The year is still young, but we’ve already seen enough great television to start our list of the best TV shows of 2019 so far. In the interest of helping you keep your watch lists up to date, we’ll continue to update this list on a monthly basis throughout the year. For now, here are the best series that debuted in January and February that we’ve seen in their entirety.
A note about our selection methodology: Nonfiction and scripted series are both eligible, but because the focus is on this calendar year, seasons that debuted in 2018 were ruled out if more than half of the episodes debuted prior to January 1. This is a consensus list by both Jen Chaney and Matt Zoller Seitz, whose individual lists at the end of the year may differ.
Pamela Adlon’s series about a divorced single mother and actress posts its strongest season this year, doubling down its storytelling style (which expands and explores individual moments) and going for broke in the direction (Adlon helms every episode in addition to co-writing, producing, and starring). There are at least a dozen sequences in this batch of 12 episodes, premiering February 28, that affirm the idea that “cinematic” isn’t just a synonym for “we spent a lot of money.” Adlon has a rare ability to suggest the emotional interiors of characters even as she gives them their space. —Matt Zoller Seitz
The latest season of this documentary parody series was three years in the making, its production complicated by the busy schedules of its its founding co-stars/co-creators, but these irritations seemingly spurred the storytellers to new heights of sophistication and invention. Juicy major roles went to heavy-hitting guest stars, including Cate Blanchett, Michael Keaton, Owen Wilson, Natasha Lyonne and Michael C. Hall. And the scripts went all-in on tip-of-the-iceberg characterizations (implying that the subjects depicted in the films were all much deeper and more troubled than the filmmakers’ preconceptions could capture) and metafictional subtext. Some of the latter amounted to a philosophical critique of nonfiction filmmaking and its practitioners — the sort of thing you’d expect to hear during a film festival Q&A, but never on a series that appears on commercial cable. —MZS
Straight out of the gate, it’s obvious that The Other Two has a strong sense of itself even if its two main characters, Cary (Drew Tarver) and Brooke (Heléne York), the siblings of on-the-rise pop singer ChaseDreams (Case Walker), have no clue what they’re doing. As conceived by former SNL writers Chris Kelly and Sarah Schneider, this is a cutting and giddy satire of showbiz bs, but one with heart and relatable characters who, in the midst of paparazzi chaos, are still rooting for each other. —Jen Chaney
The pitch for this Hulu comedy admittedly sounds sketchy: It’s a coming-of-age story in which two women in their 30s play middle-schoolers. But Maya Erskine and Anna Konkle are so convincing as their tween alter egos that PEN15 just works. It’s a portrait of young female friendship that’s poignant and crude, hilarious and cringey, brutally honest and gloriously nostalgic for the AIM-infused days of the year 2000. —JC
Watching a woman repeatedly die and come back to life at the same birthday party could have been an exercise in redundancy. But Russian Doll’s version of hitting repeat is anything but dull. With the peppery Natasha Lyonne as its star, a compelling existential mystery at its center, and a subtle approach to exploring the psychological burdens that keep human beings anchored in the same place, Russian Doll deservedly emerged as one of the year’s TV talkers. And it did all of that with a distinctly female eye, with every episode directed by a woman. Metaphorically, Russian Doll goes backward, again and again, and does it in heels. —JC
Who knew that watching random people clean their houses could be so entertaining and moving? Tidying Up is both, partly because best-selling author Marie Kondo is such a charming and calming presence, but also because so many people struggle with curbing clutter and keeping their homes straight. Tidying Up shows a potential path toward overcoming the piles without setting unrealistic expectations. It also caused people all over the world to start folding their clothes into perfect, dresser-drawer-ready rectangles, and for that alone it is obviously Emmy-worthy. —JC
After a first season that was equally spellbinding, ridiculous, problematic, and agreeably demented, Nic Pizzolatto’s anthology series very nearly self-destructed in season two’s fit of purplish neo-noir self-indulgence. The third season, starring Mahershala Ali and Stephen Dorff as detectives trying to solve the murder of one child and the disappearance of another, didn’t just rescue the franchise; it suggested a sensitivity to the boundaries between fiction and mythology, true crime and exploitation, that previous stories had barely hinted at. —MZS
Stephen Falk’s anti-commitment romantic comedy concludes with a final season focused on the wedding of Gretchen (Aya Cash) and Jimmy (Chris Geere), which doesn’t sound like an effort to stick to the show’s cynical sensibilities. But it absolutely is. Gretchen and Jimmy remain unreliable and, in many ways, reprehensible, but you still want to see these irredeemable dummies wind up together. Without spoiling how it all ends, I’ll just say that the finale wraps things up satisfyingly without sacrificing the black heart beating inside You’re the Worst. Until the end, this show is the worst, by which I mean the best. —JC