The 100 Best TV Shows of the 21st Century by Genre

The New York Times’ list of the 100 Best TV Shows of the 21st Century is a fascinating snapshot of how television has evolved over the past 25 years. From prestige dramas and groundbreaking comedies to science fiction, crime thrillers, reality television and documentaries, the list reflects just how difficult it has become to place many of today’s most acclaimed shows into a single genre. Looking at the 100 titles by genre reveals another interesting story: which show ranked highest within each category?

Because many of these series cross genres, the classifications below use each show’s primary or most recognizable genre, rather than trying to force every series into only one traditional category.

Drama — Mad Men (#3)

Among the titles primarily classified as drama, Mad Men takes the highest position at No. 3 overall.

Created by Matthew Weiner, the AMC series follows advertising executive Don Draper and the people around him during the social and cultural transformation of 1960s America. Its exploration of identity, ambition, marriage, work and changing American values helped establish the template for modern prestige television.

Its No. 3 placement also puts Mad Men ahead of other major dramas such as The Crown, The Americans, Six Feet Under and Friday Night Lights.

Crime — Breaking Bad (#1)

There is no higher-ranked crime series on the list than Breaking Bad, which occupies the No. 1 spot overall.

Vince Gilligan’s series follows Walter White, a chemistry teacher who enters the methamphetamine trade after receiving a devastating diagnosis. What begins as an attempt to provide for his family gradually becomes a much darker examination of ambition, morality, power and transformation.

Its placement at the top makes Breaking Bad the highest-ranked crime series—and the highest-ranked show overall—on the list.

Comedy — Fleabag (#5)

The highest-ranked primarily comedic series is Fleabag, at No. 5.

Created by and starring Phoebe Waller-Bridge, the series combines sharp comedy with grief, relationships, family dysfunction and emotional vulnerability. Its short two-season run became one of television’s most celebrated examples of how comedy could coexist with deeply serious storytelling.

Other major comedies appearing high on the list include Atlanta (#10), Curb Your Enthusiasm (#9), 30 Rock (#8) and Veep (#7).

Science Fiction / Fantasy — Game of Thrones (#6)

For science fiction and fantasy, Game of Thrones ranks highest at No. 6.

Based on George R.R. Martin’s A Song of Ice and Fire, the HBO epic transformed fantasy television into a mainstream prestige-TV phenomenon. Its combination of political intrigue, sprawling world-building, war, family conflict and fantasy mythology made it one of the defining television events of the 2010s.

The category also includes Severance (#30), Black Mirror (#26), The Leftovers (#25), Lost (#22), Andor (#32), Battlestar Galactica (#37), Watchmen (#39), Stranger Things (#53) and The OA (#98).

Thriller / Mystery — The Wire (#2)

The Wire, ranked No. 2 overall, is the highest-ranked series primarily associated with crime, mystery and thriller storytelling after Breaking Bad.

Created by David Simon, the HBO series examines Baltimore through interconnected institutions including the police department, drug trade, political system, schools and media.

Rather than focusing solely on individual criminals and detectives, The Wire builds a broader portrait of how institutions operate and affect the people inside them.

Historical Drama — Chernobyl (#19)

Among historical dramas, Chernobyl ranks highest at No. 19.

The HBO miniseries dramatizes the 1986 Chernobyl nuclear disaster and its aftermath. Its tightly constructed storytelling, oppressive atmosphere and focus on the human and institutional consequences of the disaster made it one of the most acclaimed limited series of its era.

Other historical titles include Deadwood (#24), Band of Brothers (#28), The Crown (#20) and Shogun (#86).

Medical Drama — The Pitt (#36)

The highest-ranked medical drama is The Pitt, coming in at No. 36.

Its placement is notable because the list also includes House at No. 95. While House became one of television’s most recognizable medical dramas, The Pitt represents a much more contemporary approach to the genre.

The contrast between the two shows also illustrates how medical television has changed—from the diagnostic-procedural structure of House to the intense, immersive hospital environment of The Pitt.

Reality / Competition — Survivor (#31)

For reality and competition television, Survivor is the clear highest-ranked title at No. 31.

Premiering in 2000, the CBS reality competition became one of the defining formats of 21st-century television. Its combination of strategy, social dynamics, competition and reality-TV storytelling influenced countless programs that followed.

The list also recognizes RuPaul’s Drag Race (#61) and The Great British Baking Show (#85).

Documentary / Unscripted — How to with John Wilson (#80)

Among the more documentary-oriented and experimental unscripted programs, How to with John Wilson ranks at No. 80.

The HBO series uses observational filmmaking, awkward encounters and seemingly mundane subjects to create something that is simultaneously documentary, comedy and social observation.

The broader documentary category includes Planet Earth (#84), as well as Anthony Bourdain’s No Reservations (#69) and Parts Unknown (#64).

Sketch Comedy — Key & Peele (#29)

For sketch comedy, Key & Peele takes the highest position at No. 29.

Keegan-Michael Key and Jordan Peele’s Comedy Central series became known for its character work, social satire and commentary on race, politics, popular culture and American society.

It ranks ahead of other sketch-oriented programs such as Chappelle’s Show (#58) and I Think You Should Leave (#57).

Animated Series — BoJack Horseman (#44)

The highest-ranked animated series is BoJack Horseman, at No. 44.

Although presented as an adult animated comedy, the Netflix series gradually developed into a complex exploration of fame, addiction, relationships, depression, responsibility and personal consequences.

Its inclusion alongside live-action prestige dramas demonstrates how animation has increasingly been recognized as a medium capable of tackling sophisticated adult storytelling.

Political Drama / Satire — Veep (#7)

For political television, Veep ranks highest at No. 7.

The HBO comedy starring Julia Louis-Dreyfus uses Washington politics as the setting for a relentless satire of ambition, bureaucracy and political maneuvering.

It sits alongside political dramas such as The Diplomat (#94), House of Cards (#48), Scandal (#100) and The Thick of It (#63).

Spy Drama / Thriller — The Americans (#17)

The highest-ranked spy series is The Americans, at No. 17.

Set during the Cold War, the FX drama follows two Soviet intelligence agents living undercover as an American married couple. The series combines espionage with family drama, making the characters’ personal relationships just as important as their missions.

Other spy-oriented entries include Homeland (#38), Slow Horses (#62) and The Bureau (#54).

Western — Deadwood (#24)

For the Western genre, Deadwood ranks highest at No. 24.

David Milch’s HBO series reimagines the American frontier through the people, businesses and power struggles of the fictionalized Deadwood camp.

Its sophisticated dialogue and morally complicated characters helped demonstrate that the Western could be treated with the same seriousness as contemporary prestige drama.

Dark Comedy — Barry (#73)

Barry, ranked No. 73, represents the dark-comedy side of the list particularly well.

The series follows a hitman who attempts to reinvent himself as an actor. Its unusual combination of comedy, crime, violence and existential drama makes it difficult to classify purely as a sitcom or crime series.

Other dark or hybrid comedies include The Bear, Beef, Atlanta, Fleabag and BoJack Horseman.

The Highest-Ranked Shows by Genre

What the List Says About Modern Television

Perhaps the most interesting takeaway is that the boundaries between genres have almost disappeared.

Breaking Bad is a crime drama but also a character study. Fleabag is a comedy but frequently devastating. Atlanta moves between comedy, drama, surrealism and social commentary. Severance is science fiction wrapped inside a workplace thriller. The Bear combines comedy, family drama and workplace storytelling. The Leftovers blends mystery, supernatural elements and intimate character drama.

That genre-blurring is arguably one of the defining characteristics of 21st-century television. The list also demonstrates the continuing dominance of prestige drama and comedy, with several of television’s most influential series appearing near the very top. But it also gives space to reality television, documentaries, animation, sketch comedy and genre programming, reflecting how much the definition of “great television” has expanded.

And ultimately, the most striking result is right at the top: Breaking Bad sits at No. 1, followed by The Wire and Mad Men, giving the top three a distinctly dramatic and crime-oriented identity. For viewers, however, the fun may not be deciding whether the list is “right,” but seeing where their own favorite series landed—and discovering which acclaimed shows they may have missed.