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Under the Radar’s Top 60 TV Shows of 2014

Jan 01, 2015
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Our Best TV Shows of 2014 list was once again dominated by cable shows. No broadcast show made our Top 10, with CBS’ The Good Wife coming close at #11. Almost twice as many cable shows made this list as broadcast shows. And cable channels HBO and FX were nearly tied for the most shows per channel (10 HBO shows and nine FX shows made our list). Of the big four broadcast networks (ABC, CBS, FOX, and NBC), NBC did the best with eight shows on the list and, despite The Good Wife, CBS faired the worst with only two shows.

Those Under the Radar writers and editors who felt they had watched enough TV in 2014 to weigh in on the year’s best TV submitted a list of their Top 20 favorite TV shows of 2014 and those lists were all combined and calculated into this master list. Our #1 show, The Walking Dead, has long been a favorite of our writers. We devoted a whole week of coverage to the show in October, so it’s no wonder it took the top spot. It was our #1 in 2012, but #2 in 2013 (Breaking Bad‘s final season topped our list then). But two freshman shows (The Leftovers and Fargo) came in at #2 and #3 and quite a few new programs made the list (including True Detective, Missing, Silicon Valley, The Flash, You’re the Worst, Penny Dreadful, Gotham, Constantine, Selfie, Marry Me, and others).

There are some critically acclaimed new shows that don’t appear on the list (Transparent, The Affair, Jane the Virgin, Black-ish, The Honorable Woman, Mozart in the Jungle, The Roosevelts, How to Get Away with Murder, The Normal Heart, Broad City), as none of our writers had them on their personal lists. That may be because they simply didn’t watch any of them (we are a music magazine/website mainly and they are mostly music critics, not TV critics—how many TV critics listened to all of 2014’s best albums?) or perhaps because they didn’t rate them as highly as other critics did. There’s simply so much good TV out there these days that it’s impossible to keep up with every single show, but here are the 60 best shows we did watch in 2014. By Mark Redfern


The Walking Dead


From the get-go, AMC’s The Walking Dead has been a rollercoaster ride, alternatingly treating viewers to heart-pounding, edge-of-their-seat action and flat-out tedium. Fans begrudgingly learned to accept inconsistent writing, sometimes weak character development, and forced plot twists each time they tuned in. No longer is this the case. The second half of Season Four in the first months of 2014 finally answered the long awaited question, “What is Terminus?” The truth proved doubters and naysayers right, yet Rick and company broke free in one of the most explosive season openers of the year. Season Five then continued, taking the survivors on a whirlwind of an adventure, delivering the most unswerving, adrenaline-infused, jaw-dropping moments of the series so far. Cannibalism, Beth (dear, sweet Beth), and a Rambo-esque Carol are but a few standout memories. With its legs firmly under it, The Walking Dead came gloriously back to life this year, eschewing the walking “dud” episodes that had so plagued its first few seasons and delivering, hands-down, some of the best entertainment of the year.

By Zach Hollwedel


The Leftovers


No one quite knew what to expect from Damon Lindelof (co-creator of Lost) when he returned to TV in 2014 with The Leftovers. Based on the novel by Tom Perrotta, the HBO series follows police chief Kevin Garvey, Jr. (Justin Theroux) and an ensemble cast of citizens from Mapleton, NY, all of whom are struggling with the aftereffects of a mysterious disappearance that claimed 2% of the world’s population. The premise was intriguing enough, but would there be enough to sustain a full show? The answer proved a resounding yes. True to form, Lindelof delivered question after question throughout the 10-episode inaugural season, sometimes to the point of near frustration. But he also treated viewers to some of the most shocking moments of television in 2014. (Remember Matt’s gambling episode and how that played out? Yeah. And that’s not even the biggie from the year by any stretch of the imagination.) Is Chief Garvey going crazy? What the hell are the GR up to? How will the Patti fallout unfold? We wish Season Two would start already and at least hint at the promise of answers the way Lindelof does so well.

By Zach Hollwedel




Fargo picks up from the acclaimed Coen Brother’s masterpiece about criminal plots guised by friendly Midwestern accents. The series stays true to the film’s spirit of juxtaposing the ugly side of humanity against homespun warmth, but kicks it up a notch with amoral killers, deaf hitmen, and biblical plagues. Allison Tolman stepped up as a surprising feminist role models as Molly Solverson, but Billy Bob Thornton sent chills as one of the best characterizations of pure evil.

By Cody Ray Shafer




Louie C.K.’s meta-comedy continues to push television boundaries during its fourth season. Louie has always portrayed the artfulness and surrealism of everyday life, but this season’s six-episode arc “Elevator” is worthy of a full-length edit and theatrical release. Louie remains one of the most groundbreaking television comedies on television, by finding humor in both the absurd and mundane.

By Cody Ray Shafer


Game of Thrones


Season four may have been Game of Thrones’ most ambitious yet, featuring as it did the most dramatic departures from George R.R. Martin’s source material. Fans recovering from season three’s infamous “Red Wedding” received no let-up as long-standing characters both beloved and very much unloved met their makers while trying to navigate Westeros’ post-Stark political landscape. We were also introduced to one of the A Song of Ice and Fire series’ most memorable characters, Oberyn Martell. He may only have featured briefly in this season, but his showpiece episode “The Mountain and the Viper” was like nothing that had ever before been seen on television. The same can be same for the season’s big event ninth episode, “The Watchers on the Wall,” which did little for the plot but whose battle for The Wall was a thrilling spectacle nonetheless.

By Dan Lucas




Fred Armisen and Carrie Brownstein’s sketch comedy continues to parody the notoriously hipster city of Portland. Part of the charm of Portlandia is its penchant for pulling jokes from the intersection of comedy and music, as Brownstein are often joined by rock stars like Jeff Tweedy, Kim Gordon, and J. Mascis. Portlandia has elevated sketch comedy with surprisingly well-established characters and unprecedented production.

By Cody Ray Shafer


Doctor Who

BBC America

Stephen Moffat promised Peter Capaldi’s first year in the TARDIS would set a slightly different tone for Doctor Who, and he didn’t let us down. Capaldi plays a meaner, trickier Doctor, but the new series’ emotional arc follows his companion Clara (Jenna Coleman) on a heartbreaking journey that pits her personal desires against her longing for time travel. There were plenty of surprises and wonderful moments this year, especially for a show with a history as long as this one. Like the new Doctor, the show’s new direction is unpredictable, which makes it far more interesting than it has been for a few years.

By Cody Ray Shafer


True Detective


HBO’s gritty anthology crime series kicked off its premiere season with a philosophical exploration of the toll reality takes on the men who hunt bad guys. Matthew McConaughey and Woody Harrelson play a pair of flawed but sharp detectives looking for a disturbing entity known as the Yellow King in the unsettling backwoods of Louisiana. True Detective draws on American gothic horror and builds a whole new mythology of gritty, neo-noir mystery.

By Cody Ray Shafer


The Newsroom


Creator Aaron Sorkin decided to end The Newsroom after three seasons, and, while we wish it would stick around a lot longer, it’s always good for a show to go out still at the top of its game. Set at a fictional cable news channel, this final season dealt with government leaks, never revealing a source, protecting the first amendment, old media vs. social media, a boat-rocking new station owner, the Boston Marathon Bombing, and Edward Snowden. There was also finally resolution on Jim and Maggie’s will they/won’t they relationship (they are the Jim and Pam of The Newsroom). Some might argue that Sorkin’s dialogue was overwritten, we’ll say that it was expertly written. And what chemistry that cast had. Because The Newsroom was set a year or so in the past and dealt with the actual news of the period, one wonders what Sorkin would’ve done with the tumultuous year that was 2014 had the show stuck around for another season or two—ISIS beheadings, the missing Malaysian Air flight (with another one shot down over the Ukraine), Ebola, the Michael Brown shooting in Ferguson, escalation of the Israeli-Palestinian conflict, North Korea’s hack of Sony, etc., etc. It could’ve made for a depressing fourth season, so perhaps Sorkin was wise enough to bow out when he did.

By Mark Redfern




Sherlock’s fascinatingly difficult task of toasting Watson’s marriage was a series highlight, with the verve of a brilliant mind unsettled over grappling with a simple gesture. And where will we find the famed detective next season after his cliffhanger run-in with one of the most inhumanly despicable villains imaginable?

By Hays Davis


The Good Wife


It’s rare these days that a major actor leaving a television show isn’t announced or leaked way before it happens on screen, so it was quite an achievement when The Good Wife pulled off perhaps 2014’s most shocking TV moment with the [spoiler alert] shooting of Will Gardner (played by Josh Charles), something no viewer remotely saw coming. Charles had apparently wanted to leave the show for over a year, but somehow that was kept quiet. But of course The Good Wife belongs on this list not simply because of one earth-shattering scene, but also because as whole 2014’s episodes were simply incredibly well-written and acted, as the rest of the cast dealt with Will’s death and the complex emotion that is grief. If you notice, The Good Wife is the highest charting network TV show on this list in another year where cable dominates, making it Under the Radar’s #1 network TV drama of the year.

By Mark Redfern


Masters of Sex


Season two of Masters of Sex may have dragged in parts as the story spanned several years (1958-1961), but there is no faulting the stellar and complex performances of Michael Sheen and Lizzy Caplan as pioneering sex therapists William Masters and Virginia Johnson, who were also engaged in a tricky extramarital affair with each other. William in particular dealt with his own ironic impotence. Master’s wife, Libby (played by Caitlin Fitzgerald) was also given extra dimensions this year as she embarked on her own affair with an African American civil rights activist. Beau Bridges’ character Barton Scully only appeared in two episodes this year, but made an impact when he tragically sought medical treatment to “cure” his homosexuality, a far cry from the broad character he simultaneously played on the thankfully-since-cancelled trashy CBS sitcom, The Millers (come to think of it, Alison Janney gave another thoughtful, although brief, performance as Scully’s wife, Margaret, also at odds with her lowbrow CBS sitcom, Mom). Hopefully season three will be no less dramatic, but maybe a little less sad.

By Mark Redfern




Community creator Dan Harmon returned to the executive producer/showrunner role after a year’s absence and got the show back on track. It was a year of transition, with Chevy Chase leaving prior to the season’s start, Donald Glover leaving in the season’s fifth episode, and Yvette Nicole Brown later announcing her departure post the season. While certainly an improvement over the Harmon-less season four, season five was perhaps not quite as wildly consistent as the show’s first three seasons. Still, highlights abounded, such as “G.I. Jeff,” in which the whole episode was animated in the style of the 1980s’ G.I. Joe cartoon, and the post-apocalyptic spoof “Geothermal Escapism,” Glover’s swansong in which a campus-wide game of “The Floor is Lava” gets out of hand. NBC finally cancelled Community after years of poor ratings, but Yahoo became an unlikely savior, greenlighting a new season to stream in 2015. It looks like six seasons and a movie could actually become a reality after all.

By Mark Redfern


Brooklyn Nine-Nine


Brooklyn Nine-Nine, now in its sophomore season, remains one of the funniest shows on television. Andy Samberg, Andre Braugher, Terry Crews, and the rest of the cast routinely deliver quick-lipped laughs in the cop comedy, which features an ensemble of quirky, well-developed characters. Season Two of the FOX sitcom stuck its foot in the pool of office romances, coupling, teasing, and uncoupling multiple pairs of characters. Not only were the hookups expectedly hilarious, but they were quite often touching, as well. Daniel J. Goor and Michael Schur created something of an anomaly with modern sitcoms—Brooklyn Nine-Nine is legitimately and laugh-out-loud funny, doesn’t rely on canned laughs, and is family friendly. If only more comedies were this solid.

By Zach Hollwedel




This limited series captivated England on the BBC (and also aired on Starz in the U.S. to rave reviews from American critics). James Nesbitt and Frances O’Connor star as Tony and Emily Hughes, British tourists in France whose life is torn apart when their young son Oliver goes missing. The show told a dual story, that of the initial search for Oliver in 2006 and the reopening of the case in the present day when new evidence is found. Nesbitt is particularly haunting as a man nearly driven mad by the search for the truth of what happened to his son and the guilt he feels for not keeping him safe. The ambiguous ending may have left some cold, but if season two (which is due to feature a brand new case) is even half as gripping as season one then we promise to still tune in.

By Mark Redfern


Parks and Recreation


2015 sees the seventh and final season of Parks and Recreation, a beloved comedy that NBC has thankfully kept on the air longer than its ratings may have justified. After a slow start with a mainly unfunny six episode first season in 2009, the show really came in to its own in season two and went on to help launch the careers of Chris Pratt, Aubrey Plaza, and Nick Offerman, all fairly unknown prior to Parks and Recreation. 2014’s season six episodes saw Leslie Knope (Amy Poehler) deal with the implications of being recalled from the city council and Ann Perkins (Rashida Jones) and Chris Traeger (Rob Lowe) run off together and thus leave the show. Let’s hope the show bows out in style.

By Mark Redfern


Modern Family


Modern Family topped Under the Radar’s Top 50 TV Shows of 2010 list and came in #2 on our 2011 list. Some might argue that despite winning the Emmy for Outstanding Comedy Series five years in a row (every season its aired), Modern Family has been coasting a bit in the last year. Certainly the family comedy has become overly familiar, its characters as comfortable as an old sweater. Perhaps a creative shakeup to the Dunphy/Pritchett family’s situation and dynamic is in order. But on the other hand, it’s easy to see why the writers have taken the if-it-ain’t-broke-don’t-fix-it approach. Certainly any comedy capable of producing 2014’s truly hilarious “Las Vegas” episode, which featured such guest stars as Fred Armisen, Stephen Merchant, and Patton Oswalt, deserves continued attention.

By Mark Redfern


New Girl


New Girl’s big 2014 event was getting the all-important post-Super Bowl slot and landing Prince to brilliantly guest star as himself in the episode (his first ever guest starring appearance in a sitcom). Beyond that, the ever-charming sitcom dealt with the breakup of Nick (Jake Johnson) and Jess (Zooey Deschanel), a visit from Jess’ disruptive fresh-from-jail sister Abby (Linda Cardelillini), an awkward couples cruise, a micro-penis, and angst over them getting a new landline.

By Mark Redfern


Silicon Valley


Mike Judge’s new comedy confidently and accurately sent up tech startups and the Silicon Valley culture, in large part thanks to the chemistry of its ensemble. The lone dark cloud over the brilliant satire was the death midway through filming of actor Christopher Evan Welch, who died after a long battle with lung cancer and played strange venture capitalist Peter Gregory. It’ll be interesting to see how Judge writes out the character in season two.

By Mark Redfern


The Flash


The CW’s treatment of DC Comics superheroes just keeps getting better and better. From the moment it debuted this season, it was clear The Flash—a spin-off of Arrow (see number 21)—was going to kick some serious butt. Glee alum Grant Gustin plays the titular speedster, and he’s already squared off against a number of Flash’s most recognizable rogues, including Captain Cold and Weather Wizard. The show nails the character’s light-hearted approach to crime fighting, even in the face of murderous foes, yet is mature enough to entertain adult fans that grew up reading Flash comics. The special effects are solid, the writing is sharp, and the acting is top notch. The Flash is as strong a comic book adaptation as fans can ask for.

By Zach Hollwedel




Now in its third season, Arrow tracks an ever-evolving Oliver Queen (Stephen Amell). In the months after Deathstroke brought Starling City to its knees, Queen struggles with his dueling personas—is he Oliver Queen, or is he the Arrow? Can he be both? The supporting cast of characters—Diggle, Thea, Felicity, Roy—all grapple with their own baggage, too, and that’s what the show has always done so well. Yes, Arrow is a superhero show, but it’s so much more. It has fully realized characters forced to make extreme decisions and deal with the life and death ramifications of their actions. Felicity’s rollercoaster ride of a relationship with Oliver has taken some great turns in 2014, as has Roy’s injection with Mirakuru. The return of old villains, introduction of new heroes, and faithful use of DC characters on both sides of the line continue to make Arrow one of the best action shows on television.

By Zach Hollwedel




A show built on the powerful connection of Carrie Mathison (Claire Danes) and Nicholas Brody (Damian Lewis) was bound for a downturn when focusing on just one character. Danes turned in a brilliant performance all season as Homeland became more personal than ever, but a plotline largely built to reset for season five was bound to turn off viewers. Still when it’s on, Homeland is a great reminder of how powerful a TV series can be, and even a slightly substandard season makes for good-to-great viewing.

By Matt Conner


You\'re the Worst


The anti-romantic comedy, You’re the Worst is perhaps the most honest TV show currently airing when it comes to sex and relationships, and is also one of the funniest. In other hands, the characters would simply be unlikeable, but creator Stephen Falk’s refusal to sugarcoat relationships makes the show’s central lovers, British struggling author Jimmy and music publicist Gretchen, (along with their best friends war veteran Edgar and bored housewife Lindsay), all the more real and compelling. You’re the Worst was actually one of the year’s best.

By Mark Redfern




NBC’s Hannibal gets away with murder every week. Not because it’s one of the most graphic shows on television, challenging the stuff that’s on everything from FX to AMC, to HBO, but NBC let an art show on its schedule. It’s a grotesque, David Lynch meets Francis Bacon nightmare that you can’t wake up from, the kind of thing that gets lodged into your brain. It’s not only the imagery that keeps you up at night, it’s also Mads Mikkelsen’s sly, subtle, and diabolical Dr. Lecter that’ll keep you in a daze.

By Kyle Turner




As most of my family and that of my wife live in different places around the world (London, Florida, Berlin, Los Angeles, Scotland, Texas, Africa, New York), while we currently live near none of them in Virginia, I’ve long had a bit of envy for Parenthood’s Braverman clan, who all live near each other in Berkley, CA and often gather together for big family meals. 2014 saw the start of Parenthood’s sixth and final season. Over its run the show has dealt with big issues—Asperger’s Syndrome, cancer, veterans with post-traumatic stress, interracial relationships, infidelity—but has always been grounded by a wholly believable and likable family. It’s a travesty that Parenthood hasn’t won or at least been nominated for more Emmys and Golden Globes, perhaps because the show isn’t particularly flashy and feels so true to life (which is actually often harder to pull off than some more overdramatic and fantastical shows). Monica Potter, in particular, deserved recognition for her seasons four and five story arc battling breast cancer. Perhaps this final season will get some of the major awards recognition this show clearly deserves, but it probably isn’t likely.

By Mark Redfern


Orange is the New Black









The Goldbergs



The Big Bang Theory



Penny Dreadful


A lot happens in Showtime’s Penny Dreadful, and yet not much matters. Not a bad thing by any means, because what matters is the investment the audience has in the characters and the performances, and that’s certainly there. From Timothy Dalton’s nuanced return to the mainstream as the father of Mina Murray to Harry Treadaway as the complex Dr. Victor Frankenstein. And, of course, the highlight of the show, Ms. Eva Green, who can brilliantly walk the line between camp and seriousness. It’s kind of a dark horse, surprising in just how affecting it can be. But leave it to screenwriter and creator John Logan and producer Sam Mendes to create one of the most compelling pieces of horror in ages, sans ridiculousness.

By Kyle Turner







An indirect, chancy approach to the Dark Knight, FOX’s Gotham is Batman without Batman. Ben McKenzie plays James Gordon—future commissioner—new to Gotham and unlucky enough to catch the Thomas and Martha Wayne murder case. Gordon’s investigation leads him into the Gotham underworld, introduces him to a young Bruce Wayne, and earns him far more enemies than friends. Watching the show is an Easter egg hunt for Bat-fans; The Riddler, Catwoman, Penguin, Two Face, even Mr. Zsasz all factor in, before the world knows them by those names. It’s fun watching Gordon navigate the growing madness that is Gotham city, though it’s hard to deny it would be even more fun if a certain caped crusader was knocking heads.

By Zach Hollwedel


The Middle



Last Week Tonight with John Oliver



Mad Men



House of Cards


Frank and Claire Underwood were back for more intrigue, betrayal, and acutely designed revenge in Season Two of the Netflix hit—an American adaptation of the U.K. miniseries. Fans of Season One can easily argue that the sophomore season jumped the shark pretty quickly, catapulting Frank from a strategic genius to a petty thug at times. That said, the twists and turns House of Cards takes, along with devilishly fun machinations perpetrated by Kevin Spacey’s Frank and Robin Wright’s Claire—as well as everybody else in that show, because no one is innocent—made for some damn good binge watching in 2014.

By Zach Hollwedel


The Colbert Report

Comedy Central


Project Runway



Real Time with Bill Maher



Garfunkel & Oates



Bob\'s Burgers



Comedy Bang! Bang!



The Daily Show with Jon Stewart

Comedy Central


The Strain



Late Night with Jimmy Fallon



Orphan Black

BBC America




DC Comics has been dominating rival Marvel in the TV realm of late. Marvel’s Agents of Shield has its moments but is too beholden to its ties to the Marvel Cinematic Universe to truly take flight or feature any superheroes of note. Marvel’s upcoming Netflix shows might change the game, but until then DC has been killing it with its hits Arrow, The Flash, and Gotham (and has shows based on iZombie, Preacher, Supergirl, and Teen Titans in the works). Constantine is the least appreciated of DC’s current TV crop. NBC hasn’t done it much favors, placing the show at the low trafficked 10 p.m. Friday slot, airing one episode out of order, and shortening the show’s first season to only 13 episodes (although there is apparently some hope of there being a second season). Titular character John Constantine first appeared in Swamp Thing before getting his own comic in Hellblazer and is a demon hunter and exorcist. Unlike the 2005 Constantine film, there’s no Rachel Weisz, Tilda Swinton, or big budget special effects, but at least Constantine is British and has a cheeky sense of humor. Matt Ryan does a better job embodying the supernatural detective than Keanu Reeves did and many of the episodes are genuinely creepy in an X-Files kind of way. If Hannibal can be embarking on a third season on NBC on Friday nights with similar ratings numbers, let’s hope Constantine (despite John being shot and left for dead in the midseason finale cliffhanger) will be kept alive for several seasons to come.

By Mark Redfern





Boardwalk Empire



American Horror Story: Freak Show


Witches and reanimated corpses, Siamese twins and murderous clowns. American Horror Story brought both and more, lots more, this year. Coven, set in a New Orleans-based school for young witches, jazzed things up with a cameo from Stevie Nicks (as herself) as a witch in the first part of the year. Later, Season Four, which debuted in October, thrust viewers into the world of mid-20th Century freakshows, complete with strong men, lobster boys, and three breasted women. Though the setting, characters, and plot change from one season to another in Brad Falchuk and Ryan Murphy’s show, what remains consistent is the cast. Jessica Lange, Evan Peters, Kathy Bates, Angela Bassett, Sarah Paulson, and Frances Conroy lead an impressive ensemble; even when the show gets strange (and boy, does it), their performances are always a delight.

By Zach Hollwedel


Marry Me





Selfie may go down as a footnote in the history of the social media age due to its bound-to-come-off-as-seriously-dated title. Many dismissed this comedy, which was roughly inspired by My Fair Lady, based on its name alone and its lackluster ratings left the show cancelled with only seven episodes airing on ABC and the rest of its initial 13 episodes streaming on Hulu. That’s all too bad, as many missed the point without even viewing a single episode. Selfie took jabs at our social media obsession, rather than celebrating it. The show centers on pharmaceutical sales rep Eliza Dooley (Doctor Who’s Karen Gillan in her first American TV starring role), who is more concerned about getting Facebook Likes and Instagram followers than having actual human relationships. Enter uptight co-worker Henry Higgs (John Cho of Harold and Kumar and Star Trek), who takes Eliza under his wing after she embarrasses herself at a company retreat. Gillan and Cho’s fantastic chemistry ground the show, but the quirky supporting cast also generates laughs, including David Harewood, so intimidating as David Estes, the director of CIA’s Counterterrorism Center on the first two seasons of Homeland, but here playing boss Sam Saperstein, always eager to inspire the troops with mud runs and karaoke nights (his brief Terence Trent D’Arby impression amuses). We may never know the eventual outcome of Henry and Eliza’s will they/won’t they romantic relationship, but it may have been a hard concept to keep going beyond its initial season or two anyway (something creator Emily Kapnek struggled with in regards to her previous show, Suburgatory). Ultimately, Selfie may also go down as a footnote in Gillan’s growing career. It may have been a flop, but it proved that she could confidently headline an American TV show, just as her unrecognizable appearance as a villainous in Guardians of the Galaxy showed she might be destined for big screen stardom.

By Mark Redfern


Olive Kitteridge



Halt and Catch Fire



The Blacklist



Inside Amy Schumer

Comedy Central


The Americans



Sons of Anarchy



The Knick



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