating a standard end of year “Best Of” list, I thought it might be fun to trojan horse my “best of list” into a subjective set of awards that I’m christening the kallys®. Feel free to scribble down the names of the shows below (or download this nifty PDF cheat sheet if you prefer), which you can knowingly pawn off as your own tasteful recommendations to impress your friends and family when you’re stuck for something to watch. I’ll also share other awards for podcasts and films in the coming days. Anyway, that’s the pre-amble, I hereby welcome you to the first ever kally awards® for excellence in televisual broadcasting and streaming.
the kallys® | acting awards | show awards | bizarre bonus awards
Extraordinary (Hulu/Disney+)
I stumbled across Extraordinary by pure fluke and what a marvellous madcap thing it is. It’s an almost impossible show to describe, but it has a really original feel to it and the writing is super sharp from creator Emma Moran. It’s foulmouthed and funny, with whipsmart, inventive storytelling. There’s also something brilliant about the absurdity and mundanity of the superpowers people have in this world – everything from a 3D printing arse to the ability to turn anything into a PDF. I don’t know what I was expecting, but this show bowled me over. It’s bursting with genuine moments of surprise and delight. Special praise goes to Máiréad Tyers as Jen, whose blend of wit and weirdness keeps the show motoring. But ultimately this is a proper ensemble show with a mostly unfamiliar cast (at least to me) who work really well together. I could call everyone out but I wanted to give a special shout-out to rubber-faced Luke Rollasson and the brilliantly bonkers Siobhan McSweeney (who made me do a DiCaprio and shout “Sister Michael from Derry Girls!”). The episodes are short & sharp, so you’ll blaze through them (as I did) and it’ll leave you wanting to see more of this world and its characters
Shrinking (Apple TV)
Harrison Ford, Jason Segel, Jessica Williams
Shrinking is the brainchild of lead actor Jason Segel, Bill Lawrence & Brett Goldstein (the creative minds behind shows like Scrubs and Ted Lasso), so its not a huge surprise that it has lots of charm, laugh out loud moments and pretty quotable dialogue. Jason Segel is his usual relatable everyman goofball and you can’t help but root for him. Alongside him is a career best performance by Harrison Ford as a curmudgeonly senior psychiatrist ( Brett Goldstein’s story of casting him is priceless). Ford’s comic timing is bang on the money and his chemistry with Segel is undeniable. Jessica Williams is also utterly fantastic as Gaby, and she lights up every scene she is in. Overall, Shrinking is a really well written comedy-drama with strong supporting performances from the entire cast. Easy viewing with proper laughs. What’s not to like?
What We Do In The Shadows (Hulu/Disney+)
Matt Berry
It’s hard to argue against the brilliant premise of this mockumentary about vampires living in Staten Island. Throw the comedy pairing of creators Jemaine Clement & Taika Waititi in the mix and you’re into instant classic territory. But the case for immortality is confirmed by the casting of comedy icon Matt Berry as the boorish, bonkers vampire Laszlo. Matt Berry is a bit of a Marmite performer (and an amazing musician), but personally I love his offbeat inflections and unique voice. Matt Berry is at his best when he’s being Matt Berry, and here he’s given leeway to go full tilt. It’s no surprise that the part was written for him. The entire cast is super, but Berry is why I keep coming back to this strange, silly, funny show. If you’ve been wondering if you should watch it, consider this your vampiric invitation to come in and enjoy it
Poker Face (Peacock/Sky)
Natasha Lyonne
A murder mystery-of-the-week show from the mind of Rian Johnson (Knives Out) with Natasha Lyonne as a chain smoking, foul mouthed chancer with a unique skill for spotting liars you say? I’m in. Again, Natasha Lyonne is another Marmite type of actor, with her distinctive husky New York accent, but it works perfectly for this fun, snappy series. There is a thin thread that connects the overarching story, but this show is really all about the weekly adventures of our heroine. There is real charm to her performance as a downtrodden detective and sometimes the biggest laughs come from her little throwaway lines. It is not a show that will linger forever in your mind, but as disposable episodic tv goes, its a really charming, funny and entertaining show.
The Patient (Hulu/Disney+)
Steve Carell and Domhnall Gleeson
This show flew under the radar for a lot of people, perhaps due to its dark subject matter, but it is well worth a look, not least for the terrific central performances by Steve Carell and Domhnall Gleeson (one of Ireland’s best actors I reckon). On the face of it, this is a grim downbeat show about a therapist held captive by a serial killer who wants to change his ways, but it plays out like a brilliant, tense two-hander play that explores faith, relationships, psychosis and our capacity for change. Carell continues to make interesting choices in his career and this is a taciturn performance that says loads with very little. And Gleeson has the remarkable ability to bring empathy to a truly monstrous, confused character. Make no mistake though, this is not bright and breezy light entertainment, but if you’re looking for something that challenges you, then this is worth a watch.
Station Eleven (Max/Lionsgate+)
Mackenzie Davis
Station Eleven is not just another tale in the strangely crowded post-apocalyptic genre. Instead it is a thoughtful story that navigates the complexities of survival, human connection, and the enduring power of art amongst the ruins of “civilization”. The ensemble cast is stacked with top performances (shout out to David Wilmot and Himesh Patel), but, Mackenzie Davis is the real heart and soul of the series for me. Her subtle portrayal of the brittle, haunted character of Kirsten Raymonde , is infused with just the right mix of vulnerability and strength. The series itself (based on Emily St. John Mandel’s prescient novel about a global pandemic) spins a slow-burning, compelling narrative that isn’t afraid to tackle big questions about life and art. I’m a firm believer that art is the great connector in this universe, and this show manages to say that in such an elegant watchable way.
The Bear (Hulu/Disney+)
The first season of The Bear was a brilliant bubbling pot of workplace drama in a commercial kitchen that almost felt like a documentary at times. I loved how it managed to balance deep human emotions with comic exchanges. The only minor quibble for me was the “deus ex machina” escape from disaster in the final Season 1 episode. But you can almost forgive the showrunners for that given the pure quality of the show overall. With the arrival of Season 2, everything was kicked up a notch (to borrow a phrase from TV chef Emeril) and its standing in Hollywood must have been high, because the guest actors they convinced to come onboard this season are another level (Olivia Colman, Will Poulter, Bob Odenkirk, Gillian Jacobs, Jamie Lee Curtis!!). It’s as if Season One was simply the starter, and now we have moved on to the sumptuous main course. The central performance by Jeremy Allen White as Carmy was spellbinding. An essential lesson in less is more. And each episode builds on the last. The “7 fishes episode” is the one that everyone is talking about, and rightly so, it is one of the best episodes of tv of this year (or any year). But my personal favourite episode was Forks, where cousin Richie (Ebon Moss-Bachrach) spends a week learning life lessons at a high-end restaurant. His acting was pinpoint perfect and you’ll never see a Taylor Swift needle drop more expertly delivered. I was absolutely engrossed from start to finish, and the episodes are remarkably short so it is easily consumed in a short sitting or two. This is truly top drawer drama and extremely worthy of your time.
Mindhunter (Netflix)
I’m a huge David Fincher fan, so when I heard a that he was the creative force behind the Netflix series Mindhunter I was intrigued. A drama that follows 1970s FBI agents profiling serial killers in order to understand and catch them sounds fascinating, but never felt like the right choice when I was ready to unwind after a long day. But one evening I decided it was finally time to give it a go and I instantly understood why others were raving about it. Netflix clearly spent a lot on this show and it shines through in the production values, which ironically is one of the reasons it got canned (that and Fincher’s availability). The casting is top drawer, with actors I was unfamiliar with, especially Anna Torv who stood out in a packed array of talent. The show is eerie, interesting, gripping & grim, and you really should watch it.
Ted Lasso (Apple TV)
To use a footballing analogy, Ted Lasso used to be the beating reliable heart of midfield, but the legs started to go a little wobbly towards the end of the final season. While I definitely had quibbles with the dreamy montage at the end of the series, I just couldn’t help but root for Ted and his team of oddballs. Broad and silly at times, but delivered with such heart & humour. It featured career best work from Jason Sudeikis (the sweary scene with his mother is terrific), with outstanding performances from Hannah Waddingham, Phil Dunster (“Holy Guaca-mole-eh”) and Brett Goldstein as always. But my man of the match this season was Brendan Hunt. His scene on Nate’s doorstep as he recounts Coach Beard’s life story was the epitome of this show at its best. Sure enough, this final season meandered as it tried to wrap things up, but ultimately it was impossible not to submit to its charms.
The Last Of Us (HBO/Sky)
While nobody is really craving post-apocalyptic stories centred around a pandemic, HBO nevertheless managed to create two of the best ever in recent years. First came Station Eleven in 2021 (see the acting awards above) and then this year came the long-awaited adaptation of The Last of Us video game. As someone who immersed themself completely in the incredible game, I definitely had my doubts about the translation to the tv screen. But I needn’t have worried. The show draws on everything that made the game great, while also managing to build artfully on it. When I sat down to watch it with my wife Jessica, she groaned and said she wasn’t interested in “another zombie story”. Knowing the rich source material, I felt fairly sure that it was going to be true to the spirit and story of the game, and assured her it was worth sticking with. Far from being a plodding crisis-of-the-week zombie story, it unfurled as a story about love and what makes us truly human. Jessica was soon hooked on it as much as I was. Of course, I had heard that the biggest deviation from the game was in Episode 3 (with Nick Offerman and Murray Bartlett) so I was a bit wary, but it ended up being the best episode of the series. I might even go so far as to say that episode is up there with the best things I’ve ever seen on tv (It would even work as a standalone film I reckon). If you haven’t watched this show yet, then I urge you to give it a go. And knowing what’s yet to come in the story from the second game, the next season has the potential to put it in the rarified upper echelons of best show ever.
Flight of the Conchords (HBO/Sky)
My eldest son and I have been watching this low-key slice of genius together this year, and it is an absolute delight. In truth, it was even better than I remembered it (and I loved it at the time it came out). Not only are the low-stakes adventures and central performances super funny, but the songs are genuinely top class – from Bowie parodies to hip-hop hits, alongside classic catchy tunes like Business Time, they are almost all perfect. While Bret and Jemaine are the undisputed stars of the show, it is the supporting ensemble of characters that take it to another level, with special praise reserved for the mellow genius of Rhys Darby as their hapless manager Murray , as well as delightfully quirky turns by Kristen Schaal, Eugene Mirman and Arj Barker. I urge you to call a band meeting (present!) and watch this show again.
Silo (Apple TV)
Silo is a surprisingly watchable sci-fi show. I gravitated towards it because of the fascinating backstory of how the author, Hugh Howey, self-published the source material on Amazon while (ironically) working at a book shop. While it trades in a few cliches and telegraphed clues (If Tim Robbins is being paid to be in the show, you can be sure he has a bigger role to play in the story), it actually weaves a relatively suspenseful tale. Some actors shine (like Harriet Walter, who was also in Ted Lasso and Succession) more so than other actors (I love you Common but you are out of your depth in this Silo), but what really stood out was the the art direction, which managed to feel familiar and also quite unique. This isn’t a show that’s going to knock your socks off, but as mystery box shows go, its worth a look
Barry (HBO/Sky)
This year saw the fourth and final season of Bill Hader’s funny and twisted tale of a hitman place itself firmly in the all-time-greats category for me. The show manages to balance assuredly between super dark subject matter and genuinely hilarious humour, and is dotted with top drawer performances from Anthony Carrigan, Sarah Goldberg, Henry Winkler, Stephen Root (who basically does career best work in everything he is in) and especially Bill Hader (I loved him on SNL but had no idea that he had this in him). But it was the deft direction of these shows that really caught the eye. Hader has a real gift as a director and it’s evident he is a massive film nerd, as you can see his influences in so many of the shots and compositions he chooses. Barry is easily my favourite show of the year and the whole series is a masterclass in tension and compelling character-based storytelling. If you haven’t seen it yet, do yourself a massive favour and start at the beginning. I wish I could see it again for the first time.
The Leftovers (HBO)
The Leftovers is a show that ended its run on HBO back in 2017 and, funnily enough, I completely missed it when it came out, but I am so glad I found it. I have not stopped thinking about this show since I saw it and I really can’t say that about many tv shows. In particular, the final scene of the series between Carrie Coon and Justin Theroux is the perfect conclusion to this philosophical, mystical, meandering story that spans continents, time and space (with a simple story about human relationships at its heart). I would argue that this is one of the most overlooked shows of all time, perhaps in part because the writer Damon Lindelof carried some unfair baggage from his time as a writer for LOST. While there is a mystery box element to this show (like his previous work), it has so much more depth and weight to it. Unlike LOST, The Leftovers is a really good show from start to finish. But why is it so good? It’s actually hard to really pinpoint. As a writer I can’t really look much further than the writing itself (both Lindelof’s screenwriting and the source novel from Tom Perrotta), but it’s also thanks to perfectly cast actors who manage to truly elevate it into art. And like any great piece of art it leaves room for the audience to interpret it. To me it is a profound, thoughtful meditation on faith, grief, loss, identity and the human condition. Sounds super deep man. That’s because it is. And I’m aware that this is not a show for everyone (even I had to persevere with the first episode) and some of this might sound like hyperbole, but I wasn’t joking when I said I haven’t stopped thinking about it since I saw it. In a world where we have one eye on our phone while a show plays on TV, this show is different. It demands your attention and it doesn’t offer easy answers, but instead, almost poetically, examines the things that make us who we are. If you want to be challenged and immersed in a captivating creative world, then I urge you to seek this out. It might just be the best thing you will ever see. It’s certainly one of the best things I have ever seen.
The Morning Show (Apple TV+)
Modern streamers have a built-in button to “Skip Intro” which can come in handy if you’re bingeing a bucketload of episodes in a row, but I also feel it does a disservice to the artists who put such effort and creativity into those title sequences. I’ve recently decided to not skip the intro and immerse myself into the world of the show through the tone and style set in the opening sequence. One of the best examples is the intro to The Morning Show, which is Apple TV’s glossy soap opera masquerading as prestige drama. I don’t dislike the show but it really doesn’t grab me, with the exception of Billy Crudup who appears to be in a different show to everyone else, veering delightfully between panto villain and Shakespearean anti-hero. But I digress. The title sequence is a thing of beauty. It’s arrestingly simple with a catchy song (Nemesis by Benjamin Clementine) and the elegant animation of coloured balls ascending the (corporate) ladder. The title sequence could so easily have been a bunch of sweeping shots of its stars with middling forgettable music, but instead it has echoes of Saul Bass and jazzy 70s cinema. Go on, give it a look and try not to tap your toes and smile. As for watching the show itself, you have the remote control, the choice is yours.
Bodies (Netflix)
This show has a handful of ingredients I like. Time travel. Story arcs on multiple timelines that converge; Mystery to be solved; Stephen Graham (I’ll watch anything with him in it. Clearly); Some positive promotional fanfare. So, I duly obliged like the voracious consumer of streaming content that I am. But it just didn’t grip me at all. It’s not terrible and it does have some style. The production design is actually great, especially the World War 2 era sequences. And Stephen Graham does a good job despite the clunky dialogue and bad wigs. However, it was ultimately just a bit boring and there was a weird kind of sterility to it all. There was no real emotional heft to it. There’s only one way to describe it. It felt like a show made by an algorithm. Perhaps its time to clear my cache & cookies and pick another timeline.
The Lazarus Project (Sky/TNT)
The Lazarus Project is a show I really wanted to like. I’m basically up for any story that involves time travel and this seemed like a cool concept (secret organisation that reboots time in the event of a cataclysmic event), so I was all in, and there was lots to love about it. Nice cinematography, good musical score and some decent actors (Caroline Quentin). But it had a strange problem. It had two very different competing tones. On one hand it was a moody thriller with adventurous escapades. And on the other hand it had goofy, broad humour coupled with odd delivery from some of the actors (who seemed unsure which of the two types of show they were in). As a result, it ended up being a nifty enough time travel thriller that would occasionally stutter through goofy jokes or physical humour. It had the look of a show with studio notes all over it (“Make this scene 10% funnier”… “Make the main character an app developer, but he can transform into a ruthless assassin with minimal training”… “Have him take his girlfriend to the ultra secret agency lair and ignore the fact that they weren’t held up by any ultra secret security guards”. The piecemeal script has these clunky notes onscreen everywhere, because I imagine they spent a lot of money on the show and want to make sure it zips and dips along for the evening couch viewing crew. That said, I did watch all 8 episodes of Season 1 (from my couch), primarily to see how the story played out, but also because I was fascinated by the transparency of the creative process being meddled with in front of my eyes. Interestingly, the reviews are actually uniformly positive on Rotten Tomatoes (if you like to use that as a yardstick for art) so I wondered if I was maybe being too hard on it. But I’m not sure that I am. It is a relatively entertaining show at its heart and many of you will like the mix of comedy and suspense, but in the end it just doesn’t work for me. Having said all of that, for a show I didn’t love, I’ve talked a lot about it. Does anyone else want to talk about it? Or should I reset the time travel clock and go back to the moment before I started watching it in the first place?
If you enjoyed this list or have recommendations of your own, please drop me a comment below. I read and respond to all of them. Also, down below is a button to download a handy PDF cheat sheet of all of the shows mentioned above. Feel free to claim it as your own and use it confidently some evening on the couch when you’re stuck deciding what to watch.
