5) The Good Place — “Pandemonium” (Season 3, Episode 12)

Nothing broke my heart this year quite like having Chidi (William Jackson Harper) and Eleanor’s (Kristen Bell) short-lived romance and happiness come to an abrupt end. After a masterful move by Shawn (Marc Evan Jackson) sees Chidi’s ex, Simone (Kirby Howell-Baptiste), revealed as one of the humans for their experiment — an experiment that will determine the fate of humanity — Chidi concludes they must wipe his memory or risk ruining the experiment.

This episode also sets up season 4 nicely, primarily by making Eleanor “The Architect” in charge of the neighborhood after Michael (Ted Danson) has a breakdown. But two scenes stand above all: Chidi’s goodbye and Eleanor’s talk with Janet (D’Arcy Carden). Eleanor’s acceptance that “all I can do is embrace the pandemonium. Find happiness in the unique insanity of being here, now” is a sentiment to live by, ironic for a show set after death.

— Ashley Hobley

4) Fleabag — “Episode 1” (Season 2, Episode 1)

“Episode 1” is one of the most perfectly written episodes of the year. It sets up the season, fills in the gap between seasons, and tells a self-contained, very funny story. Fleabag (Phoebe Waller-Bridge) joins her family at a restaurant to celebrate the engagement between her Dad (Bill Paterson) and Godmother (Olivia Colman)—over a year since they’ve all been together. Also invited: the Priest (Andrew Scott) who will officiate the wedding.

Watching this group talk, with Fleabag’s asides to camera, is a delight. Things ramp perfectly before the climax with Brett Gelman delivering vile dialogue that reminds us how terrible Martin is. The episode ends with the two sisters sharing a cab, a neat contrast to Season 1’s premiere ending with Fleabag alone. Shot, acted, and written perfectly—easily the year’s best sub-30-minute episode.

— Ashley Hobley

3) Big Little Lies — “I Want to Know” (Season 2, Episode 7)

The season finale is primarily set in a courtroom as Celeste (Nicole Kidman) questions her mother-in-law (Meryl Streep) about how her son was raised and what could have led him to become the abuser he was until his death.

Behind all the lies, questions, and trauma is a mother simply trying to keep her family together as Celeste fights to bring her grandchildren home, while being painted as a bad mother. These beautifully crafted scenes between Kidman and Streep make the episode—and season—a standout, with some of the year’s best acting.

— Dylan Blight

2) Game of Thrones — “The Long Night” (Season 8, Episode 3)

This was the battle we’d been building toward for years: the living vs. the dead. Directed by Miguel Sapochnik (behind “Battle of the Bastards” and “Hardhome”), it drew criticism for plot armor, tactics, and, yes, darkness levels—but the highs were sky-high.

Alfie Allen brought Theon’s redemption to a satisfying conclusion, earning an Emmy nomination. Jon (Kit Harington), Daenerys (Emilia Clarke), and Jorah (Iain Glen) get great moments, but this is really Arya’s episode. We see her go from confident killer to overwhelmed…and then to the one who ends it. When Maisie Williams answers, “Not today,” goosebumps. The ending, perfectly scored by Ramin Djawadi’s “The Night King,” plays brilliantly with Jon unable to reach Bran, Arya’s silent attack, and the killing blow that rids Westeros of the White Walkers. Also: Lyanna Mormont (Bella Ramsey) went out like a champ, single-handedly killing a giant wight.

— Ashley Hobley

1) Chernobyl — “Vichnaya Pamyat” (Episode 5)

The finale is, like the episodes before it, an immaculate piece of screenwriting. It often feels documentary-like as we watch courtroom events that could have turned Chernobyl into a massive cover-up. When Valery Legasov (Jared Harris) explains how the core reactor entered meltdown, it becomes a riveting lesson in the horrific chain of mistakes—led with calm urgency by Harris—that closes out the series.

— Dylan Blight