There are so many of my favourite TV shows that I absolutely adore and have always wanted to write about, but haven’t found the right opportunity or angle to do so. I am also an obsessive list-maker who frequently, upon finishing a show, compiles a list of my favourite episodes. So, I became inspired to put together this list of my favourite episodes of TV of all time and discuss why I love them so much.
I am only going to include 1 episode per show, because if I were to just make an unedited list of all of my favourite episodes it would probably be mostly comprised of the same few shows. So for the purpose of the list, each show can only be represented once. I also should say that there are some shows which are among my absolute favourites, but which just don't have one particular episode that I adore so much over the rest. For example, Breaking Bad, Skins, American Horror Story (the early seasons) and Mindhunter are not included here because as much as I treasure those shows, they don’t have one episode which I would say is individually among my favourites of all time.
With those caveats out of the way, let’s get into the list which contains a top 10 of episodes *in no particular order*. I will discuss in depth why I adore them and the show they come from, and why I believe they are so exemplary. Then, at the end, I will quickly list off some other honourable mentions of episodes which I love but don’t have a long spiel about. I really hope that through this, I can convince you to watch at least one of these shows because they are all worth your time. So, let's get into it:
Lost - “Through the Looking Glass” Part 1 + Part 2 (Season 3, Episode 22 + 23)
The genesis of this entire piece, was that I have somehow never found the opportunity to write about my #1 favourite show of all time; Lost. Lost is a show once considered the biggest cultural phenomenon in the world, and a revolution of modern television in the early 2000s which shaped everything to come after it. However, it’s a show which then, in the 12 years since it ended, has been lost (no pun intended) to time and become tragically underappreciated. I had seen the first season of it when I was much younger and remembered my parents being obsessed with it while it was airing. However, it was only in 2020 over quarantine when I watched it from start to finish. I pulled off the most insane feat of binge viewing I have ever accomplished and watched all 121 episodes in 8 days (please don’t do the maths on that one) and then, less than 2 weeks later, I convinced my sister to start it and ended up watching the whole thing all over again with her. I was completely enamoured.
It begins as a survival drama about a group of people stranded in the wilderness together after their plane crashes on a deserted island. However, it quickly warps into something far more mystifying, infused with terror and intrigue and intense mystery as the nature of the island is slowly unravelled and explored. It’s almost impossible to explain what Lost is actually about to those who haven’t seen it, because its mystery is so uniquely complex and almost undefinable, but you just have to take my word that it’s the most thrilling viewing experience you will ever have. One of the reasons the show was written off quite soon after it concluded is that the ending was famously not received too well, and I somewhat understand why because the last season is quite convoluted and perhaps a little underwhelming for some. However, I firmly believe that every season before that is a masterpiece and even that last season has its moments and was still satisfying to me overall. I think people would be far less harsh on it now if they re-experienced the show, separated from the overwhelming hype.
There are so many episodes of Lost I could have done, and I was close to doing “The Constant” which is frequently included on lists of the greatest episodes of TV of all time, especially since that episode is so self-contained that you could almost watch it having seen nothing else from the show. However, of all of Lost’s episodes, including its many other iconic multiple-part season finales, “Through the Looking Glass” is truly a television achievement of unparalleled levels. I’m going to be purposefully very vague here because the episode is so baked into the mystery of the show that it’s hard to explain without spoiling and my current life’s mission is to get everyone that I know to watch Lost (it’s now on Disney+ in Europe!). But the episode is incredibly climactic in many ways with high-stakes action taking place concurrently in different locations while all being essential dominos to the final effect. It also has some of the show’s most deeply moving moments (even if you’ve never seen Lost there’s a good chance you’ve heard of “not Penny’s boat”). And as well as multiple smaller twists throughout the episode, the big overarching twist which the ending hinges on is so ground-breaking that it shatters the very storytelling structure that all of Lost so far has been built on. It’s crazy that this episode aired in 2007 and almost nothing to come after it has come close to being as ambitiously brilliant.
Fleabag – Season 2, Episode 1
While I think Fleabag season 1 is a pretty engaging character study and obviously wildly funny, it’s not even comparable to season 2 which just absolutely blows it out of the water. As well as being even funnier than the first season, as Fleabag says right to camera in this episode; “this is a love story”. The love story in question and the arc of the season are beautifully realised, with the finale being equal parts cathartic and heartbreaking. However, the season premier is when the show is at its sharpest and most exceptionally written. The entire episode takes place at a restaurant as Fleabag dines with her father, her soon-to-be step-mother, her sister Claire, Claire’s cruel husband Martin and ‘Hot Priest’, whom Fleabag is meeting for the first time, unaware of just how much her life will irrevocably change from that meeting onwards. Phoebe Waller-Bridge's distinctly brilliant writing turns a simple dinner conversation into an exhilarating, fast-paced ordeal that you can’t look away from, barely giving you a chance to stop laughing at a joke or recover from a deathly insult before the next one has already happened.
The episode effectively conveys the positive change in Fleabag (the character) since the first season, as well as her fractured relationship with her father and the strain between her and Claire, while they clearly still deeply care for each other. However, most importantly, it gives Hot Priest an absolute explosion of an entry to the series and immediately establishes the incredible chemistry between he and Fleabag, which is just palpable. Andrew Scott is phenomenal and generally speaking, I think it’s by far the funniest episode of the show as the evening darts between awkward topics of conversation with he and the strained family he has unknowingly walked into. The chaos that ensues in the last few minutes is both hilarious and tragic and the start of the episode, which is a flash-forward to the end of the episode, is an absolutely genius opening to a season of television. I’ve already referenced it, but beginning the season with Fleabag wiping blood of her face and then, directly to camera; “this is a love story” is an utterly perfect moment.
Love Island – Season 7, Episode 33
For as highbrow as my taste in media can be, one thing I pride myself on is being incredibly varied in my viewing habits and I have a deep appreciation and admiration for the pleasure and unique entertainment that reality TV can provide. The entire genre is generally written off as inherently trashy and unsophisticated, and I do think for a huge chunk of what’s out there that’s very valid. However, the top echelon of reality TV, the shows that really bring something special, can sometimes be just as deeply compelling and wildly captivating as fiction. I do believe that Love Island, though not always, is one such show. It’s a highlight of my year every year and the community aspect of my whole family and almost everyone I know sitting down every night to watch the new episode is such a fun staple of each summer.
I think the early seasons as a whole are far better than the more recent seasons, as the show has slowly become more sanitised (season 3 will always be superior), and I agree with the critique of this most recent season that for long stretches it was quite dull. However, season 7’s entire ‘Casa Amor’ saga was probably the most unhinged and engrossing of any season. And in particular, this episode is what I believe to be by far the most superior episode in the show’s history. I would unironically put the shock and tragedy and turmoil of this episode up against a lot of scripted fiction I love. It is so compelling.
The male contestants had their week away from their female counterparts in Casa Amor, the secondary villa filled with new women, while the female contestants were back at the main villa with new men. It’s an exercise the show has used every year since season 3 to attempt to fracture and break up pre-existing couples by tempting them into picking a new partner while separated from their original one. This year’s Casa Amor was so unhinged quite frankly because this slate of men, with a few exceptions, were sleazier and more disrespectful than any group before them, showing little to no respect for the women who were back in the villa dutifully and loyally steering clear of all the new men, awaiting their partners' return. The crux of this though, the centrepiece of this explosive episode, is a man by the name of Liam Reardon.
Before Casa Amor, while not officially in a relationship in the traditional sense, Liam and Millie seemed to be genuinely falling for each other, with unbelievably chemistry and a real closeness which was lovely to see blossom over a matter of weeks (time is extremely escalated within Love Island since they live together and spend 24/7 together). Then, for inexplicable reasons, he had the Love Island equivalent of a full-on affair in Casa Amor with new girl Lillie, completely disregarding Millie while claiming he was still torn between the two women. Throughout the week there was heavy debate online about what Liam would do, with most thinking it seemed like he was going to betray Millie and choose Lillie at the upcoming re-coupling, where each contestant from both villas would have to choose whether to stick with the person they had originally been coupled up with, or choose someone new from the Casa Amor group.
However, when the moment finally rolled around in this episode, as an anxious Millie stood at the fire-pit awaiting his decision, he did what is honestly so much worse than walking in with Lillie who he had spent the week all over. He walked in alone, giving the false impression that he had remained loyal, thinking he could return to Millie with no consequences after his week-long ‘lad’s holiday’ fling. It’s an unbelievable moment already, as we see Millie celebrating his return, completely unaware of the truth. It’s truly an all-time screaming at your television scene. The sheer audacity and slyness he shows in that move is kind of astounding. At least if he had chosen Lillie, he would be laying it all out there and not trying to conceal his infidelity, but he didn’t even have the courage to do so.
Then, in what is one of the greatest reality TV production decisions of all time, all of the Casa Amor girls not chosen are brought out, including Lillie, to talk about their experience. And right there, in front of everyone, Lillie ruthlessly exposes Liam’s antics as we witness Millie experience multiple stages of grief within a few seconds, staring at Liam in shock, with tears in her eyes. What makes the moment so infuriating is that he, most likely in a panic response because he has no idea how to react, is smirking. Along with Millie’s look of utter heartbreak, the other girls who have spent the week witnessing Millie completely devoted to Liam, awaiting his return, express their sheer disgust in solidarity. It’s truly hair-raising. Liam claimed after the fact that he was always going to immediately tell Millie what had happened with Lillie. But of course, the greatest mystery of this whole ordeal is that we will never know what he would have actually told her or how much he would have watered it down, had Lillie not laid out the whole truth.
There are other great dramatic elements of the recoupling this episode, like Kaz absolutely decimating Tyler after he betrayed her at Casa Amor (though it was nowhere near on the level of Liam and Millie since they had only been together for a very short time before Casa Amor). The other big Casa Amor arc though, which makes this episode so deeply compelling, is Faye and Teddy. And this couple were honestly set up by the show so it’s incredibly frustrating. When the girls received a postcard from producers with hints of the boy's behaviour at Casa Amor (which conveniently let Liam off extremely lightly), Faye was deceived into believing that Teddy had not been loyal to her and so chose a new boy to save herself the embarrassment, when in actuality Teddy had been completely loyal and returned alone.
The immediate fallout after the recoupling is so enthralling as we see Millie completely break down over Liam’s betrayal while the girls comfort her, before seeing him only continue to dig himself further and further into a hole as he has a conversation with her in which he is defensive and not authentically apologetic at all. She seems absolutely devastated as she cries and it’s really upsetting to see. It feels like a genuine evocation of heartbreak. The episode ends though, with a moment that is both beautiful and devastating. Faye has a heated conversation with Teddy about what happened. And we witness this woman who has already been open about her severe trust issues and past trauma and is clearly deeply insecure, realise in real time in front of us that she has misunderstood the situation, made a huge wrong decision and possibly ruined what had been a really healthy and genuine connection with a kind and understanding man who she had been slowly letting her walls down for. She breaks down in tears, a rare showing of vulnerability for her and leans into Teddy as he embraces her with an equally crushing look on his face. Two people who know they care deeply about each other and still want to be together, but have somehow allowed it to become so twisted and fractured. It’s an incredibly affecting moment.
It’s an episode of intense emotional turmoil and tragedy from start to finish with a depiction of a very real betrayal and heartbreak, and two people who everyone, including themselves, can see should clearly be together, but are realising that because of one trying so desperately to protect her feelings, have been torn apart. As I said, it’s compelling high drama and undeniably a fantastic episode of TV regardless of the fact that it happens to be unscripted reality TV rather than fiction.
Succession - “This Is Not for Tears” (Season 2, Episode 12)
Succession, to me, is pretty obviously the greatest thing to grace TV screens in at least 5 years. It is a sprawling, Shakespearean tale of power and ambition and corruption told through the lens of the billionaire Roy family who own the fictional media corporation ‘Waystar Royco’. It’s a web of complex family dynamics as deeply damaged siblings Kendall, Roman and Siobhan claw their way through a multiple-season fight to see who will be the successor of their tyrannical CEO father Logan Roy. All 3 seasons are absolutely phenomenal and if there’s one thing Succession is unbeatable at, it’s season finales. I could have easily done the season 1 or season 3 finales if not for the episode in question. However, season 2 is undoubtedly the show’s peak so far and this finale “This Is Not for Tears” is an absolute masterpiece that I don’t know if it’s even possible for the show to ever top.
Amidst a massive controversy clouding the company, the Roy family and their closest confidants head out to sea on a luxurious yacht for what they all believe is a vacation, while in actuality it is Logan’s setup to choose who will be used as the company’s scapegoat and have the scandal pinned on them to save his own reputation. The scenes of Kendall, Shiv and Roman connecting emotionally despite their severe shared trauma are so cathartic and beautiful, while Tom reaching a breaking point in his complicated marriage is devastating. However, the obvious highlight is the elongated breakfast scene which is basically one big verbal bloodbath. Logan tells them of the need for a “blood sacrifice” and the group argue over who it should be, each deflecting the conversation off themselves and viciously throwing each other under the bus in the process. It’s unbelievably compelling. We also later get one of the most devastating scenes imaginable between Logan and Kendall after Kendall had such an upsetting arc over the course of the season. There is nothing unique about stating that Jeremy Strong is in a different stratosphere of TV performances with his work as Kendall Roy, as it’s been universally celebrated for its brilliance. However, I will nonetheless reiterate how phenomenal he is. The crux of it all though, is the ending of the episode which I don’t want to in any way reveal because it is so utterly thrilling and brilliant, but it’s an all-timer. The final shot of this episode communicates more in a single facial expression from one actor, than most shows could in an entire season.
Euphoria - “Shook Ones Pt. II” (Season 1, Episode 4)
There’s not a lot for me to say about Euphoria that I didn’t already cover in my massive deep dive I did for season 2, in which I also briefly covered season 1. However, I’ll reiterate that season 1 remains phenomenal when separated from the scattered, misguided second season. I could have done either “Stand Still Like the Hummingbird” which is the exhilarating standout episode of season 2 or “Fuck Anyone Who’s Not a Sea Blob”, the Jules special episode which has by far the show’s most beautiful and emotionally intelligent writing. However, it is “Shook Ones Pt. II” which I believe epitomizes the elaborate high-scale drama of the first season which made it so thrilling. The episode is honestly a masterclass both technically and narratively. Set almost entirely at the town carnival and featuring the entire slate of Euphoria characters in this one location concurrently, the episode is structured around long, unbroken tracking shots which follow different characters around the carnival. It’s incredibly impressive and extremely difficult to execute as successfully as they did, with the elongated takes being just stunning.
However, it’s not just used for technical spectacle, but aids in building the narrative of the episode. There are multiple storylines established between different characters at the carnival; Rue is reuniting with Jules for the first time after they had an awkward moment where Rue threw a complicated a wrench in what had previously just been a friendship. Kat is enjoying spending time with Ethan who she has been flirtatiously bonding with before getting the wrong idea about his loyalties. Maddy and Cassie are both angry at their respective boyfriends and so get high on MDMA together before each causing a different over-the-top, somewhat embarrassing public scene. After the scene Maddy makes in front of he and his family, series antagonist Nate Jacobs becomes the most despicable he has been yet, inflicting a violent act on Maddy. And on the topic of the Jacobs family, Jules realises with help from Rue what the audience has known all along; that the older man who she had an intense and uncomfortable sexual encounter with in the first episode was Cal Jacobs, Nate’s father, who unravels when he sees her and realises that she goes to school with his son.
All of these storylines are littered across the carnival setting as the camera zooms back and forth between different storylines, never slowing down or losing momentum and making a collection of individual character arcs feel like an interconnected web of chaos with non-stop confrontation and fallout. It’s incredibly thrilling. After the carnival we get a frightening and unpleasant confrontation between Jules and Nate which shocks her. It’s a fascinating scene which then leads into the absolutely gorgeous, grand execution of Jules and Rue’s first proper kiss. They create this incredible rotating series of flashbacks, showing past moments between the pair which build up to this first true kiss in Rue’s bed. It’s a beautiful conclusion to an incredibly exciting episode.
BoJack Horseman - “Time’s Arrow” (Season 4, Episode 11)
Anyone who hasn’t watched BoJack Horseman can never understand why the show about the cartoon talking horse is so beloved and obsessively analysed. Then, once they watch it, it completely destroys them. They never recover from how devastating it is in its tale of a traumatized, mentally ill, destructive alcoholic who is addicted to sabotaging his life as well as the lives of anyone who gets close to him. It’s an unbelievable character study that would certainly be constantly discussed as being one of the greats if not for the fact that it happens to be animated. I know that fans of the show might expect me to talk about “The View from Halfway Down” because it’s the most highly acclaimed episode of the show, and for good reason. However, “Time’s Arrow” is an episode I consistently return to and think about as the show’s peak of incredibly upsetting and moving layered storytelling.
Throughout the show, BoJack’s mother Beatrice is firmly positioned as an abusive villain in his life who has left him with so much trauma from a young age. Now though, as she is in the depths of dementia and close to death, the show takes us inside her mind on a twisted journey through fragments of her memories. It’s brilliantly constructed the way the flashbacks are weaved together, effectively painting a portrait of a woman who has lived a life of great pain which is what we can see to have led to her repeating the cycle of abuse with her own child years later. It’s also such a genius artistic choice the way the memories are shown to us completely subjectively as Beatrice remembers them, not exactly how they actually may have happened. For example; when she’s a child the slide in the playground appears as tall as a building because that’s how it feels when you’re so young, when she’s a teenager at the cotillion ball the strangers in the background are faceless as we are never able to remember the faces of strangers from the past, and the face of a person who is a particular source of pain for Beatrice is scribbled out in black, conveying the agony caused by her memory.
The episode reveals so much about Beatrice that completely recontextualises her presence in the show and is also incredibly illuminating about BoJack by revealing to us the roots of his trauma which begin before he was even born. The way the episode climaxes with parallels between a toy baby doll and two different child labour scenes is staggeringly moving. It’s so ambitious and is only one of dozens of storytelling decisions executed throughout the show which make it one of TV’s most stunning achievements.
Shameless - “The Sins of My Caretaker” (Season 3, Episode 5)
For as messy and frustrating as it gets in its final few seasons (because it was pushed by the network to go on for longer than it ever should have), Shameless is one of my all-time favourite shows. I genuinely believe it has the greatest and most deeply complex character writing probably of any longform network show I’ve ever seen. The eclectic group of Gallagher siblings, forced to rear themselves in poverty by their absent and at times abusive, addict parents, have impacted me in such a profound way. The show chronicles their intense suffering but also the unbelievable bonds they share with each other through their chaotic lives. The genius of Shameless though, is that for as unbelievably upsetting as it can be, it’s also wonderfully funny. It’s the most successful I’ve seen a show be at truly striking the perfect balance between drama and comedy, it’s seamless.
There are many episodes of Shameless I adore, but “The Sins of My Caretaker”, which occurs right in the middle of my favourite season, is a perfect encapsulation of the brilliance of the show. It expertly sets up multiple different tumultuous story threads between the siblings which seem unconnected and then, without you even realising, seamlessly converges them until all of the narrative dominos fall into place at the exact right (or in this case wrong) moment.
Fiona is being bullied by the other women at her grocery store job while her sister Debbie is experiencing bullying of her own from older girls at the public pool and so devises a revenge plan. Carl returns from summer camp for kids with cancer despite not actually having cancer and Lip is having doubts about his relationship with Mandy Milkovich. I’m going to try and restrain myself from talking about them because I could write an entire essay about Ian and Mickey and I don’t want this to become all about them, but Ian Gallagher and Mickey Milkovich with their turbulent, repressed, slow-burn romance are my favourite love story from any TV show ever and this is a key episode for them. They successfully pull off a minor robbery, though not without Mickey taking a bullet to the ass in the process, and have their first kiss, which if you’ve seen everything that comes before that for them, you’ll know is such a monumentally beautiful moment. And all of this is happening for the Gallaghers while they are having to frantically dig up their back yard before the city maintenance crew arrive, to find the bones of their great aunt buried by their father years before. It sounds insane if you’ve never seen the show but the brilliance of Shameless is born from its chaos.
Then, in true Shameless fashion, these storylines all converge in an explosion of anarchy in the Gallagher house and at that very moment, a social worker walks into the house for a surprise visit which propels the story for the rest of the season. It’s absolutely genius in its structured comedic storytelling, while delivering on serious negative consequences for the Gallagher children, a beautiful romance for Ian and Mickey and an opportunity for Emmy Rossum to deliver one of her million Emmy-worthy episode performances as Fiona Gallagher. A perfect episode in every sense.
The Real Housewives of New York City - “Sun, Sand and Psychosis” (Season 3, Episode 12)
I have already explained my relationship with reality TV and how incredible I believe the genre can be when the right show is operating at its peak. And this year, when in search of a new reality TV fix, I finally dipped my toe into the absolutely unhinged waters of the Real Housewives franchise. From the myriad of Real Housewives series spanning across different American cities, there is one episode so notorious and iconic that I had heard about it even before beginning my Housewives journey. “Sun, Sand and Psychosis”, the seminal episode of The Real Housewives of New York City, is commonly known by fans and the media as ‘Scary Island’. I understand that people have different tastes and limits for reality TV and the housewives may not be your thing generally speaking, but Scary Island is just undeniably an absolute masterpiece of reality TV insanity. You will never see anything else like it.
The extravagant cliffside villa in the Virgin Islands creates the perfect backdrop for the episode’s spectacle, as housewives Ramona Singer, Bethenny Frankel, Alex McCord, Sonja Morgan and Kelly Killoren Bensimon embark on what they aren’t yet aware will be the vacation from hell in 2010. The series’ previous episode “Housewives Overboard” is the perfect prelude as, when on the yacht to the villa, tensions rise and fights erupt when Kelly Bensimon begins to exhibit extremely odd and agitated behaviour, especially towards long-time rival Bethenny Frankel. This is only a mere taste of what is to come. In the Scary Island episode itself, the women arrive at the villa and Kelly’s behaviour only becomes more erratic and bizarre. She appears not only paranoid, but unintelligible as she yells nonsense down the phone to housewife Jill Zarin about paranoid dreams of Bethenny murdering her as Jill, who is back in New York, is trying to understand what on earth Kelly is talking about.
It all culminates that night at a dinner-party-from-hell-drama-extravaganza when, most likely enhanced by alcohol (or some viewers theorise by drug use) Kelly, as the name of the episode would suggest, seems to have what can only be described as a psychotic episode. It is impossible to convey the derangement of the Scary Island dinner party if you haven’t watched it, because it’s truly the most bizarre thing I have ever seen on a reality show. But to give you a brief overview of the kinds of things Kelly slurs in a borderline incomprehensible fashion during this verbal rampage: she accuses Alex of channeling the devil, says that Bethenny coming on vacation when her estranged father had passed away not long before is “creepy”, interrupts a very emotional moment of reconciliation between Ramona and Bethenny to ask them “are you guys going to make out with the tongue?” and of course, states that Bethenny HAD TRIED TO KILL HER MANY TIMES BEFORE. When she storms off after all of this, much of which was a slur of nonsense and botched phrases, she then returns to the table only minutes later to ask the traumatised women “does anyone want a jellybean or a lollipop?”. Bethenny’s face (whom I should say was pregnant at the time and so was fully sober for this entire thing) as Kelly offers her a jellybean minutes after telling her “I feel like you’re trying to kill me every night” should be hung in the Louvre. Scary Island is the Citizen Kane of reality television.
Twin peaks - “Beyond Life and Death” (Season 2, Episode 22)
As well as being one of the most important and foundational pieces of media in my life personally, David Lynch’s Twin Peaks is a monumental landmark of the television landscape that is rightfully credited with revolutionising longform narrative storytelling in the medium. There has never been anything like it and there never will be anything like it. I think that Twin Peaks: The Return, the third season released in 2017 coming 26 years after the conclusion of the original 2 seasons, is David Lynch’s magnum opus. As a whole, it is an earth-shattering testament to Lynch being our greatest living auteur. However, in terms of individual episodes, the pure audacious and singular nature of the absolutely petrifying season 2 finale “Beyond Life and Death” is unmatched. It’s a perfect distillation of everything Lynch always wanted to do with Twin Peaks and hints towards much of what he wasn’t able to do until The Return decades later. It is absolutely astonishing to me that he somehow got this episode to air on mainstream network TV across America in 1991.
After a short first season, season 2 of Twin Peaks was famously taken largely out of Lynch’s control, as they forced him to solve the murder mystery which he had never intended to solve, ordered a massive 22-episode season which is longer than he had wanted and eventually pushed him into abandoning it midway through the season as he didn’t like the direction the narratives were heading in. He left the show after the reveal of the killer and anyone who has seen Twin Peaks knows the lull it falls into for the middle of season 2 amidst Lynch’s absence. However, it improved as it hurtled towards its conclusion and Lynch was persuaded to return to finish the show on his own terms. And not only did he do that, he created possibly the most audacious and remarkable finale in network TV history.
Beginning where the previous episode left off, with pandemonium after villain Windom Earle kidnapped Annie Blackburn, FBI agent Dale Cooper enters the Black Lodge; the dark, otherworldly plane of existence he has previously visited in dreams and has spent the series attempting to understand the horrors of. He enters in search of Annie and hopefully some answers about the ambiguous and terrifying mysteries of the place which have clouded the series in dread. From the minute Cooper appears in the ‘Red Room’ with the now iconic black and white chevron patterned floor and red velvet curtain walls which anyone who is even vaguely familiar with the show no doubt recognises, the episode begins its insane descent into the unexplainable horrors David Lynch is able to craft from the mythology he has created. Twin Peaks is not a horror show by any typical standards, but there are images in this episode which have irrevocably chilled me to my core in a way almost nothing else has. It’s a never-ending nightmare that feels like being trapped in a labyrinth of hell. Images of the murdered Laura Palmer, the sinister spirt Bob and an alternative version of Cooper himself swirl together in horrifying and violent fashion, at times staring directly into the camera or running towards it. In terms of visual storytelling in creating moments of effective horror, this is pretty much unbeaten for me.
I don’t want to spoil Twin Peaks because despite the original seasons airing decades ago, I am still always hopeful more people will be persuaded to experience it for the first time. However, I will say that this episode is perfectly concluded by an absolutely hair-raising final scene which has only endured through time. “How’s Annie?” haunts my dreams.
Glee - “Nationals” (Season 3, Episode 21)
It has obviously become somewhat of a cultural punching bag in recent years and a consistent meme online because of the show’s many eccentricities which have been particularly revisited on TikTok. And I will admit that I think seasons 4-6 once the new cast is introduced are very rocky and worthy of being ridiculed. However, it’s easy to forget that, memes aside, in its first 3 seasons Glee was genuinely and authentically good. I will die on that hill if I must. Obviously, the show has always leaned into absurdity and over-the-top theatrics and I understand that it’s not for everyone. However, it’s undeniably a foundational teen drama for a particular generation (me) and when it sticks to its roots of a group of misfit teens in their found-family show choir group overcoming all odds while executing fun musical numbers, it’s undeniably a joy to watch. There are other episodes in the first 3 seasons that I think are genuinely great like “Duets” which would probably be my runner up. However, no episode better encapsulates the spirit and the wonder of Glee at its peak like “Nationals”, the penultimate episode of the third season which honestly feels like not only a finale to season 3, but like a finale to the whole first 3 seasons with the original Glee club, ushering out the golden era of the show.
One of the smartest writing decisions of Glee is that the success of the ‘New Directions’ in competitive show choir is really a slow burn, and is done quite realistically. In season 1 they only make it as far as Regionals, not even getting to Nationals. In season 2 they have to start over completely and this time make it to Nationals, but are unprepared, don’t perform to their greatest ability and lose pretty embarrassingly. All of this repeated struggle and setback over such a long time means that, spoiler alert, when they finally win Nationals at the end of season 3, it feels genuinely earned and so cathartic. As well as that, the standards of their musical performance really are so elevated at this point that it feels authentic that the group could be the best in the country within the show.
A lot of this episode is just dedicated to showing the New Directions’ 3 musical numbers in full, as it should be. It really feels like an event episode. And even if you ‘don’t get’ the appeal of the Glee covers, I think it would be pretty hard to not enjoy these. The Lady Gaga “Edge of Glory” cover is a fun opener. Then, if we can separate her abilities from the issues with her as a person outside the show, Lea Michele is an absolutely extraordinary vocalist. I don’t even think it’s the best of the Rachel Berry performances over the course of the show (her version of “My Man” from season 2 makes me cry), but her cover of Celine Dion’s “It’s All Coming Back to Me Now” is outstanding. However, it is only then followed by the show’s crowning jewel of musical performances. There is a great video essay on YouTube from Mic The Snare called “Here’s What We Missed on Glee” where he, a sound engineering and music expert, breaks down the phenomenon surrounding the show and the success of its music covers, as well as rightfully criticising many aspects of it. In that essay, he states that out of the 700+ musical numbers in the entirety of Glee, there are only 2 which he believes surpass simply being a cover and become something truly special and exemplary in their own musical right. And one of those numbers is this episode’s version of Meat Loaf’s “Paradise by the Dashboard Light” which I would wholeheartedly agree with him on. It’s the best number in the entirety of the show.
There is still so much great emotional payoff around the performances though, because as I said this really does feel in so many ways like the very last episode of the show, before it becomes something different. Some of the show’s most heart-warming moments of friendship can be found in this episode like from Santana, Brittany and Quinn, along with a triumphant moment for Rachel in her personal aspirations when the dean of her dream college Carmen Tibideaux (recurring guest star Whoopi Goldberg) gets to see her sing. Speaking of guest stars, this episode also features the return of Jonathan Groff as my favourite recurring Glee character Jesse St. James, and gives him a lot of surprising warmth and resolution after he is somewhat of an antagonistic figure in the first 2 seasons. Seeing the New Directions win Nationals is obviously an incredible moment, however what is an even more moving and emotionally satisfying moment is when they return to the school which we have spent the last 3 seasons seeing them be bullied and made fun of in, only to see them now, for the first time, be respected and embraced by their peers. The slow-motion moment of them walking into the school and realising they’re now being accepted, as one of my favourite songs, Grouplove’s “Tongue Tied”, plays is just deeply touching. I’m not ashamed of how emotional it makes me. I know that his character is intensely ridiculed online in jokes and memes and I understand why, but the end of the episode with Mr. Schuester being awarded teacher of the year and the group singing to him is admittedly sweet. This episode may not be as grand or ambitious or deeply impactful as other’s included on this list, but it’s like a warm blanket to me and a testament to the forgotten greatness of an iconic teen drama.
*Now, I want to list some honourable mentions of other episodes that are among my favourites, however I don’t have a long piece to say about these so will just list them off quickly (many of these are limited series with only 1 season which I adore)*
Sharp Objects - “Closer” (Episode 5)
One of my favourite limited series of all time in all of its disturbing bleakness. It's a tale of crime and trauma, intertwined in a small town with so much darkness under the surface. And this episode is probably the standout, featuring intrigue, chaos and an absolutely unbelievable Amy Adams performance.
Black Mirror - “Hang the DJ” (Season 4, Episode 4)
Being an anthology show with unconnected stand-alone episodes, there are many Black Mirror episodes I love, most of which are darker and more complex than this one. However, using the ingredients of the show to make what is essentially a twist on a rom-com is such an inspired choice. One of the only truly uplifting episodes of the show.
The Haunting of Hill House - “The Bent-Neck Lady” (Episode 5)
Another of what I believe to be one of the greatest limited series of all time. This is a completely devastating episode with a beautiful Victoria Pendretti performance and a twist so gut-wrenching and impactful. It uses a supernatural element as a really beautiful metaphor for mental illness and the episode gives a character, who we didn’t yet know much about, an entire arc from start to finish within a single episode.
Peaky Blinders – Season 2, Episode 6
If there’s one thing this enthralling crime drama does masterfully, it’s climactic season finales. And on a recent rewatch, this episode is the peak of that. It’s chock-a-block full of satisfying character reckonings, unpredictable twists and an all-time great, character-altering scene (the one pictured above). Cillian Murphy’s performance is an absolute all-timer.
We Are Who We Are - “Right Here Right Now II” (Episode 2)
Another of my favourite limited series. It’s a beautiful, slow-burn evocation of youth and identity. The ending of the show is my favourite part, but in terms of whole episodes, this second episode is where it really becomes clear that the show is something special. It’s structurally so clever in how it essential re-tells the first episode all over again but from a different perspective.
The Crown - “Fairytale” (Season 4, Episode 3)
Despite having watched it all, The Crown is not one of my favourite shows because I do often find it very dull. However, I found season 4 extremely compelling, largely due to the addition of Princess Diana, and this episode is absolutely phenomenal. In a single episode it orchestrates a complete psychological breakdown of Diana and is a fascinating and complex character study of a very vulnerable woman wrestling with mental illness and an eating disorder. It tragically but brilliantly conveys the illusion of her “fairytale” life as actually being completely miserable, as she is essentially imprisoned in Buckingham Palace and unappreciated by a cruel Prince Charles. A fantastic episode that could exist independently from the rest of the show. Also a great companion piece to Spencer (2021).
Mare of Easttown - “Illusions” (Episode 5)
Yet another all-time-great limited series. As good of a true crime procedural drama as you'll ever see, told through the lens of a self-destructive woman trying desperately to keep her own life on track. Despite there being 2 episodes still to come after it, this episode is the most unbelievably shocking and tense, climactic instalment in the series. It's quite jaw-dropping.
The Real Housewives of Salt Lake City - “Cinco De Mayhem” (Season 2, Episode 19)
‘Scary Island’ from The Real Housewives of New York City is the episode I chose to highlight in depth. However, overall, I think The Real Housewives of Salt Lake City, the most recent instalment in the franchise, is far superior and the absolute best of the Housewives, and maybe even of reality TV in general, that I’ve seen. Season 2 is a masterpiece of utter mayhem. Just unparalleled levels of pure chaos. The entire middle section of the season with their trips to Vail and Zion, after one of the housewives has been arrested and is facing 30+ years in prison for a serious crime, is unbelievable. And this episode in particular, which centres around a deranged dinner party and ends with a truly shocking hot mic moment, is probably the peak. Just drama operating on another plane of existence. These women are all absolute psychopaths.
Midnight Mass - “Book VII: Revelation” (Episode 7)
The second miniseries by Mike Flanagan I’ve included. A criminally underrated but very moving exploration of faith, humanity and the negative effects of organised religion, told through a horror lens. While being incredibly thrilling and action-packed, the episode is beautifully reflective and thoughtful. Just a wonderfully poignant finale.
Bridgerton - “The Choice” (Season 2, Episode 6)
The most recent entry on this list. I won’t reiterate too much of my thoughts because I only recently wrote about how I thought the love story of Bridgerton season 2 was one of the best I had ever seen. But this episode, despite having 2 episodes come after it, is the highly climactic pinpoint of the season which comes at a really compelling turning point in the love story. Everything that happens at the alter is just electrifying.
The Boys - “What I Know” (Season 2, Episode 8)
The Boys is up there with Succession as one of the greatest things currently airing on television. Just an unbelievably intelligent and sharp show with an incredible exploration of the nature of celebrity and the best political commentary of any show currently attempting it. It’s another show which is difficult to single out an episode of, but the season 2 finale is incredibly exciting and delivers on everything you could possibly wish for. It made me so excited for season 3, I can’t even stand it.
Yellowjackets - “Sic Transit Gloria Mundi” (Episode 10)
The most excited I’ve been by a new show in a long time. It should be no surprise why I love it so much when I say that it has major similarities with Lost and it’s already been renewed for more seasons, so I just hope the quality is consistent. I think there’s too much of the current day timeline and not enough of the flashback timeline which is what makes the show so good, however it’s a great first season and this finale is absolutely jaw-dropping and completely brilliant.
ความคิดเห็น