[For more of Collider’s Best of 2016 lists, clickhere]
There’s something to be said about the lost art of the episode, as more and more series move towards taking a novelistic approach to their storytelling. One episode feeds into another in a binge-worthy cascade of narrative, which can be a beautiful thing for an avid TV viewer. But occasionally, an episode really stands out as something wonderful on its own, sometimes even transcending the show itself. More often than not it happens during bombastic premieres or emotionally devastating finales, but many of the episodes on our list come from deep within their season, like glittering gems that have proven themselves to be a cut above. Chris Cabin and I set a deadline of early June to collect our Best Episodes of the Year — Part 1 (Part 2 will land in late December), with only some slight fudging of that timeline (I included an episode ofMozart in the Junglebecause it aired very late in 2015). Check out our selections below, which are in no particular order, and add your other favorites in the comments.— Allison Keene
Daredevil Season 2: “Penny and Dime”
Writer:John C. Kelley
Director:Peter Hoar
Even those that were not as fervently excited about the second season ofDaredevilas I was - and I was really, really fervent - tended to agree thatJon Bernthal’s performance as Frank Castle was a highlight of the season. Bernthal commands the screen from the moment we first see him surveying his hunting ground, but it’s in “Penny and Dime” that we finally get the whole picture of what’s been driving The Punisher. The confessional in the ceremony is a doozy, but the episode offers plenty of thrills before it lowers the boom. The sequence at the carousel is excellent, and then episode directorPeter Hoardoubles down with the amazing sequence where Daredevil (Charlie Cox) saves his hesitant friend (and a sweet dog) from a brutal death. This episode also happens to have some of Karen Page’s (Deborah Ann Woll) best scenes, as she begins to find her knack for investigation, which blends in perfectly with the other stories of everyday people doing what they can to make Hell’s Kitchen a real community.– Chris Cabin
Baskets Season 1: “Renoir”
Writers:Louis C.K.&Zach Galifinakis& Jonathan Krisel
Director:Jonathan Krisel
Though I stuck withBasketsthroughout its first season, no episode ever had quite as much art or style as its premiere, “Renoir.” We’re first introduced toZach Galifinakis’ strange character Chip — who was going by the clown name Renoir in France — in a way that felt like a dream sequence inLouie, or the beginning of an art house film. Galifinakis’ physical comedy kept it from ever being too pretentious, and theadvent ofLouie Andersonas his mother andMartha Kellyas his unlikely friend hinted at greatness yet to come. ThoughBasketswasn’t able to hold on to the magic of its premiere, the pilot episode is absolutely among the funniest, most affecting, and most genuinely intriguing half-hours of TV this year.— Allison Keene
War & Peace: “Part 2”
Writer:Andrew Davies
Director:Tom Harper
The entirety ofWar & Peacewas a sweeping, gorgeous, and heartbreaking entry to a year full of great miniseries, but none matched this one’s grand scale. It’s almost impossible to pick just one part to focus on, but “Part 2” wins out for a particularly mesmerizing scene in the ballroom. The story of Andrei (James Norton) and Natasha’s (Lily James) love is the soul ofWar & Peace, and in “Part 2” we witness two exceptional moments in its evolution. After Andrei spots Natasha in the fields outside of her home (and who wouldn’t fall in love with her in that moment?) the two see one another again at the tsar’s ball, in a moment that should make you weep for its beauty. The two lock eyes and and James has a moment that felt more like Cinderella than when she actuallyplayedCinderella. The mise-en-scene engulfs viewers in a sumptuous ballroom atmosphere that is eclipsed only by the gorgeous pair dancing together. A heartbroken Pierre (Paul Dano) looks on, both happy for his friends and deeply sad that he is not in Andrei’s place, bringing the story back to reality, with war on the horizon. But the magic that Davies and Harper construct in this episode with that scene at the heart of it is exceptional.— Allison Keene
The Flash Season 2: “Welcome to Earth-2”
Writers:Greg Berlanti & Andrew Kreisberg, Katherine Walczak
Director:Millicent Shelton
The only thing better than spending time each week with your favorite characters is getting to see the bizarro versions of them, which allows the actors play with completely different personality traits. Such was the delight of “Welcome to Earth-2,” part of aFlashseason that started very strong and ended in uncertainty. But what is absolutely certain is that “Welcome to Earth-2” was a lovingly crafted hour that was designed to help highlight aspects of the characters we already adore, while still being filled with the series’ typical meta references. We got to seeJesse L. Martinsing!Danielle PanabakerandCarlos Valdesdid heel turns!Grant Gustinplayed Barry 1 and 2, and got very confused by kissing his Earth-2 wife,Candice Patton! It was so much fun (to start), with a distinct style that made Earth-2 feel both foreign and familiar.
The Flashis also full of heartache, though, and in this case that meant seeing the end of Earth-2 Joe, and Reverb and Deathstorm (the briefly resurrectedRobbie Amell) also taken out by the incredibly terrifying Zoom. The episode was capped with the revelation that Jay developed Velocity-6, which was a huge clue in figuring out Zoom’s identity, allowing the episode a cliffhanging stinger to what was altogether a rollercoaster hour. One of the most visually and narratively distinct episodes of the season, its repercussions reverberated (no pun intended) throughout the rest of the season.— Allison Keene
Mozart in the Jungle Season 2: “Touche, Maestro, Touche”
Writer:Alex Timbers
Director:Jason Schwartzman
ThoughMozart in the Jungle’s second season premiered in 2015, it was also December 30th, which means it was after the year-end lists had posted. The point being, it deserves mention. Though Amazon’s quirky orchestral comedy has largely flown under the radar (despite its sneak Golden Globe wins), it’s worth seeking out as one of TV’s most engrossing and unique series. In “Touche, Maestro, Touche,” — the only episode of the season directed by series co-creatorJason Schwartzman, the show showcases a fantastic, dreamy, drug-fueled sequence starring the two maestros (played byGael Garcia BernalandMalcolm McDowell), as well as a stunning surprise vocal performance from Gloria (Bernadette Peters). Both scenes revealed so much about these characters that has otherwise been hidden, and it was full of sensibility and humor (like so much of the series is). The episode also included an exploration of the nightlife of the classical elite, as Hailey (Lola Kirke) goes on a journey full of discovery (and many cameos). “Touche, Maestro, Touche” is a gorgeous and visually arresting episode that refuses to be pinned down by classical structure, and instead plays out like jazz.— Allison Keene
Man Seeking Woman: “Woman Seeking Man / Eel”
Writer:Marika Sawyer
Director:Bill Benz
Once in its first season and twice in its second,Man Seeking Womanhas inverted its episode structure to take the opposite gender perspective. Though the entire series is full of witty dating truths that play out in incredibly surreal ways, theWoman Seeking Manepisodes are often distilled goodness. In “Eel,” Josh’s (Jay Baruchel) love interest Rosa (Rosa Salazar) starts finding her current boyfriend Mike (Eric Andre) too clingy. Though another great episode earlier on detailed Mike trying to avoid “defining the relationship” with Rosa, now that it’s happened, he won’t leave her alone. In typicalMan Seeking Womanfashion, the relatively simple story escalates into wonderfully insane heights, and features a hilariously unexpected cameo fromCarrie-Anne Mossas an expert in the dating extraction process (she starts by dumping loads of cats into Rosa’s apartment). Like the show’s best episodes, “Eel” deals with very real, very relatable, and very awkward aspects of dating in a way that is both funnyandgets to the very heart of the issue. Breaking up is hard, but “Eel” walks us through it gently … before dumping cats at our feet and telling us to deal with it.— Allison Keene
The Night Manager: “Episode 6”
Writer:John le Carré, Screenplay by David Farr
Director:Susanne Bier
The gorgeous, seductive, action-packed miniseriesThe Night Managerwas one the year’s best, but its finale was unequivocally the most satisfying hour of television this year. We saw a pregnant woman emerge as an action hero, people! But even more than that, we got to seeTom Hiddleston’s Jonathan Pine reveal his true loyalties under extreme duress, and execute his elaborate plan to stop “the most dangerous man in the world,” Richard Roper (a fantasticHugh Laurie). Though most of the series belonged to Hiddleston, Laurie owned the finale, finally able to confirm his suspicions and no longer play games with Pine. But Pine wasn’t finished, and seeing Ropert carted off by his enemies rather than police officers was the icing on this sumptuous cake. Though some found the conclusion too neatly wrapped up,The Night Managerwas based on le Carré’s novel that did it just so. Perhaps there could be an argument for pacing earlier in its run, but there’s no denying that “Episode 6” was a deeply satisfying finale. A show with the kind of storytelling that makes you want to gasp, cry out, and cheer all in one episode is one that still knows how to delight a cynical audience. And this one also happened to be a visual delight.— Allison Keene
Outsiders Season 1: “Demolition “
Writer:Peter Tolan
Director:Jon Amiel
WGN’s underrated Appalachian dramaOutsiderswas a gritty and engrossing character study of what felt like America’s last mythos (the legends of the hill people, basically), but “Demolition” was just pure fun. Its climax pittedDavid Morse’s Big Foster againstJoe Anderson’s Asa Farrell in construction vehicles no less, which is one of the best uses of a construction equipment I’ve ever seen on television or anywhere else. While the two demolishing the coal office trailer — and trying to demolish each other — in the moonlight with moonshine freely flowing was a rip-roaring good time for all, the aftermath is what solidified the episode’s greatness. Asa and Big Foster’s contentious relationship is still one that is based around family, but Foster is mostly concerned about power, not trusting that Asa doesn’t want to be Brennin. “Demolition” encapsulated so much of what makes the show great, including decisive moments from Lil Foster and G’Win, Lady Ray, and even Wade and his son (regarding his somnambulism), as well as its trademark action, emotion, and a certain mysticism.— Allison Keene
The Girlfriend Experience: “Separation”
Writer:Lodge Kerrigan, Amy Seimetz
Director:Lodge Kerrigan
“Separation” hit me like an atom bomb when I first screened it, and I mean that in the best possible way. Ignoring any impulses to tie up one of the dangling plot strands that could have been brought back to the foray, the episode is an episode-long put-on, a wild scenario dreamt up by a wealthy man to envision his wife’s infidelity. For the mechanics of how the performance thatRiley Keough’s Christine and her male partner create such a show alone, this episode would have been remarkable cap to the dazzling first season ofThe Girlfriend Experience. What makes the episode so cutting and memorable is how tightly edited it is, how controlled the entire episode feels in each turn of the narrative, every physical gesture and utterance working in concert. It’s reflective of how much control Christine has found throughout the season, but the final image suggests that Christine’s actions have at once galvanized her and isolated her, and the gulf between those two feelings proved to be where many of the conflicts of this ambitious, sensational series came from.– Chris Cabin
American Crime Story: “Marcia, Marcia, Marcia”
Writer:D. V. DeVincentis
Director:Ryan Murphy
One of the few series to get more than one mention on our list,American Crime Storywas one the year’s best series for its thoughtful exploration of the circus that was the O.J. Simpson trial. For aRyan Murphyproduction it showed impressive restraint, although his direction in “Marcia, Marcia, Marcia” was a little distracting. What made this episode a standout, though, wasSarah Paulson’s affecting performance as the beleaguered Marcia Clarke. Whatever your feelings about the real Marcia and the case, Paulson’s portrayal of an ambitious and overworked mother who can’t find the right balance in her life was deeply emotional. In a surprise, her great friendship and muted flirtations with Charles Darden (Sterling K. Brown) added unexpected shading to her story, and to a sense of the case at large. “Marcia, Marcia, Marcia” was a fantastic character study that stood out in its commitment to focusing in on one woman’s story in a way that was ultimately both universal and specific.— Allison Keene
