Best of 2024: Performances features spoilers for various shows. Please be advised if there’s something you don’t want to know.
There’s no doubt about the fact that this has been one of the strongest years on TV. While it felt like I wasn’t watching enough because some shows are still on hiatus, our Best of 2024 performances list was the hardest to curate because there were far too great examples of show-stopping actors to choose from.
For more end-of-the-year coverage, be sure to check out our Best of 2024: Romantic Scenes, the Best of 2024: Found Families, the Best of 2024: Romantic Relationships, and the Best of 2024: TV Episodes.
Lisa Colón-Zayas
The Bear
While every performer on The Bear is exceptional, Lisa Colón-Zayas steals the show in Season 3, particularly in Ayo Edebiri’s directorial debut, “Napkins.” Delivering a haunting performance that not only sticks the landing but results in a scene that’s deeply relatable is no small feat. It’s the performance that hit me the hardest when I first watched it back in the summer, and it’s the one that still breaks me in the winter. There’s something extraordinary that happens to an actor in later seasons, and it relies on how much we get to know the character as an audience.
At this point, we know Tina better than before, but we haven’t thoroughly walked in her shoes yet. “Napkins” gives viewers the opportunity to do this, and with it, it allows Colón-Zayas to layer the character in a way that’s truly remarkable. As mentioned in our feature for the episode: “Liza Colón-Zayas conveys so much of Tina’s anguish in silence, which allows her to shine in an astounding manner. She’s showing the audience every load the character carries, the frustrations she harbors, and the deep lingering sadness ballooning inside of her. And because the episode’s trajectory follows her so closely, the moment she crumbles at The Beef hits like a ton of bricks because it’s a raw depiction of what it’s like to try and try with no success or light left to give. There’s also an innate relatability that comes alive in that scene because how many of us know what it’s like to crumble with food in our hands? (I cried into my burger just last week.)”
Lukita Maxwell
Shrinking
Shrinking is outstanding during its debut season, but it kicks everything up a notch in Season 2. As we meet the man who killed Tia in the car accident, the show forces both Alice and Jimmy to confront their grief, giving Lukita Maxwell some substantial material to work with. And every step of the way, Maxwell delivers one astonishing performance after another, channeling Alice’s grief in a way that I feel takes some actors years to master. Not once does she overdo anything; and instead, she holds her own exquisitely among greats like Harrison Ford.
More than anything, it’s the subtle work Maxwell continuously does throughout the season to show a wide range of emotions as Alice deals with one shocking revelation after another and then finally finds herself in a place where she’s content with what’s around her. The minute differences she shows are a tremendous feat in displaying how much the character continues to evolve. There’s not a single moment throughout the show’s sophomore season where a tearful Alice doesn’t make me immediately cry, and there’s something to be said about how powerfully evocative those emotions are. To highlight, I’d mentioned it in our review of “Last Drink,” and it bears repeating here, too: “I’m consistently in awe of the words she speaks in silence—the harrowing grief she brings to life as a teenager trying to grapple with the insurmountable loss of losing her mother. We don’t just see the colossal fractures in her spirit during the flashbacks, but we see it while she’s with Liz in the present, trying to comfort another person while she’s undoubtedly hurting, too. At the moment, she’s there to make Liz feel better, but we get another clear reminder of how profoundly she misses her mom. The stark differences in her doe-eyed excitement as she runs into her parents’ room to play a song for them versus the face of a girl who’s forced to grow up too soon are as evocative as they are because Maxwell shows us everything.”
Anna Sawai
Shōgun
Anna Sawai’s performance as Toda Mariko in Shōgun is indescribable—a truly career-making brilliance that’s raw, beautiful, and achingly vulnerable. From the moment Sawai steps on the screen, her eyes hold pages and pages of poetry within them. Before we even know anything about her, we can see the depth of Toda Mariko’s soul and understand with utmost certainty that she’s a character who’ll stay with us. She’s a character we’re meant to stick with and appreciate. It’s why the end result leaves such a dark wound in a viewer’s psyche as well.
Sawai is transcendent. Everything about her performance deserves praise and excavation, and no wonder nearly every award show gave her the accolade. Sawai is simply breathtaking, a force in a show that holds so much in every frame. She isn’t just one of our Best of 2024 performances, but I’d take it one step further and say that this one of the best performances of the decade.
Rebecca Wisocky
Ghosts
Many shows will come and go, and yet, I’ll think of Rebecca Wisocky’s performance in “Holes Are Bad” for a long, long time. While the actress’ mastery is on full display in every episode of Ghosts CBS as she embodies the incomparable Hetty Woodstone, it’s the quiet beats of vulnerability she conveys in blink-and-you-might-miss-it moments, such as her plea to Patience when they believe Sam has been turned to stone or the quiet fear when she thinks Trevor might be sucked off. In ways both big and small, Wisocky constantly shows us that Hetty cares, and she cares profoundly.
Yet, we can’t talk about her work as one of the Best of 2024 performances if we don’t acknowledge the episode that’s all about her growth and journey. When we learn the truth about Hetty’s death, that’s when Wisocky gives us the kind of indelible performance that’ll haunt me long after the show’s over. As we understand that she died at her own hands to protect her son, we see a pain in Hetty that’s always silently been there, but it hasn’t been given a chance to rise onto the shore. In “Holes Are Bad,” Wisocky brilliantly unveils her character’s biggest secret, and with it, she conveys every ounce of her heart. At that moment, we see everything with indisputable clarity. This is a character who loves with her whole heart, often sacrificing her own comfort to ensure that those around her are safe. It takes incomprehensible skill to make us laugh one minute over a sardonic remark and have us covered in goosebumps or tears the next because a single expression is giving us thousands of words worthy of preservation.
Cristin Milioti
The Penguin
Viewers anticipated yet another standout performance from Colin Farrell as the titular Batman villain, but Cristin Milioti came in and stole the spotlight as Sofia Falcone—excuse me—Gigante. Sofia can be scary, intense, and, at times, unhinged. She literally killed her entire family in one night, which begs the question: why were there so many people rooting for her in the series? No, it’s not the yellow dress. It’s the consistently outstanding performances from Milioti throughout each episode that make you sympathize with the tragic story of the mob boss’ daughter as she navigates her way to the top of the crime world.
In each episode, Milioti utilizes her best asset—emoting with her eyes. Whether it’s a scene where Sofia realizes she is betrayed or at the top of the world with triumph, the viewer is able to understand the complexities of Sofia’s emotions without Miliot uttering a single word. Moreover, Milioti makes excellent use of her surroundings in each scene to elevate her presence, whether it’s walking slowly around a room to make sure all eyes are on her or demonstrating her nonchalance with a puff of a cigarette or indulgent sip of drink, Milioti ensures that Sofia Falcone’s confidence is no mere display—she’s in her element. [BY: Alice Sarkisyan]
Danai Gurira
The Ones Who Live
Danai Gurira is always an astounding performer, and she’s especially brilliant in The Walking Dead, yet what she brings to The Ones Who Live is nothing short of perfect. It’s deeply frustrating that the academy seldom acknowledges genre television because what we get with Gurira as Michonne is a testament to growth in every way. With every episode, she shows us something new, and despite the character being so familiar to us for a while, there’s something for viewers to pick up that we might not have noticed earlier within each episode.
The sheer vulnerability she conveys, the anguish, the tenderness, the love, and the rage are all imperative in not only showing us Michonne’s journey, but they also ensure that her relationship with Rick feels that much more powerful. (I feel confident that Andrew Lincoln would agree she’s the heart and soul of The Ones Who Live. She’s a force to be reckoned with in more ways than one.)
Emily Bader
My Lady Jane
Emily Bader deserves every award in existence for shocking us all with the fact that she isn’t actually British. I’ll perpetually argue that it’s much easier for a non-American to do any sort of accent than it is for an American to do an English accent without butchering it. However, that’s a minor detail in the sheer brilliance that Bader brings to life as Jane Grey, layering the historical figure with stamina, warmth, and a love that’s so fierce that the adaptation will stay with many of us for a long time.
It’s clear that Bader cares about honoring the historical figure in My Lady Jane, yet at the same time, she isn’t afraid of doing so by bringing qualities from the book to life in a way that would make the character extraordinarily special. How she takes Jane from a fiercely independent woman to someone who learns that it’s okay to rely on others is my favorite thing, and the vulnerability she allows ensures that every beat where Jane is on screen is worth ample praise.
Nicola Coughlan
Bridgerton
Bridgerton Season 3 isn’t without its faults, yet Nicola Coughlan is a shining light whose performances as Penelope Featherington continue to be outstanding. It isn’t often we see a character like her, and that alone gives Coughlan lovely material to work with. However, it’s how she brings every scene to life with her whole soul that floors me. I don’t know if Penelope would’ve been the character she is without the layers and heart Coughlan has given her. She ensures that no emotion is over or under-represented, and at the same time, she brings something thoroughly indescribable to a character who’s incredibly special to so many people.
Coughlan carries the season on her back, delivering one incredible moment after another to ensure we understand every emotion she’s feeling on a deep, compelling level. Penelope gets the redemption she does because Coughlan shows us her pain and remorse in a way that allows us to fully grasp where Whistledown is coming from. How she blends the gossip columnist and the wallflower to create one whole character is no small feat. How she fights for herself and loves with her entire heart is precisely what makes the character one of the show’s best.
Harrison Ford
Shrinking
Harrison Ford is brilliant in Shrinking Season 1, but where he takes the character in Season 2 is something I might never have the right words for. If he isn’t given every award this year, I might have to fight the academy. (No, but truly.) Since Paul’s Parkinson’s has worsened, Ford has brought a vulnerability to the character that’s impossible to describe. The gruff, always-irritated man is subtly softer, warmer, and, somehow, funnier.
What Ford does so remarkably is how he shows viewers all the little ways that Paul cares. He’s a man who’s made great mistakes and a man who’s grappling with his present, but at the same time, he’s still looking out for those he loves. It’s different for a man like him to admit to fear, and that’s exactly what Season 2 forces him to do, giving Ford ample opportunities to show us what’s hidden underneath the tough exterior. Every “woof,” every eye roll, and every display of fear that especially comes with Alice or Jimmy gives Ford a tour-de-force performance. Dare I say, this is his best role yet? Despite his tremendous presence in beloved franchises, years from now, these are the performances I’ll be thinking of.
Jason Segel
Shrinking
Jimmy Laird is Jason Segel’s best role to date, and I still sob every time I think about his work in “The Drugs Don’t Work.” (I’ve had a while to sit with it, and my God, it still hurts.) From the moment we see Louis in Jimmy’s office in the season premiere, Segel shows viewers that this arc will resurface every bit of the harrowing pain he’s tried to run from. And every minute after that, he quietly displays Jimmy’s slow descent until he finally breaks down in Paul’s arms. It’s partly a good thing I’m not in charge of voting for awards because I’d find a way to give it to both Ford and Segel.
Segel’s work in the last few episodes is indescribable. The vulnerability is unlike anything I’ve watched this year. Grief follows Jimmy wherever he goes. Tia is constantly with him, and so is the pain of losing her every time he tries to deflect or fight against the demons. And as he reaches his breaking point, it hits twice as hard because we’ve been building to this moment so carefully that it’s astounding. His comedic timing is one thing, but the incredible shift to a more vulnerable side of Jimmy is something that deserves far more acknowledgment.
Brett Goldstein
Shrinking
I knew Brett Goldstein was capable of brilliant beats of vulnerability from Ted Lasso, yet what he brings to life as Louis in Shrinking cements that there’s no role the comedian can’t take on. When you look into Goldstein’s eyes as Louis, all you see is a man grappling with insurmountable grief, guilt, and heartache. You don’t see the grumpy Roy Kent or any other role Goldstein has played, and it’s not because he’s missing his great beard, but it’s because the actor is an impeccable artist.
Everything we know about Louis comes from either flashbacks or his shared scenes with Alice, Brian, and Jimmy. It’s Goldstein who walks the extra mile and shows us pieces of the broken man that make it easy for us to care even while he hasn’t been with us as long as the series regulars have. It’s effortless to feel remorse, to care and want the best for him, because Goldstein consistently shows us that this guilt is suffocating Louis to a point where he has to keep trying to hold on. He has to keep fighting. And that alone is a worthy feat (one that especially hits in the last two episodes).
Colin Farrell
The Penguin
Viewers already had a glimpse of Oswald Cobb in The Batman as Carmine Falcon’s henchman. Despite his small role, Farrell’s memorable transformation as the Penguin was widely lauded as one of the film’s highlights. Naturally, fans were eager to see what else was in store as The Penguin made its television debut. And boy, were we in for a ride. Whereas The Batman gave us some witty liners from Cobb and internal thoughts praising the makeup team for the prosthetics, we see a more fleshed-out character that certainly makes us look at Cobb in a different light.
In the span of eight episodes, Colin Farrell has made viewers look at the Penguin with a sense of fondness to pure dislike. Oswald Cobb is more than just a man who can catch Spanish grammar mistakes, which should have been our first clue that Cobb isn’t just a simple-minded man. We repeatedly see that he can not only think quickly when he is under pressure, but he thrives in it while masterfully manipulating those around him. Farrell encompasses charisma through a variety of personas, whether it’s a humble and loyal mob employee, a seemingly devoted son who loves his mother, or a ruthless, self-centered prick determined to get what he wants, no matter who or what may be in his path. [BY: Alice Sarkisyan]
Andrew Scott
Ripley
Ripley is brilliant, and Andrew Scott is partly responsible for it. Scott’s remarkable ability to embody a wide range of characters is something we don’t talk about often. It’s hard to believe this is the same man who brings the Hot Priest in Fleabag to life, yet that’s exactly what makes him such a distinguished actor and why he was an unquestionable choice in our Best of 2024 performances.
The majority of my review for Ripley focuses on Scott’s performance, so it feels necessary to repeat some of that here: “When it comes to the character in the literary world, so much analysis boils down to the how and why of his inner workings. And in that sense, the character isn’t one to look at through a black-and-white lens. As an actor, Scott is exceptional at teetering the grey lines that make viewers question and probe every little decision. He shows us the mechanisms in Ripley’s head with such gripping performances that it’s hard to look away from what Scott is exhibiting, even for someone who’s faint-hearted like I am.”
Eamonn Walker
Chicago Fire
Although Eamonn Walker might make an appearance or two in Chicago Fire again, the final few moments of his performance as Chief Wallace Boden are worth highlighting. Network television often gets overlooked, and more often than not, the best performances are occurring there. For eleven seasons, Walker has brought incredible layers and heart to life as the openhearted chief who’s always been straightforward and noble. These types of roles also tend to be overlooked when we examine great performances, but they’re the ones we should be screaming from rooftops about.
The changes in Boden have always been subtle, yet Walker’s performances have always been exceptional. If there’s even a minor inconvenience with someone at Firehouse 51, he’s the one whose eyes carry the most pain. And during his last few days at the firehouse, his heart is fully on his sleeve, and unwavering respect is written on his face. The series shows him how special he is and how unmatched his bravery is, allowing some of his finest and most organic work to come to the surface in a moment that exhibits how tremendously Walker has cared about the character all these years.
Adam Brody
Nobody Wants This
While this might not be prestigious enough for people who discredit romance as a genre, I’d argue that a performance like this is more challenging than people think it is. And it’s hilarious that Nobody Wants This examines getting the ick because, more often than not, that’s exactly what a bad performance in a romance does—it gives me and many others the ick. Yet, Adam Brody is a legend for a reason in the romantic realm, and he’s a large part of why the show is so beloved.
Brody isn’t just a heartthrob because he’s exceptionally easy on the eyes but because his charm comes from a place of sincerity and tenderness. As an actor, he isn’t afraid of being vulnerable, and he isn’t scared of being sweet. What he brings to the role in Nobody Wants This is a man grappling with the dreams he’s had as a kid and the future he wants that’s right in front of him. He isn’t afraid of laughing at himself and understanding that in order to sell a role like this, you have to be proud of the fact that love is the singularly universal language we all speak. And Brody speaks this language perfectly.
Asher Grodman
Ghosts CBS
Asher Grodman is consistently delightful in Ghosts, but Season 4 gives the actor heftier material to work with, allowing him to bring out sides of our favorite pantless ghost that are astounding to think about. I was ready to give him this spot in our Best of 2024 performances list after “The Work Retreat” and then “The Primary Source” happened, and I knew it was a no-brainer. How Grodman takes the hotshot finance bro and adds tremendous layers of heart to him is no small feat. The fact that he can make me cry by uttering a few simple words about his dog is an accomplishment in and of itself. (It makes me teary-eyed just thinking about it.)
Ghosts does a beautiful job of exploring the nuances of grief, and this season, it does it especially well with Grodman’s Trevor as he explores what he left behind when he died. It starts with his legacy, which begins with a confession that’s so breathtaking that the first time I watched it, I had to pause to dry my eyes before continuing, and it ends with this belief that he’s abandoned his dog. The latter seems like such small points to be deeply heartbroken about for someone who might not be a pet owner, yet both trials are profound in showcasing a human’s depth to connect and find comfort. Both matters are topics I often have to stop myself from talking too much about, or I’ll start crying, and Grodman conveys it brilliantly this year.
Honorable Mentions: Hiroyuki Sanada (Shōgun), Ted McGinley (Shrinking), Alaqua Cox (Echo), Manny Jacinto (The Acolyte), Belissa Escobedo (Happy’s Place).
Who are some of your best of 2024 performances? Let us know in the comments below.