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\n Photo-Illustration: Vulture; Photos: Karolina Wojtasik\/HBO, Larry Horricks\/Netflix, Euan Cherry\/Peacock via Getty Images, Warrick Page\/MAX, Mike Judge\/Disney, Lucasfilm Ltd., Netflix\n <\/p>\n
There are countless ways to make television, which means there are countless ways to be great on television. A great performer can burn brightly off the glossy sheen of serialized drama and would do so differently but no less substantially than if they popped up in a reality competition show, an animated sitcom, or a loose variety show. The 18 performances that follow represent just a portion of that range. They span genres, formats, and storytelling styles. They come from leads who shoulder entire series and ensemble players who steal scenes from the margins, from relative newcomers making striking first impressions and veterans sharpening what they already do best. You may notice that we generally skipped the most obvious choices and the ones already amply celebrated, though in a few cases, we simply couldn\u2019t resist. This list reflects our favorites, not an attempt at completeness. That in itself underscores what a strong year it\u2019s been for television. \u2014Nicholas Quah<\/p>\n
There was always an incongruous delight in having the raspy, New York\u2013born Pamela Adlon voice a goofy prepubescent kid from a small-town Texas family. That dissonance is a big part of what made her delivery of \u201cThat\u2019s my purse! I don\u2019t know you!<\/a>\u201d so iconic in the first place. On paper, Adlon isn\u2019t doing anything radically different in this year\u2019s excellent King of the Hill revival<\/a> \u2014 for the most part, Bobby Hill still sounds like Bobby Hill \u2014 but time has done its work on both performer and character. Adlon, now in her late 50s, naturally brings more lived-in warmth to Bobby, now aged up into his early 20s and navigating adulthood with the same wide-eyed earnestness that once fueled his childhood shenanigans. What\u2019s remarkable is how gracefully Adlon continues to thread that needle: Bobby still has the musical, slightly off-kilter cadences that made him so quotable, but there\u2019s a new softness and self-knowledge<\/a> rippling underneath. Adlon makes Bobby feel new again without ever letting go of the boy we knew. \u2014N.Q.<\/p>\n The Traitors is an incredibly compelling reality TV show, but as a game, it can be frustratingly lacking. The Faithful are tasked with rooting out the Traitors in their midst, but with no real clues to parse, they mostly just go by vibes. The only way to proactively play the game is to put on a show at the roundtable deliberations, and that\u2019s exactly what Bob the Drag Queen did in The Traitors\u2019s third season. A seasoned drag queen knows how to utilize their sense of humor and command of a room, and Bob did both. Through sheer force of personality, Bob initially disarmed the Faithful, forming bonds with the likes of Gabby and his fellow Traitor Danielle, but when cornered by Dylan Efron and \u201cBoston\u201d Rob Mariano, Bob fired back with ferocity. He swore to the God he didn\u2019t believe in, he called Boston Rob a little bitch, he besmirched the acting career of Zac Efron. Bob\u2019s was a game designed to burn brightly and leave a mark on the floor where he stood, and while he was the first Traitor banished, he did not go quietly<\/a>. \u2014Joe Reid<\/p>\n Coverage of Mo has primarily focused on series creator and star Mo Amer<\/a>, given that it\u2019s a fairly autobiographical version of his own life. But the second and final season really belonged to Farah Bsieso, who plays Mo\u2019s mother Yusra as a woman of many contrasting cultural and personal obligations: She wants the best for her sons but is unable to understand how they might be different from her; she wants to follow Palestinian traditions while also challenging herself as an American entrepreneur. Yusra could have just been a ball of anxieties, but Bsieso always found the character\u2019s core of compassion, the deep belief in the value of human life that leads to her accepting Mo\u2019s non-Palestinian partner, making friends with Texan cowboys, and compulsively watching videos of Palestinian families and children under attack by Israeli military forces. Thanks to Bsieso\u2019s openhearted performance, and all the anguish and resilience within it, every Middle Eastern viewer saw part of their own mother in Yusra. \u2014Roxana Hadadi\u00a0<\/p>\n Noah Hawley\u2019s galaxy-brain spin on the Alien franchise left me cold, but that didn\u2019t temper the delight of some of its performances, even Samuel Blenkin\u2019s feet-first peacocking as Boy Kavalier. But the show\u2019s most indelible turn comes from Babou Ceesay as Morrow<\/a>. The corporate heavy in eternal service to Weyland-Yutani, he plays the series\u2019 most stoic figure, a half-man, half-machine who has lived too long, seen too much, and committed enough sins to be permanently steeped in existential self-loathing. Morrow is (slightly) more grounded as a character concept than Alien: Earth\u2019s Peter Pan hybrids, those adult synthetic bodies uploaded with the consciousness of children, and that\u2019s precisely why Ceesay shines. Watchful, efficient, and bone-deep tired, he makes Morrow almost relatable, a dude who\u2019s basically stuck in the same corporate job for far too long, clinging to what he needs to believe is a sense of duty and responsibility. Somehow, he makes a violent operative who terrorizes a young boy someone you don\u2019t root against. In fact, you might just understand where he\u2019s coming from. \u2014N.Q.<\/p>\n Cliff Curtis is a perennial \u201cOh, that guy!\u201d who has long deserved a big juicy role of his own, and he gets just that in Thomas Pa\u02bba Sibbett and Jason Momoa\u2019s big Hawaiian epic Chief of War. As the warrior prince Ke\u014dua, a rival to Momoa\u2019s Ka\u02bbiana, Curtis is phenomenally imposing, a slab of masculinity just looking for a neck to snap to prove he\u2019s alive. Often placed in the middle of a volcanic landscape that smokes and smolders, Ke\u014dua\u2019s all squints and snarls; in one deranged, perfect scene, as an act of provocative revenge, he punches himself in the face long enough to dislodge a tooth, and then a couple episodes later forces an enemy to do the same thing. Ke\u014dua is a force of pure aggression and chaos, and Curtis gives him the very mortal qualities of pettiness and jealousy to round out a fantastic villain. \u2014R.H.<\/p>\n It\u2019s too bad that Poker Face is ending \u2014 in its current form, at least<\/a> \u2014 just when it set up Patti Harrison as the perfect foil for Natasha Lyonne. The second season\u2019s best reveal was that Harrison wasn\u2019t just playing Alex, an awkward but well-meaning New Yorker who, as one of the first real friends Charlie has made in years, learns about her lie-detector abilities and tags along on her exploits. In the finale, Poker Face drops the bomb that Harrison was also playing the world\u2019s preeminent assassin, the Iguana, who befriended Charlie in order to find the mob snitch the Iguana was hired to kill. In assassin mode<\/a>, Harrison replaces Alex\u2019s motormouthed kookiness with a top-tier power bitch, and the ease with which she toggles between these personalities is so exceptional you almost wonder if Poker Face is tricking you again. Harrison\u2019s specific brand of outsize mania created wonderful friction with Lyonne\u2019s more laid-back neuroses, and it\u2019s too bad that in whatever form Poker Face may return, we won\u2019t get that dynamic again. More baddies for Harrison, please! \u2014R.H.<\/p>\n Lee Raybon is as much a song as he is a rich, flawed, fully dimensional character, and Ethan Hawke sings him with such gusto<\/a>, he\u2019s bound to get stuck in your head. Hawke has that rare distinction of being one of his generation\u2019s most versatile actors while still carrying an unmistakable spark of himself; you can drop him into The Purge, The Good Lord Bird, or the Before trilogy and watch him fully inhabit the role while tracing a continuous emotional through-line. The vibrant elocution, the admiration of existence, the flair that convinces you he could talk his way out of a run-in with fish-egg smugglers \u2014 it\u2019s all in Lee. Within the Hawke canon, Raybon feels closer to Jesse Wallace than to, say, the Grabber, largely because he gives Hawke room to be someone who so deeply loves the world, beauty, and truth that you could never mistake him for a cynic, even when life has beaten him down. At the same time, Lee\u2019s so high on his own supply, it\u2019s not surprising<\/a> when innocent people get hurt in the wake of his crusade. It\u2019s a testament to Hawke\u2019s performance that you can love him, feel sorry for him, and loathe him all at once, and it\u2019s a testament to his charisma that he can spend big stretches of the series looking like a beat-up dog and still look so damn good. \u2014N.Q.<\/p>\n American neo-westerns still have the tendency to slip into noble-savage clich\u00e9s, and American Primeval isn\u2019t entirely free of the trope. Derek Hinkey\u2019s character, the Shoshone warrior Red Feather, is almost always frowning at white settlers, looking undeniably foreboding with his face slathered in black paint and galloping on horseback into battle. But the Netflix miniseries is more subversive than it initially seems<\/a>, presenting the Mormon church as a malignant force that normalized religiously motivated violence and weaponized stereotypes about Indigenous Americans. Within that tableau, Hinkey\u2019s anti-assimilation separatist feels not fetishized but justified. Hinkey finds both viciousness and vulnerability within Red Feather, crafting, through his fierce physicality and long, unblinking gazes, a man aware of the world steadily leaving him behind. Hinkey\u2019s surrounded by other actors doing exceptional work \u2014 particularly Shea Whigham, Irene Bedard, and Taylor Kitsch<\/a> \u2014 but given a character who easily could\u2019ve been a bundle of stereotypes, Hinkey pushes Red Feather in another direction. \u2014R.H.<\/p>\n If The Office\u2019s first season missed the mark because audiences found its attention-seeking boss, Michael Scott, too difficult to stomach, The Paper\u2019s first season misses the mark because it overcorrects too much in the opposite direction. The not-quite-spinoff begins with a pump fake where it introduces a similarly over-the-top boss figure in the form of Sabrina Impacciatore\u2019s Esmeralda Grand<\/a>, then demotes her to a lesser role in favor of Domhnall Gleeson\u2019s less compelling Ned Sampson. To give the writers the benefit of the doubt, it\u2019s possible they didn\u2019t know in advance just how mesmerizing Impacciatore\u2019s performance would be. How could they, when at no point in the season does she do anything a reasonable person could predict? She stresses the wrong syllables, contorts her face into a boardwalk caricature\u2019s, and gestures wildly during every line delivery. It makes the rest of the show\u2019s comedy feel too grounded by comparison, but you don\u2019t want Impacciatore to tone it down. Rather, you wish the rest of the cast would rise to her level. \u2014Hershal Pandya<\/p>\n In Tokyo Vice, Show Kasamatsu\u2019s baby gangster Sato was a consummate cool guy<\/a>, cutting an unmistakable figure in perfectly fitted suits and blowing smoke rings with ease. His character in The Narrow Road to the Deep North could not be further from that, and his believability as an agonized Japanese major struggling with his orders is a sign of Kasamatsu\u2019s broadening range. In Justin Kurzel\u2019s miniseries, Kasamatsu\u2019s Major Nakamura is an ambitious upstart who immediately recognizes the impossible situation he\u2019s in, commanding Australian POWs to bushwhack through a jungle to build a railway for Japan\u2019s emperor with encouragement like, \u201cThis is an honorable mission, one you should feel proud to be part of.\u201d But with no food or resources and widespread illness and discontent, how\u2019s Nakamura supposed to get that done? Whatever violence the major enacts against these POWs will stain his soul, but refusing to follow his own orders will doom him. Kasamatsu\u2019s increasingly brittle affect and abrupt line deliveries show how this is tearing him apart until a final, sweaty breakdown mirrors what the POWs are going through. This performance is a great contrast to his work on Tokyo Vice but also a fantastic expression of how the hierarchies that demand submission ultimately break everyone. \u2014R.H.<\/p>\n As Black Rabbit\u2019s Friedkin brothers, Jude Law is hot as hell and Jason Bateman\u2019s working a hilariously scraggy beard, yet whenever the pair share a scene with Troy Kotsur, the only thing you can look at is Kotsur\u2019s face. His presence as NYC loan shark Joe Mancuso is undeniable; Kotsur\u2019s eyes are like two portals beaming out all the resignation, disgust, and irritation he has in his heart for his wannabe gangster son, the Friedkins who try his patience, and a changing New York City leaving old-timers like Mancuso behind as gambling goes digital. Even when the series de-ages him in a later episode, the effect can\u2019t dampen Kotsur\u2019s inherent magnetism and ability to become a man whose mind is always working all the angles. \u2014R.H.<\/p>\n When a show is built around one actor, that actor better be damn good \u2014\u00a0especially when the series is released as a binge. If the performance can\u2019t captivate viewers from the jump, the show threatens to disappear into the streaming abyss. Thankfully, North of North has Anna Lambe, a Canadian Inuk actress whose warm, sympathetic presence as Siaja immediately invites you to settle into the rhythms of the coming-of-age story\u2019s triumphs and travails. There are hints of Parks and Recreation and Schitt\u2019s Creek in her decision to leave her unfulfilling marriage and chart a new career path for herself, but Lambe\u2019s performance is so winningly distinct and the series\u2019 Indigenous sensibility so specific that North of North always feels like it\u2019s doing its own thing. Lambe exudes a cheery optimism without falling too deeply into blinkered na\u00efvet\u00e9, her huge smile both genuine and an armor against a traditional culture that wants her to be a \u201cgood wife\u201d and little else. The tension between the audience wanting the best for Siaja while her community dissuades her is key to North of North\u2019s appeal, and that all comes down to how strongly Lambe anchors the series around her. \u2014R.H.<\/p>\n The Pitt works so well because it\u2019s full of unshowy displays of compassionate competence, and although the show\u2019s star, Noah Wyle<\/a>, and its cadre of supporting doctors (Taylor Dearden<\/a>, Isa Briones<\/a>, Fiona Dourif) grab most of the spotlight, a show this hectic and fast-moving requires a baseline. That glue, The Pitt\u2019s tone-setting benchmark, is Katherine LaNasa\u2019s performance as Nurse Dana Evans<\/a>. Dana is often physically and narratively at the center of The Pitt, directing and facilitating all the action that swirls around her. She\u2019s also the pivot point \u2014 plots scattered throughout the emergency room funnel back through her for a final reaction before transforming into new story lines. Every time, it\u2019s LaNasa\u2019s performance that guides and grounds the show\u2019s broader tonal range. Pragmatic, unflappable, and just a few ticks toward the warmer side of cynicism, her work is what stitches the show together. \u2014Kathryn VanArendonk<\/p>\n Michael Chernus is nightmarishly good in Devil in Disguise, nailing serial killer John Wayne Gacy\u2019s ability<\/a> to con everyone around him \u2014 which is exactly what makes Gabriel Luna\u2019s work as detective Rafael Tovar so exemplary. Tovar is the one officer who immediately sniffs out that there\u2019s something weird about Gacy, and Luna incrementally nudges the character further and further into obsession. His body does the work: His hunched body curves into itself as he digs into the soil under Gacy\u2019s floorboards; when he drives Gacy to court, his posture tightens as his eyes flicker to the rearview mirror; and his long strides out of the prison where Gacy\u2019s execution has taken on a circuslike appeal communicates his contempt for the whole affair. It\u2019s unclear how true to life Luna\u2019s performance is \u2014 Tovar doesn\u2019t factor too heavily into the series\u2019 real archival footage \u2014 but who cares if he\u2019s a good mimic? Luna\u2019s descent into Tovar\u2019s disgust and exhaustion tells the Gacy story just as well as Chernus\u2019s mercurial performance. \u2014R.H.<\/p>\n It\u2019s never a comfortable position to play second fiddle. Stories bend toward heroes and villains, and the toadies and fixers and strivers need to stay in the lane of functional plot-movers where they belong. But Matthew Macfadyen has an incredible, improbable ability to inhabit losers and turn them into magnetic, indelible protagonists. In Death by Lightning, his performance as Charles Guiteau incinerates any attempt to categorize the presidential assassin. He is ambitious, ruthless, violent, and manipulative, and in the same breath he is childlike, incapable of understanding consequences, and full of hope and good intentions. Michael Shannon is noble and avuncular as James Garfield, and Betty Gilpin is the show\u2019s pragmatic, insightful anchor, but Macfadyen\u2019s ability to turn Guiteau into a coherent, terrifying, tragic figure blows everyone else out of the water. \u2014K.V.A.<\/p>\n Wendi McLendon-Covey has been a sitcom staple since 2003, going from series regular on Reno 911! to series regular on The Goldbergs and guesting on roughly a dozen others along the way. All those comedic reps bear fruit in her role as St. Denis Medical\u2019s Joyce, the high-strung executive director of the mockumentary\u2019s titular hospital. She\u2019s mastered every type of comic beat a network sitcom can sustain: She can go big out of nowhere<\/a> and toss off lines casually with pitch-perfect timing<\/a>; she can telegraph insecurity and a lack of self-awareness with the same facial expression; and her bumbling physicality is expertly choreographed<\/a>. In a show full of great performances, particularly those of David Alan Grier and Mekki Leeper, McLendon-Covey outshines them all through pure, practiced professionalism. \u2014H.P.<\/p>\n Emmy voters should be embarrassed until the end of time for failing to nominate any of Andor\u2019s ensemble in the major acting categories. No Diego Luna<\/a> for Best Actor, no Stellan Skarsg\u00e5rd for Best Supporting Actor, no Elizabeth Dulau for Best Supporting Actress, and, most irritatingly of all, no Genevieve O\u2019Reilly<\/a> for Best Actress. If the first season of the series was Luna\u2019s, with Cassian Andor undergoing a journey of radicalization that would turn him into a central figure in the Rebellion, then the second season belonged to O\u2019Reilly\u2019s Senator Mon Mothma as she realized all of her political wheeling and dealing wasn\u2019t enough to put a stop to the Imperial Empire\u2019s authoritarianism. O\u2019Reilly starts Mothma from a place of sophistication, grace, and panicked resolve, then steadily turns her into an avatar of disgust at the Senate\u2019s collection of corrupt pushovers and cowards. Her speech about the Empire\u2019s Ghorman genocide<\/a> is an urgent appeal for moral reckoning that is Andor at its most clear-eyed and O\u2019Reilly at her best. Her ability to be composed and aghast in equal measure made Mothma one of the series\u2019 most fascinating creations: a woman constantly navigating what she can do to make the promise of democracy real. \u2014R.H.<\/p>\n The Righteous Gemstones got to wrap up on its own terms, so its ending was less of a bummer than it could have been. Nevertheless, it\u2019s a travesty that Emmy voters will never get another chance to recognize Edi Patterson\u2019s virtuoso performance as Judy Gemstone<\/a>. In Gemstones\u2019s final season, Patterson<\/a> added to her tragically underappreciated comedic r\u00e9sum\u00e9 by channeling Edi\u2019s vitriolic outbursts into a feud with an emotional-support monkey and funneling her violently inappropriate sexual energy into a feckless attempt to blackmail her dad\u2019s new girlfriend<\/a>. \u201cMiss Lori, quit!\u201d she says as she writhes limply against her father\u2019s uninterested paramour. \u201cQuit raping me!\u201d There are actors who do broad physical comedy and actors who subtly reveal their character\u2019s interiority. Across Gemstones\u2019s run, Patterson established herself as the rare actor who can do both in the same scene. \u2014H.P.<\/p>\n One of The Gilded Age\u2019s abundant joys is how, even though every actor is working in a different register, the whole thing somehow holds together. Louisa Jacobson plays the period drama in the straightest possible way; Morgan Spector is in robber-baron drag. With Blake Ritson, we see someone giving a full-tilt soap-opera performance in the very best sense. Oscar Van Rhijn\u2019s mustache and drawling line deliveries suggest a dab of villainy, a vibe only strengthened by his scheming with Kelley Curran\u2019s sneaky Enid Winterton. But The Gilded Age doesn\u2019t do pure villains with its main cast, and Oscar totters between failson and tragic figure, the closeted heir of the Van Rhijn family dragged to hell and back after being defrauded of his mother\u2019s fortune. Ritson plays Oscar as a man perpetually tightening around himself, his big, darting eyes equal parts searching, scared, and self-loathing. That tension snaps into an even wilder key when the show hands him one of its most bizarre turns<\/a>: Oscar watches his lover abruptly, almost absurdly, get run over by a carriage. The moment is as upsetting as it is totally wacky, and what\u2019s astonishing is how Ritson holds Oscar steady in a place of genuine grief that almost makes you forget how insane this plot choice is. \u2014N.Q.<\/p>\n As Carol, one of the last people on the planet with any real autonomy who also happens to be the most miserable, Rhea Seehorn is tasked with carrying nearly the entirety of Vince Gilligan\u2019s strange, singular new series<\/a> on her back, and she shoulders the burden like it\u2019s nothing at all. There\u2019s the fun, loud stuff: white-knuckling through the relatively benign end of the world in the premiere or demanding an empty Sprouts Market be filled up as a petty act of independence against the peaceful hive mind. But it\u2019s the smaller, quieter moments that emphasize just how compelling she is to watch, with reminders that the last person on Earth is someone in a state of perpetual grief. Every nuclear-grade side-eye, every tightly held upper lip, every flicker of desperation: Seehorn renders these details so legible that decoding her face becomes a kind of game. Pluribus is about many things, maybe everything<\/a>, and without her ability to hold all that in her face and body, it simply wouldn\u2019t work. \u2014N.Q.<\/p>\n The no-questions-asked best performance from Severance\u2019s second season, Tramell Tillman\u2019s Mr. Milchick<\/a> defines a tone entirely unto himself; no one else controls the same mix of tragedy and humor. While so many Severance characters are caught in the same mystery mechanics and search for deeper truths, Tillman\u2019s performance puts Milchick on his own separate journey within the show\u2019s strange alternate reality. Most of Severance\u2019s characters look hopelessly flawed against the world\u2019s stark backdrops, but Tillman makes the mannered, controlled Milchick both the enforcer and chief subject of Lumon\u2019s fierce anti-humanism<\/a>. The most memorable Tillman image from season two is likely him leading the marching band in the finale, but his best scenes are in the tiny arc following Milchick\u2019s obsession with odd words and how it intersects with him thinking about Lumon\u2019s representations of race. His expression in those scenes, so full of fury and self-recrimination, turn Milchick into Severance\u2019s most compelling mystery. \u2014K.V.A.<\/p>\n Related<\/p>\n","protected":false},"excerpt":{"rendered":"Photo-Illustration: Vulture; Photos: Karolina Wojtasik\/HBO, Larry Horricks\/Netflix, Euan Cherry\/Peacock via Getty Images, Warrick Page\/MAX, Mike Judge\/Disney, Lucasfilm Ltd.,…\n","protected":false},"author":2,"featured_media":319208,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[43265,20198,141857,49,48,75,24905,141856,141858,124398,19436,19437,58074,38552,38191,348,141855],"class_list":["post-319207","post","type-post","status-publish","format-standard","has-post-thumbnail","category-tv","tag-andor","tag-best-of-2025","tag-bob-the-drag-queen","tag-ca","tag-canada","tag-entertainment","tag-ethan-hawke","tag-in-conclusion","tag-katherine-lanasa","tag-matthew-macfadyen","tag-pluribus","tag-rhea-seehorn","tag-sabrina-impacciatore","tag-severance","tag-the-gilded-age","tag-tv","tag-year-in-culture"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/319207","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/comments?post=319207"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/319207\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media\/319208"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media?parent=319207"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/categories?post=319207"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/tags?post=319207"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}