Were six months into 2018, which means its time to take stock of everything weve seen so far this year—and determine which TV series released between January 1 and July 1 stand out among the Peak TV crowd. Below, our picks for the best 2018 has to offer, so far, presented in alphabetical order. (Were not ranking them 1-10 just yet; well save that for December.)
The Americans
The last season of this Cold War spy drama finally let its long-simmering tensions boil over. Anchored by the consistently stunning performances of leads Keri Russell and Matthew Rhys, this year blew their cover, tested their allegiances, and forced the two erstwhile Russians to come to terms with their very American children. The entire run was climactic and ruthless; the carefully constructed finale, “START,” is one of the best series closers weve ever seen. —Sonia Saraiya
Atlanta
The first season of this half-hour series swept awards shows, setting a high bar for the second season, which debuted in March. Donald Glovers brainchild met the challenge, with an 11-episode second season that includes some of the most upsetting and indelible images of the series so far—whether thats the undercooked ostrich egg from “Teddy Perkins” or Earn (Glover), Al (Brian Tyree Henry), and Darius (Lakeith Stanfield) smoking joints in front of a dozen-odd naked frat boys standing at attention, as a massive Confederate flag adorns the wall behind them. —Sonia Saraiya
Barry
The sneaky, ingenious, almost-punishing thing that Bill Haders HBO series does is endear you to its main character, a forlorn hit man-turned-aspiring actor, before slowly reminding us that hes far, far from a hero. Hader takes a masterful turn in the title role, an ever-evolving portrait of an intensely dark and dangerous person sucking up all the light around him as he tries to dig himself out. Hes matched well by Paula Newsome as a detective hot on Barrys trail, and Henry Winkler as a nutty, nurturing acting teacher. By the time the first seasons bleak and expertly staged finale rolls around, Barry has both amused and horrified. In a fun way—sort of. —Richard Lawson
The End of the F***ing World
This Netflix original, adapted from a bleakly humorous graphic novel of the same name, became an unlikely sensation thanks to the universal appeal of disaffected teenagers finding themselves—and the startling talent of leads Alex Lawther and Jessica Barden. The eight-part series simply flies by, a modern and more nihilistic update of Bonnie and Clyde, or maybe Thelma & Louise. Come for the performances; stay for the ending, which is gutsy and daring in a way few other shows even approach. —Sonia Saraiya
Good Girls
Lost in a sea of more prestige-y fare this spring was NBCs funny, suspenseful crime dramedy. Writer Jenna Bans created a gentler kind of Breaking Bad, devoid of nihilism but not lacking its own version of that venerated seriess compelling, tricky mechanics. Stars Christina Hendricks, Mae Whitman, and Retta have a bouncy rapport as a pair of sisters and their friend, who take to grocery store robbery, and then more crime, to get themselves out of various financial jams. Retta is especially winning, making playful, loving domestic scenes somehow far less cloying than they could be, and infusing the shows more antic moments with sardonic wit. Juicily entertaining and, at turns, sexy, Good Girls is a rare broadcast series these days that stands toe-to-toe with flashier cable shows in terms of pure cleverness of design. —Richard Lawson
Homeland
Many onetime fans have walked away from Showtimes relentless spy series, justifiably tired of all the Brody stuff and, worse, the shows exploitation (and stoking) of Islamophobia. But whats remained in the shows latter seasons has proven intricate and intriguing. Season 7 found Claire Daness troubled drone queen trying to uncover a plot to take down the newly elected president, a shifty character herself, played by a deliciously steely Elizabeth Marvel. Throw in Russian conspiracy and an Alex Jones–type agitator, and Homeland Season 7 often felt eerily timely—even prescient. Sure, not all of its twists were credible, exactly, but the season still deftly reacted to a national mood. Its both satire and tragedy, knotty and bracing and satisfying. Go back and watch the also-excellent Season 6 to better enjoy this fine run of episodes. —Richard Lawson
High Maintenance
No show during this dark year has been a lovelier, more comforting, more hope-inducing viewing experience than Katja Blichfeld and Ben Sinclairs gorgeous, affecting vignette comedy. A sprawling survey of New York City and its varied inhabitants, High Maintenance has a generosity of spirit and insight, highlighting overlooked lives with humor and empathy and invention. Theres more of an overarching narrative to this season than in past ones—Blichfeld and Sinclair even cover their own breakup in fictionalized form—but the show doesnt lose any of its vibrant eclecticism in taking on a little more shape. Instead, emotional throughlines are woven in gracefully, carrying a mood of restless melancholy through mild adventures involving a queer dance party that ends in a tracheotomy, a drug-addled visit to the emergency room, an eclipse, and much more. High Maintenance does the kind and necessary work of reminding us of the beautiful fullness of people, all our quirks and wants and wishes illuminated in the shows affectionate, lo-fi light. What a gift. —Richard Lawson
Killing Eve
Killing Eve is the only thing about 2018 so far that has lived up to the hype. Its the freshest drama to hit television in years—a darkly comic story about selfish women hunting each other, each with her own bloody charm. Anchored by the dynamic between Jodie Comer and Sandra Oh, the drama is a game of cat and mouse that sounds the depths of the paradox of being female. Show-runner Phoebe Waller-Bridge topped lists last year with her half-hour show Fleabag; Killing Eve, in turn, has already hit viewership records for BBC America. —Sonia Saraiya
The Last O.G.
Tracy Morgan makes a sly, nuanced return to television in this TBS comedy co-created by recent Oscar winner Jordan Peele. Playing Tray, a convict returning to a Brooklyn he barely recognizes after 15 years in prison, Morgan lends the proceedings a disarmingly rumpled, likable humanity. Hes still doing some of the gonzo Tracy Morgan stuff we know and love (most of the time, anyway), but theres also a real person underneath all that, someone sensitive and sad and, in his way, sweet. Morgan has a zinging chemistry with rising superstar Tiffany Haddish, as Trays ex-girlfriend now living the upwardly mobile life in her newly gentrified borough, while Cedric the Entertainer steals scenes as a wacky parole officer. Lushly shot and smart about its sociopolitics, The Last O.G. amiably delivers on a great setup. —Richard Lawson
Patrick Melrose
Benedict Cumberbatch plays a dissipate addict in this unorthodox miniseries/memoir—the TV adaptation of the semi-autobiographical Patrick Melrose books from English author Edward St. Aubyn. The episodes are superbly done, with a healthy dash of aristocratic hobnobbing mixed into a more harrowing tale of heroin dependence. But its the story of long-buried trauma that really elevates Patrick Melrose; Cumberbatch, after a sightseeing tour through the Marvel Universe, uses the Showtime miniseries as an opportunity to flex his considerable acting talent. —Sonia Saraiya
Get Vanity Fairs HWD NewsletterSign up for essential industry and award news from Hollywood.Sonia SaraiyaSonia Saraiya is Vanity Fair's television critic. Previously she was at Variety, Salon, and The A.V. Club. She lives in New York.Richard LawsonRichard Lawson is a columnist for Vanity Fair's Hollywood, reviewing film and television and covering entertainment news and gossip. He lives in New York City.
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