Every week, IndieWire asks a select handful of TV critics two questions and publishes the results on Tuesday. (The answer to the second, “What is the best show currently on TV?” can be found at the end of this post.)

This week’s question: What is the best concept episode that’s been on television?

Sonia Saraiya (@soniasaraiya), Variety

I have to admit a recency bias, I guess, but “BoJack Horseman’s” “Fish Out of Water” has stuck with me in a way that no other concept episode has — a gimmick that didn’t feel gimmicky but instead desperately necessary for the forward motion of the episode. It’s not quite fair, because “Community,” for example, is comprised almost entirely of concept episodes, and it’s hard to disagree with how much “Buffy’s” “Hush” and “Once More, with Feeling” inspired other, later shows. But “Fish Out of Water” was my favorite episode of 2016 for being both an underwater episode, a trip episode, and a silent episode all at once, as well as an homage to silent film and an elegy of loneliness.

Daniel Fienberg (@TheFienPrint), The Hollywood Reporter

The time has already come to begin putting last season’s “Fish Out of Water” episode of “BoJack Horseman” in the pantheon of “concept episodes” and if this question had included any recency restriction, I would surely celebrate this nearly dialogue-free masterpiece of silent, underwater animated comedy. But if it’s *any* concept episode for *any* show over *any* period of time, I just can’t pick a new animated concept episode over the classic “22 Short Films About Springfield” from the seventh season of “The Simpsons.” Never a show afraid of tinkering with format, this was perhaps the first “Simpsons” episode to embrace, certainly to this degree, the idea that there were literally no rules regarding what a half-hour of “The Simpsons” could or had to be. Celebrating the show’s already deep bench of supporting characters, “22 Short Films” gives welcome spotlight moments to such luminaries as Cletus, Bumblebee Man and Herman the one-armed owner of Herman’s Military Antiques. Nearly every joke hits and the ones that don’t land as robustly are already in the rear-view before you notice. As great as the episode is on its own, it’s even greater for how it inspired the show’s writers to continue to experiment in the years to come, leading to many of the creative highlights even as the show has soared past 600 episodes.

James Marsters and Sarah Michelle Gellar, “Buffy the Vampire Slayer”

Fox Television/REX/Shutterstock

Kaitlin Thomas (@thekaitling), TVGuide.com

At the risk of repeating everyone else (but in honor of the show’s 20th anniversary this week), the “Buffy the Vampire Slayer” musical episode “Once More, With Feeling” is my pick for TV’s best concept episode. The hour stands out as was one of the series’ best episodes certainly, but it also stands out from the rest of TV as it stretched the limits of what TV could be at a time when most television shows weren’t taking the same risks. Perhaps more importantly, like “Buffy” itself, it’s an example of a concept episode that has inspired or influenced many of the shows that have come after it. To this day, “Once More, With Feeling” is the musical episode all other musical episodes are judged against.

Damian Holbrook (@damianholbrook), TV Guide Magazine

If I don’t say “Once More with Feeling,” will the officials come and take me away for re-programming? Because yes, that was a phenomenal musical episode, but I would say that it fit perfectly into a show that got away with bold strokes. The silent “Hush”? The doppelgänger ep? All great concepts that were executed with the same panache and bravery. So stepping away from the Buffy of it all while staying close to the musical concept, I will go with Fringe’s “Brown Betty.” Framed as a bedtime tale for Olivia’s niece Ella, as told by a very stoned Walter, the hour was a song-filled 1940s noir fantasia about Liv’s search for the missing Peter and Walter’s guilt over stealing his alt-self’s son from Over There. It’s a weird, gutsy and wonderful proof that this show had so much creativity to spare that it could leave the lab — and reality — and still deliver the goods.

Liz Shannon Miller (@lizlet), IndieWire

Because they might go unmentioned otherwise, I’m going to take this opportunity to celebrate how over the course of five seasons, “Fringe” had three incredibly crazy installments that ran the gamut from musical to animation to dystopian fiction. “Brown Betty,” “Lysergic Acid Diethylamide,” and “Letters of Transit” totally rewrote the rules of the show with such glee; they exploded “Fringe” in such delightful ways… Look, I’ll just let this clip speak for itself:

AND THAT’S NOT THE WEIRDEST THING TO EVER HAPPEN on “Fringe.” The weirdest thing is probably this?

Okay, that didn’t take place during one of the official concept episodes, but it’s still great. “Fringe,” I miss you.

Tim Surette (@timsurette), TV.com

The best concept episode I can think of was the best concept episode of a series that specialized in concept episodes, “Community’s” “Remedial Chaos Theory.” It flipped through each character’s POV and spiderwebbed outward to different possible timelines for one of the most inventive episodes of comedy ever. Heck, we’re still saying “this is the worst timeline” today. Special shoutouts to “Community’s” “Advanced Dungeons and Dragons” and “Paradigms of Human Memory,” “Bojack Horseman’s” “Fish Out of Water,” “Seinfeld’s” “The Betrayal,” “The Simpsons’” “22 Short Films About Springfield,” and “Supernatural’s” “Changing Channels.”

Alan Sepinwall (@sepinwall),  Uproxx

My real answer is probably “Hush,” the silent episode from “Buffy” Season 4, which is the platonic ideal of a concept episode: a great idea executed perfectly on both a technical side (I still shudder thinking about the Gentlemen floating through Sunnydale and taking out their scalpels) and a thematic one (because the silence comes at a moment in the season when the characters are struggling to communicate with one another). But I assume at least five other people you survey are going to name it, so I want to give my vote to something else.

But what? The backwards “Seinfeld” (or, for that matter, “The Chinese Restaurant”)? The first “Community” paintball episode, or “Remedial Chaos Theory”? If not the silent “Buffy,” then the brilliant silent episode of “BoJack Horseman,” “Fish Out of Water”? Since Patrick Wilson just popped up on “Girls” again, is the time right to celebrate “One Man’s Trash”? Walt and Jesse trapped in the desert in “4 Days Out,” or playing exterminator in “Fly”? The non-chronological LSD episode of “Mad Men”? Paulie Walnuts and Christopher wandering around the Pine Barrens? Mulder and Scully in the Bermuda Triangle? The “NewsRadio” gang in space?

I love high-concept episodes, so this is hard. But even though I’m writing from the heart of “Sopranos” country, I have to go with a more recent HBO formal experiment: “International Assassin” from Season 2 of “The Leftovers.” Other shows have done episodes where a character visits the afterlife (the “St. Elsewhere” episode where Fiscus travels between Heaven, Hell, and Purgatory after getting shot would be another fine choice), but none have been quite as imaginative, weird, moving, or just plain fun as seeing Kevin Garvey swallow poison and wake up in a nice hotel, with his only way to get back to his life and family being to assassinate his nemesis Patti Levin, who in this version of the afterlife is running for POTUS. The episode is hilarious, it is thrilling, and it is ultimately a gut-wrenching tragedy. It’s everything “The Leftovers” can be and everything TV can be.

“The Leftovers”

HBO

Todd VanDerWerff (@tvoti), Vox

I have a ton of answers to this question, but I want to dip back into TV’s past a bit to celebrate “Moonlighting” and especially its episode “Atomic Shakespeare,” which is the concept episode too few shows have attempted: the Shakespeare episode. At its height, few shows in TV history could compete with “Moonlighting” for density of writing and cleverness of scripts, and the idea of filtering the series through the vision of a kid who’s supposed to be reading Shakespeare but would much rather be watching “Moonlighting” was the kind of mental gymnastics that made the show so fun. I tend to love series that play fast and loose with their premises and continuity, and I suspect that love comes from just reading about “Moonlighting’s” many tricks at a young age.

Gail Pennington (@gailpennington), St. Louis Post-Dispatch

To me, concept episodes often feel gimmicky, and I’m annoyed. Just do the show you do, and do it well. So I’m going to declare one of my favorite episodes of television ever, “The Constant” on “Lost,” a concept episode. It stepped outside the usual format, focused on Desmond and Penny (sigh) and managed to be romantic, heartbreaking, thrilling and perfect. I’d watch an entire series that was spun off “The Constant.” Hey, that’s a concept.

Ben Travers (@BenTTravers), IndieWire

I refer everyone to Mr. Sepinwall’s elegant answer and echo his vote for “The Leftovers” as the best episode to date (of many exquisite contenders), “International Assassin.” “Imaginative, weird, moving, and fun” are all ideal descriptors of an episode that defies explanation, so the only point I’ll add is how greatly I admire Damon Lindelof and Tom Perrotta’s willingness to revisit their most daring creation so soon after unveiling it. They wrote a make-or-break episode of TV, and before they could gauge reaction to it, before they could even shoot that one episode, they wrote another one relying on the concept originated in “International Assassin.”

Kevin (Justin Theroux) doesn’t die once: He dies twice, and when he gets shot in the Season 2 finale, he goes back to the hotel. Most concept episodes leave it at that: a singular, stand-out episode. “The Leftovers” dared to turn their concept into an ongoing aspect of the series; one that cannot be separated from the characters without drastically changing our perception of them. Real or imagined, the hotel matters. And that makes the episode all the better.

READ MORE: ‘The Leftovers’: An Oral History of the Finale’s Karaoke Scene, from Damon Lindelof & Justin Theroux

Q: What is the best show currently on TV?*

A: “The Americans” & “Feud” (2 votes)

Other contenders: “Baskets,” “Black-ish,” “The Expanse,” “It’s Always Sunny in Philadelphia,” “Jane the Virgin,” “Legion” (1 vote each)

*In the case of streaming, the show must have premiered in the past month.

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IndieWire is bringing a ton of talent and fun to WonderCon this year, with a stacked panel of fan favorite showrunners from a wide variety of awesome TV shows. From animated projects to DC dramas, you’re guaranteed to hear valuable information regarding some of the best shows on TV right now.

READ MORE: ‘Bojack Horseman’ Creator Reveals The Email He Wrote to Convince Netflix To Do Near-Silent Episode

The producers attending the panel include Marc Guggenheim (“Arrow,” “DC’s Legends of Tomorrow”), Jessica Goldberg (“The Path“), Jonah Ray (“Mystery Science Theater 3000,” “Hidden America”), Sera Gamble (“The Magicians“), Raphael Bob-Waksberg (“BoJack Horseman”), and Aline Brosh McKenna (“Crazy Ex-Girlfriend“). The panel will be moderated by IndieWire’s very own executive editor Michael Schneider.

READ MORE: 6 Wild (And Early) Emmy Nomination Predictions

The panel gives you the unique opportunity to hear top showrunners in person, conveniently all in one place, as they share insight about the inner workings of what makes a popular TV show run. And, of course, there will be a Q&A segment, so come prepared with any potential questions!

READ MORE: ‘Supergirl’ Might Just Be the Show the World Needs Right Now — PaleyFest 2017

If you’re attending the convention, which is being held at the Anaheim Convention Center, make sure to come on by to listen to this unique panel. The panel will take place in the heart of WonderCon on Saturday, April 1, from 4:15-5:15, in Room 300AB.

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Put six showrunners from some of TV’s most innovative shows on stage, and right now the talk will eventually turn to the possibility of a writers strike.

And indeed, the question of a strike came up midway through IndieWire’s first-ever Fan Favorites Panel, held Saturday during WonderCon 2017 at the Anaheim Convention Center. “It’s a complicated situation,” said “BoJack Horseman” executive producer Raphael Bob-Waksberg. “Nobody wants a strike… but also the writers would like to be paid fairly for the work that we’re doing. The business has changed a lot.”

READ MORE: Writers’ Guild Negations Stall as Leaders Call for Strike Authorization

Bob-Waksberg and “Arrow”/”DC’s Legends of Tomorrow” executive producer Marc Guggenheim pointed out that many shows now produce only 10 episodes – which means fewer paychecks for some writers.

Writers Guild of America members will vote later this month on whether to give its board authorization to call a strike. Even then, a vote in favor won’t guarantee a strike, but will allow the WGA to call one if necessary. “No one wants to strike, but that is our one negotiating leverage,” Guggenheim said of the vote.

IndieWire’s Fan Favorites Showrunners Panel at WonderCon 2017

IndieWire

One of the issues is that shorter seasons of shows means that some writers have to hop from show to show in order to make a living wage, but Guggenheim pointed out that “contractually, some are being prohibited from working more than six months” because they’re paid per episode, but sometimes episodes take weeks to be made. He also noted that in the age of Peak TV, making these shows aren’t as profitable for the day-to-day creatives, but “corporate profits have gone monstrously up.”

The Alliance of Motion Pictures & Television Producers are also rolling back the guild’s healthcare.

“But don’t worry. Everyone’s going to have this awesome health care,” Guggenheim joked, invoking the President’s rhetoric. “It’ll be the best. It’ll be ‘bigly.’”

Bob-Waksberg and Guggenheim joined four other showrunners on stage to share secrets of the craft – from negotiating with their networks over what swear words are acceptable, to how much fans on social media might impact a storyline. Also on the dais: Jessica Goldberg (“The Path”), Jonah Ray (“Mystery Science Theater 3000”), Sera Gamble (“The Magicians”), and Aline Brosh McKenna (“Crazy Ex-Girlfriend”).

Moderated by IndieWire executive editor Michael Schneider, the panel was an informative, entertaining and at times raucous affair with some of the panelists hijacking (or should we say “BoJacking”?) the usual format and asking questions of their fellow showrunners.

Princess Carolyn and Bojack in “Bojack Horseman”

Netflix

The President came up again when one fan asked the panel how it was to create a TV show in the current political environment.

“It’s hard to write the show from a fetal position,” Bob-Waksberg quipped.

Guggenheim had a surreal moment for the “DC’s Legends of Tomorrow” episode that envisioned a dark future in which Thawne (Matt Letscher) reigned over grave new world where he was so respected, he even got a call from President Trump.

“In this episode ‘Doomworld,’ reality has changed,” he said. “The world is in the control of these narcissists who are totally evil.We thought the [real] world would be different [when we wrote that].”

READ MORE: ‘The Magicians’ Bosses on How Trump Ruined Their ‘Fillory Clinton’ Joke and Inspired Season 2’s Destructive Entity

Gamble felt the effects of politics in particular for this current season of “The Magicians.” She first noted the parallels with the characters who are students at a magical university who are suddenly thrust into positions of power and responsibility as rulers of the kingdom of Fillory. “Basically, the season is about Trump,” she said and added that nicknaming Margo’s character “Fillory Clinton” this season had to be cut out after the first mention after Hillary Clinton lost the election since it didn’t have the same power.

But Gamble also noticed that the storyline about Julia’s (Stella Maeve) rape and attempts to get an abortion were planned from the start, but after the election she felt editing and airing those scenes felt more significant. “The show felt different for me,” she said. “It just became heightened for everyone. It also lent a certain importance to our story.”

Jade Tailor and Stella Maeve, “The Magicians”

Eric Milner/Syfy

The conversation also shifted to the constantly changing world of Standards & Practices, particularly profanity. Over on “The Magicians,” the Syfy series gets away with saying “fuck” but with the audio dipped a bit. “We actually got to say the C word,” Gamble revealed. “Standards & Practices… at first they said to take it out of the script but we forgot. The ultimate decision was made because the character was calling that herself. They let it go; it was like a present. We have unlimited S words.”

On a network show like “Crazy Ex-Girlfriend,” however, profanity is rarer. Brosh McKenna said that for the song “Shitshow,” the series had to ask to use the word “shit” twice. “We asked them for two bleeped “shits,” so they literally gave us two shits,” she said. The showrunner also told a story about how co-creator Rachel Bloom wanted to use the lyrics “his balls smell weird.” One way to get around that racy topic was to have the words have a double meaning, and therefore they had Bloom’s character holding stress balls in her hand, which she initially resisted.

Rachel Bloom and Santino Fontana on “Crazy Ex-Girlfriend”

Scott Everett White/The CW

READ MORE: ‘Buffy,’ ‘Community,’ ’30 Rock’ and More: TV’s 12 Best Musical Episodes and How Well They Worked in Song and Dance

Bob-Waksberg doesn’t necessarily have those issues since “BoJack Horseman” is on Netflix, but he said, “We try to limit ourselves to one non-dip ‘fuck’ per season.” He said that when shows like “Mad Men” used such language sparingly it made each use into a “powerful moment.”

Other highlights of the panel:

– Ray said that the revival of “Mystery Science Theater 3000” very much honors the original series. “There’s no new angle. It’s still the same show. It’s a riffing show. It’s a puppet show,” he said. “[The show premieres] April 14. There are 14 episodes. Don’t binge it. That’s ridiculous. These are movies.”

– Goldberg, who is a first-time showrunner on Hulu’s “The Path,” said that the Meyerist Movement in the series has been thoroughly developed. “We have a whole bible now,” she said. “It’s a literal bible with terminology and acronyms. It’s probably 40 pages. There’s holidays.”

– Musicals could be contagious. On the heels of “The Flash” holding a musical crossover episode with “Supergirl,” the tribute to “Les Miserables” in “The Magicians,” and the acclaim of “Crazy Ex-Girlfriend,” one fan asked if some of the DC series stars could be heading to West Covina.

“Let’s do it!” enthused Brosh McKenna. “Send them over.”

Goldberg added, “I love musicals. If we have Season 3 of ‘The Path,’ we’ll have a musical number.”

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Time has become a precious commodity for television viewers. With dozens of original shows regularly premiering on streaming services alone, there are more options than ever, especially when embarking on new show catch-up. When whole seasons are available overnight, that can make prospects seem even more daunting.

But even if it’s just for a single season, sometimes a show’s best episodes come later in their run. And when they arrive, part of these memorable episodes stand out because they stand alone.

That’s why, in the spirit of helping out with a TV streaming sampler of sorts, we’ve compiled a must-see list of ten episodes from Amazon, Hulu and Netflix series that offer a convenient non-pilot entry point. Sample them à la carte or use them to help get some new fans hooked.

The Awesomes, “Paternity”

Like any good sitcom, the best episodes of now-departed “The Awesomes” knew just how to use their guest stars. The animated misfit band of oddball superheroes had their share of overarching enemies, but the individual problem-of-the-week adventures made for an amusing collection of intergalactic one-offs. In this case, the team’s travels take them to a far-off planet where Muscleman (Ike Barinholtz) finds himself embroiled in a paternity test, enlisting Impresario (Kenan Thompson) and Frantic (Taran Killam) for help. The climactic talk show sequence has a few surprises, anchored by a particular one-word line delivery that’s one of the best things Bobby Moynihan has ever done.

BoJack Horseman, “Fish Out of Water”

Every year, there’s an episode of this show that Bojevangelists use to make an argument to non-viewers. Season 1 had the drug-trip episode “Downer Ending” that really signaled the show’s extra depth and willingness to indulge in different animation styles. BoJack’s detour to New Mexico at the end of Season 2, “Escape from L.A.,” found the show moving away from its home base and hurtling towards heartbreak. In Season 3, “Fish Out of Water” showed that “BoJack Horseman” can not only switch tone and location, but challenge a few formal conventions along the way. The dialogue-sparse episode starts with a handful of film festival-centric jokes, but quickly expands to a silent exploration of shifting responsibility, all with some unexpected thrills along the way. There might not be much Princess Carolyn or Mr. Peanutbutter, but it’s the starkest example of the show’s willingness to subvert expectations at every turn.

Casual, “Trivial Pursuit”

This early entry from the sophomore season of “Casual” comes at the beginning of Alex’s ill-fated attempts to home-school his niece, Laura. Indulging both of their rebellious streaks, this episode also becomes a convenient shortcut to understanding what fuels both of their distinct sets of interests. Valerie’s thread here also shows her strengths (and distractions) in her therapist role. But outside the office, her situation is a tricky one, bringing along a bit of the show’s uncanny ability to place its characters in illuminating, cringeworthy circumstances. In keeping with the overarching “Casual” guiding light, following people desperate for a better way to connect in their everyday lives, this sees the show’s main trio all at key stages of the journey. (Plus, who doesn’t just love a good trivia night?)

Catastrophe, “Episode 2”

The between-season time jump brought “Catastrophe” a new set of daily obstacles, both in Rob and Sharon’s relationship and their individual confidence in their ability to handle their changing roles as parents. “Episode 2” best shows how each of them turn those challenges into lively married banter that keeps its sharp, biting edge without endangering the love that lies underneath. This installment also gives time for the two of them to each face down their respective hurdles. Sharon does her best to escape a coven of fellow new mothers while Rob carefully sidesteps some aggressive workplace flirtation. This pair’s journey from chance encounter to a couple that seems fated to return to each other is one of the hidden joys of “Catastrophe.” Theirs may not be a storybook love, but watching their teamwork strengthen in unexpected ways is what drives this show and makes it a consistently special viewing experience.

The Characters, “Kate Berlant”

Admittedly, having a sketch-based show on this list is a bit of a cheat. But this underappreciated experimental Netflix comedy fulfills the great promise of a changing TV landscape: giving talented people the freedom to indulge their strengths. Other participants in this series took a more scattershot approach to their character-based sketches, but comedian Kate Berlant’s half-hour is a bit more unified. Denise St. Roy, the Marina Abramovic-like leader of an artistic movement, is the perfect hook for an episode that somehow finds Berlant also playing St. Roy’s assistant and husband. (Good luck watching this episode and ever taking a normal approach to smoothie-making ever again.) Berlant’s “555” partner-in-crime and fellow “The Characters” participant John Early also figures into this St. Roy universe. Berlant’s art gallery proclamations and Early’s tear-soaked reaction shots alone are worth pressing “play.”

Difficult People, “Unplugged”

A season premiere is its own kind of checkpoint, but there’s enough here of what makes “Difficult People” absurdly propulsive that really makes it stand on its own. Julie and Billy are up to their usual unapologetically opportunistic tricks in work and romance. John Mulaney’s matter-of-fact performance as Billy’s latest fling (and a man voluntarily stuck in 1920s garb and mannerisms) seems like the guest spot he was born to play. Tina Fey’s cameo as herself, going one-on-one with a rarely-better Andrea Martin is the icing on this scrumptious triple-subplot cake. Every piece of the show working in perfect sync? You’d be hard-pressed for a better intro.

Fleabag, “Episode 4”

It’s hard to top the show’s pilot for the purest distillation of what makes this show so exciting. But for those dead-set on starting somewhere other than the beginning, this silent retreat episode is another example of the special “Fleabag” storytelling. At the initial run’s halfway point, Fleabag herself takes a bit of a back seat, shifting some of the focus from herself to her tricky relationship with her sister Claire. Still, we get to see Fleabag taking unique delight in pushing people out of their comfort zones and calling out the absurdities in the lives of those around her. A turning point for her, Claire and the audience’s understanding of the tragedy that she can’t quite shake, it’s also a testament to the Fleabag web of rich secondary characters that’s filled out surprisingly fast.

Love, “A Day”

The Gus/Mickey back-and-forth dating dance defined much of “Love” Season 1. Gus’ relative tentativeness and Mickey’s self-sabotage meant that the two spent episodes’ worth of time setting (and then breaking) relationship boundaries. In last month’s fresh batch of episodes — immediately following a shrooms-centric adventure that could easily be on list too — the couple find themselves back at the beginning. Taking a casual day of impulsive excursions across all sides of Los Angeles, Gus and Mickey finally get the fresh start that both had been longing for. Even when one member from Mickey’s past materializes unexpectedly, the relative ease with which the two go about their breezy day is a resetting that offers slightly more hope than the more cynical elements of the first season rarely afforded.

Red Oaks, “Body Swap”

Not many shows can pull off a metaphysical diversion like this one. But some 80s-era body-swap shenanigans not only make for a half hour that helps push two of its characters forward, it would have been a hit in the time that the show is set. Richard Kind and Craig Roberts take center stage when the father-son duo’s casual celebratory drinks eventually lead them to switch bodies. It’s hard to pick which actor’s impression of the other is more entertaining: Roberts’ newfound boisterousness or Kind’s abruptly hangdog demeanor. The hijinks are pretty standard (changing physicality, mistaken conversations, unexpected situations with unsuspecting family members), but this Amy Heckerling-directed episode grounds everything in an added layer of understanding that sticks closer to sincerity than sci-fi.

Transparent, “Best New Girl”

This Season 1 flashback episode travels back two decades, shining some light on the Pfefferman family dynamic of yesteryear. Removing the show from the present also gives new viewers what was, at that point, the earliest point in the show’s chronology. As a result, Maura’s early experiences at the wooded Camp Camellia cross-dressing retreat offer an early milestone in her self-discovery. Aided by old friend Mark (Bradley Whitford) and new acquaintance Connie (Michaela Watkins, as a wife who tags along for her husband’s weekend escape), Maura finds a place that allows her more freedom than her everyday life. But in a development that reverberates through the episodes before and since, this new oasis slowly becomes a dream that begins to tarnish with each passing interaction. It’s that blend of momentary catharsis and lingering disappointment that’s come to paint all three seasons of the show.

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Every week, IndieWire asks a select handful of TV critics two questions and publishes the results on Tuesday. (The answer to the second, “What is the best show currently on TV?” can be found at the end of this post.)

This week’s question: What’s a show you’ve been meaning to watch but haven’t gotten around to yet? Why?

April Neale (@aprilmac), Monsters & Critics

I hang my head in shame, I never got to “The Wire.” Whenever people go on about it, I engage, smile and nod my head like, “Yeah, Stringer Bell, man.” It also starred Dominic West who comes from that strain of dark-haired British men like Ian McShane who are catnip to me. I’ve seen extended clips and snips but never had the perfect storm of time to go back and review this landmark series. It’s up there with putting a scrapbook together in my old age, I will revisit it then and likely say,”Baltimore wasn’t that bad, was it?” Actually, I adore Bawlmers (Baltimore) and admire David Simon’s journalism career and I like his creative sensibilities. Can I wedge in there is a LOT of TV to watch and cover? Bad on me.

READ MORE: The Best and Worst Prequel TV Series — IndieWire Critics Survey

Alan Sepinwall (@sepinwall), Uproxx

How much time have you got? Because I don’t have any — or, at least, not enough to sample all of the shows I keep hearing raves about but can’t get to due to the many other Peak TV options. We live at a time where we have access to not only all the great current American content, access to not only most of the greatest American shows of decades past, but now to the best output the world has to offer, which keep washing up on the shores of various cable channels or streaming services. It’s the foreign imports that tend to be just out of reach for me. “You should watch ‘Borgen,’ Alan!” “I know, I know…” “How have you not gotten to ‘Peaky Blinders’ yet, Alan?” “Well, there’s this thing called Peak TV, and…” “Alan, I have to know your thoughts on ‘Fauda’ this instant!” “… (Pauses to Google ‘Fauda’)” I used to be able to devote the summer to catching up on shows I hadn’t seen before (though I still have yet to make a dent in my ‘The Prisoner’ box set), but with the constant deluge of stuff, I’ll consider myself lucky if I make headway with just a single international show. Maybe ‘Fauda,’ if only so my accountant will start taking my calls again?

Cillian Murphy, “Peaky Blinders”

Robert Viglasky/Netflix

Liz Shannon Miller (@lizlet), IndieWire

You know how sometimes you’ll be reading a great work of classic fiction, something truly mind-blowing, but you’ll put it down for some reason and then reengaging with it becomes a massive mental block for you, one that causes you no shortage of shame?

I still need to finish watching “The Wire,” is my point. For some reason, I stopped watching midway through Season 4, and never picked it back up, despite it clearly being stellar — in part because I can’t remember which episode was the last episode I watched, and also because… Well. Has anyone mentioned that there’s a lot of TV these days? Because there’s a lot of TV these days.

Allison Keene (@KeeneTV), Collider

Why haven’t I gotten around to watching another TV show? :cackles, puts self into cannon, launches into the sun:

As a completionist, Peak TV drives me crazy. I know that I can’t watch everything, but one of my jobs as an editor is to also make sure that we’re writing and commenting about the right things at the right time. That’s nigh impossible with almost 500 shows in play, but we all have to give it the old college try. I also have FOMO on great TV as a critic, because some of my favorite shows have been cable or streaming blips that I almost found by accident.

Regarding those I can’t get to, there’s TV I want to watch but haven’t had time for, TV I should watch but haven’t have time for, and TV I willfully refuse to watch. Since this week’s question deals with the first, the series that comes to mind is “Broad City.” Everything about the show appeals to me, and I got to sneak in a few episodes about a year ago. I have not found any time to get back into it, even though I loved what I saw. “Insecure” is another one I know I’ll love, but a colleague reviewed it for us and so it passed me by and I haven’t been able to catch up. I think there are also roughly 45 Netflix shows, including “BoJack Horseman,” that I haven’t gotten into yet, and then …

Though this is galvanizing me to fire them up and dive in, I then see that stack of screeners or screening links and a full DVR, and I think, “Well, after I finish those…”

“BoJack Horseman”

Netflix

Joyce Eng (@joyceeng61), TVGuide.com

“BoJack Horseman” has all the trappings of a show right up my alley: a surreal, satirical sadcom with a penchant for puns and an Oscar storyline. Swoon. And yet I haven’t pressed play on it, mostly because of time, or lack thereof, and also I think because, knowing that it’ll always be there on Netflix, there’s no urgency to consume it. Maybe that’s the thing. I need to tell myself there’s an expiration date so I’ll stop foaling around. (Sorry, not sorry.)

Tim Surette (@timsurette), TV.com

I’ve never seen even a second of “Homicide: Life on the Street,” and I probably never will. I was too young to catch it when it was on the air, and too bombarded with new shows by the time TV on DVD was a thing. Now the idea of going back to watch an old show seems ridiculous with a new show coming out every 4.5 minutes, but if I somehow find myself hiding out in a remote cabin with nothing but a DVD player and time on my hands, I’ll get on it!

“Vikings”

Bernard Walsh/History

Daniel Fienberg (@TheFienPrint), The Hollywood Reporter

So this is all protected by the seal of the confessional or doctor/patient or spousal privilege or something, right? Because the list is huge and it’s mostly things I need to finish, like the second season of “Twin Peaks” so I’m ready for the Showtime season or the third season of “Avatar,” so that I can watch “Korra” someday. I’m two seasons behind on “Shameless” for absolutely no good reason. My DVR has huge backlogs of “Vikings” and “Ash vs Evil Dead,” plus around 30 episodes of “House Hunters International” set in countries I don’t care about moving to. I haven’t touched the new season of “Love,” I’ve got a half-season of “Sneaky Pete” to watch still. I’m going to watch those last three episodes of “Iron Fist” if IT KILLS ME because maybe those psychotic Marvel fanboys are right and Finn Jones becomes a gushing font of charisma. I need to commit to deleting a half-dozen episodes of “Fear the Walking Dead” from my DVR, because screw that trash. I’m wagering there are at least 50 episodes of “Twilight Zone” and “Outer Limits” that I haven’t seen and there are at least 1,220 episodes of the original “Dark Shadows” that I haven’t gotten anywhere near. But when it comes to shows that I haven’t started that I need to at least sample, it’s probably all foreign stuff. I need to watch some “Peaky Blinders” and find a way to watch “Utopia” and I hear that “Borgen” thing is pretty good and OH DEAR GOD, I’M AWFUL AT MY JOB. Good thing this isn’t for public consumption.

Inkoo Kang (@inkookang), MTV News

“13 Reasons Why” is the show I’ve most been looking forward to devouring, but haven’t gotten around to because I’ve been busy catching up on another meditation on suicide: “The Leftovers.” I’ve heard mixed things about “13 Reasons,” but it can’t possibly make me roll my eyes any more than three seasons of “The Leftovers” did.

Todd VanDerWerff (@tvoti), Vox

I have sort of the opposite problem of most TV critics I know. Because stuff about Netflix, Hulu, etc., does well for Vox, I am really, really well caught up on all of the streaming stuff I want to be caught up on and some stuff I couldn’t care less about. (“Bloodline” Season 3! This May!) It’s everything else that I often struggle with, by which I mean “traditional television.” I have my favorites, and then I struggle to get caught up on something. (Especially if it’s on broadcast — I love broadcast, but fall a couple of weeks behind, and hoo boy.) Anyway, this is a long-winded way of saying that I’ve been catching up on “Billions” for like a year now, and I watch an episode every couple of months, realize that it’s better than I remembered, then never have the time to watch more.

As for a show I never, ever watched but know I probably should (or at least want to check out), I feel like a lot of people love “The Goldbergs,” but I tapped out after the pilot. Maybe I would like it more now!

Ben Travers (@BenTTravers), IndieWire

In case you’ve never read the byline under any of my stories, I am a respectably enthusiastic supporter of “The Leftovers.” Most of my colleagues, friends, family, and random people on the street I accost with flyers, they all know this and are thus regularly indulge my lunacy by asking about the show and how much I’ve seen. “I’ve seen seven of the last eight episodes,” I’ll say, which is almost always followed by, “Kevin Christ! The wait has to be killing you!” (OK, maybe they don’t make such a topical “Leftovers” reference.)

But I don’t mind waiting. I actually have a tendency to wait when given the option, which would lead me to miss out on quite a few more shows if my job wasn’t so adamant about deadlines. I would’ve followed Damon Lindelof’s suggestion not to binge “The Leftovers” Season 3 if I didn’t have to watch it all within a week of receiving it (and even then I spaced out the episodes). So I’m happy to have some time to absorb what I’ve seen before coming to terms with its end (and putting that into words).

All this is to say I have not watched the final season of “Review,” for I do not want it to end. My wonderful colleague, Steve Greene, handled the review of “Review,” meaning I was off the hook professionally and free to procrastinate viewing, longer and longer, until the season and series was over. Who knows when it’s time will come, but that time will be very, very sad for me.

Q: What is the best show currently on TV?*

A:  “The Leftovers” (four votes)

Other contenders: “Better Call Saul” (three votes) “The Americans,” “Harlots,” “Veep” (one vote each)

*In the case of streaming, the show must have premiered in the past month.

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It’s kind of impressive, the way Netflix continues to find new ways to piss off cinephiles. The latest move: A “Skip Intro” button that allows viewers to blow past the opening credits of a movie. By pressing the Skip Intro feature for “Forrest Gump,” for example, viewers have been spared two minutes of watching a feather delicately drift to earth while Alan Silvestri’s iconic score plays — instead, the film leaps right to “Screenplay by Eric Roth” and Forrest (Tom Hanks) offering up some chocolates.

Many see the introduction of the “Skip Intro” option on films as insidious, another way in which Netflix is compromising the concept of film as an art form. The feature isn’t available across all films — “Schindler’s List,” for example, is unaffected — but the complaint is a fair one. The opening credits are an opportunity for a filmmaker to set the scene for his or her work, introduce ideas and themes. What would “Deadpool” be without its tongue-in-cheek skewering of film credits? Would James Bond seem as cool without a big opening number? And then there’s the ouevre of Saul Bass and the amazing Bass-inspired works that succeeded him.

READ MORE: The Best Opening Credit Sequences In Movie History — IndieWire Critics Survey

However, here’s a good question: Why is it different when you skip a TV show’s opening credits? Much like with film, when done well, a TV show’s opening credits can tell you everything you need to know about what to expect from a series, from tone to character to story. It’s more than just names flashing on a screen — it’s an overture.
And to a TV fan, the opening sequence of a TV show is a vital, essential part of the series, an aural and visual clue that triggers your excitement. Especially when it comes to the music: The opening guitar riff of “Friends” theme “I’ll Be There For You” or the eerie synthesizers of Mark Snow’s opening song for “The X-Files” can sometimes be enough to suck you into watching an episode.

That said, the Skip Intro feature was initially created by Netflix for TV — at least, that’s where people first noticed it appear. While binge-ing, it’s pretty easy to stop watching the opening sequence by around episode 3, either by muting the sound or skipping it altogether depending on the situation. That’s true even when the service doesn’t provide a technological option – on HBO Go, for example, with enough practice it’s not too hard to figure out the exact place to click on the video timeline to skip the opening sequences for “Sex and the City” or “Entourage.”

What makes the opening credits of a TV show feel skippable? The easy answer is that the repetition makes it unnecessary to watch the opening more than once or twice. In fact, there are some Netflix originals where the “Skip Intro” feature is a very welcome one.

One of the service’s odder quirks is that many of its shows, even though they were created specifically for the platform, have epic-length opening sequences. “House of Cards” clocks in at 1:43, “Sense8” is 1:50. Even “Grace and Frankie,” a half-hour comedy, features an opener that’s 35 seconds long. Each of these credits sequence is well-done and engaging… the first time. A few more viewings, and the repetition gets old.

That said, there are increasingly more series that seem conscious of the fact that binge viewing requires a rethink of how to execute opening sequences. “Dear White People” has a brilliant solution: Rather than a formal title sequence, each “chapter” begins with Giancarlo Esposito’s narration setting up which character will be the focus of that installment, followed by a title card featuring a portrait of that character:

It takes just a few seconds, sets up the episode’s subject matter, and keeps the series moving along at a deliciously binge-able pace.

Meanwhile, another Netflix series with an intriguing approach to its opening credits is “BoJack Horseman.” The animated series begins with its anti-hero drifting drunkenly through what amounts to a typical day asa washed-up TV star. But pay attention over the course of a season, and you’ll observe small changes creeping into the background, updating the action as the show’s narrative moves forward.

Netflix has not enabled the “Skip Intro” feature on “Dear White People” and “BoJack,” which in some ways proves their power, and offers an important message to creators: Don’t want people to skip the opening credits? Make sure they can’t be missed.

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The evolution of animation on television has been thrilling to behold over the last several years, as creators use the medium’s unlimited potential to explore what is possible not just on a visual level, but on a storytelling level.

It doesn’t matter the target audience — some of the most emotional narratives, relevant satire and beautiful filmmaking on television this century has its roots in a format that many might write off as “just for kids.” Not so: Animation, like television in general, is very much a writers’ medium. That’s why even writers rooted in live-action series, like Dan Harmon and Bill Lawrence, have found themselves dabbling in the animated world.

Below, IndieWire spotlights some of the most important and relevant series of the binge TV era, with series that excites not in spite of the fact that it’s animated, but because of it.

READ MORE: The 20 Best TV Comedies of the 21st Century, Ranked

[Selection Criteria: We’ve stuck to shows that aired a majority of their episodes after the year 2000, and we’ve only included English-language programming in order to narrow the field.]

20. “My Little Pony: Friendship is Magic”

You might have grown up with “My Little Pony,” aka “My Pretty Pony,” as the toys were called when first introduced by Hasbro in 1981. But it was animator Lauren Faust (“The Powerpuff Girls,” “Foster’s Home for Imaginary Friends”) who brought wit, charm and a distinctive visual style to the concept of magical talking horses, and created a pop culture phenomenon in the process. With no irony, this clever take on the residents of Equestria delighted audiences of all ages with its premiere, and while Faust left the show after Season 2, it still continues to find an audience on Discovery Family as well as in the “Equestria Girls” series of films. Watch just a little bit, and you’ll agree: friendship really is magic. — Liz Shannon Miller

19. “King of the Hill”

Pamela Adlon voiced Bobby Hill. That’s right, Pamela Adlon – the supporting scene stealer from “Californication,” co-star, writer, and producer on “Louie,” and the creator, star, writer, director, producer and all-around visionary behind “Better Things” – voiced Bobby Hill on “King of the Hill.” For 258 episodes! That is insane! It’s also not a surprise, and not a secret. But it bears repeating considering how much talent was involved with the long-running Fox comedy. Mike Judge is a legend unto himself, but through the picket fences of Arlen, TX walked everyone from co-creator Greg Daniels (“The Office”) and Wyatt Cenac to Toby Huss and Tom Petty, not to mention Dax Shepard, Justin Long, Amy Adams, Carl Reiner, Reese Witherspoon, Laura Dern, Dennis Hopper, and Matthew freaking McConaughey. And in these polarizing times, Hank Hill may remain one of the most accurate and complex portrayals on television of a red state family man. “King of the Hill” is a small town treat made by people who love small towns. Don’t forget it. — Ben Travers

18. “Justice League”

If this list was about ’90s animated series, then “Batman: The Animated Series” might be in the number one slot. But “Justice League”/”Justice League Unlimited” was a stellar take on superheroes from the same creative team, keeping much of the original voice talent from the series which preceded it (Kevin Conroy is the best actor to ever play Batman, and we will meet you in the parking lot at 5 if you disagree) and crafting a take on the DC superhero universe that was family-friendly without sacrificing any maturity. Rewatching old “Justice League” episodes is the best way to cope with Zack Snyder’s dour take on these beloved characters. — LSM

17. “Clerks”

Only six episodes of this adaptation were ever made, but each one feels like a gift. Executive produced by David Mandel (you know him — he now runs “Veep”!), Kevin Smith and Scott Mosier, ABC quickly canceled the series after airing two episodes, but there was some groundbreaking stuff in the mix. The first episode (Episode 2, in the production order) aired was a “clip show.” Alec Baldwin played an evil billionaire (not for the last time). And there were a number of simply unforgettable moments: The series is notable for featuring perhaps the darkest Holocaust bit ever, a joke run tailor-made for any frustrated film fan, and an episode that ended with a sequence so mindblowingly bizarre, we’re still thinking about it nearly 20 years later. WHO IS DRIVING? OH MY GOD BEAR IS DRIVING. HOW CAN THAT BE? — LSM

16. “Star Wars: Clone Wars” (2003)

The “best ‘Star Wars’ movie no one talks about,” in the words of IndieWire’s own Eric Kohn, began life as a serialized narrative on Cartoon Network. Genndy Tartakovsky’s distinctive signature style, coupled with character-focused storytelling that brought a fascinating richness to the “Star Wars” universe. While technically no longer officially part of “Star Wars” canon, following the great purge of the Expanded Universe, artistically it’s far more exhilarating than the “Star Wars” animated series that succeeded it (though to be fair, both “Clone Wars” and “Rebels” are quite enjoyable). The prequels might have been worth it, if it meant we also got this. — LSM

Continue for Shows 15-11

One fascinating aspect of today’s media landscape is that many creators and executive producers enjoy using Twitter to engage with their audiences, share behind-the-scenes information about their shows, chat about politics, and otherwise communicate about what matters to them. So, each week, we’ll compile some of our favorite exchanges representing the wide variety of discourse seen on social media.

READ MORE: Mindy Kaling Has Some Thoughts on Hugh Jackman’s Career

This week: “BoJack Horseman” reveals its FYC campaign (and it’s pretty great), while “Underground” fights for a new home and showrunners celebrate Jessica Chastain.

#UndergroundOnNetflix

The disappointing news that WGN America will not be green-lighting a third season of “Underground” led to social media calls for other services and networks to pick up the series.

One person who thinks that sounds like a great idea? “Dear White People” creator Justin Simien, who even made sure to tag “Underground” co-creator Misha Green:

Speaking of Netflix, This Is One Sitcom Taping Worth Considering

“One Day At A Time” Season 1 was one of the year’s unexpected multi-camera gems — it’s certainly the best multi-camera sitcom on Netflix. And now a second season is in production; if you’re in Los Angeles, as we learn from executive producer Gloria Calderon Kellett below, this is your chance to see the talented cast in person. We’re talking about Rita freakin’ Moreno, y’all.

This… Would Have Been Something To See

In response to this query:

“Father Ted” and “IT Crowd” producer Graham Linehan came up with this:

“Vera Drake,” in case you forgot, was the 2004 abortion drama starring Imelda Staunton. Yikes.

Everyone In This Tweet Rocks

As retweeted by “Queen Sugar” showrunner Ava DuVernay:

The Set of “Catastrophe” Sounds Like a Very Classy Place

Though perhaps one of the things that we love best about the Amazon comedy co-created by Sharon Horgan and Rob Delaney is that the two stars keep it real…

…maybe a little too real.

“The Compassionate Wake-Up Slap”

“The Magicians” showrunner Sera Gamble was truly struck by this comment by David Lynch in the latest issue of “Entertainment Weekly” (mild spoiler for Episode 4 of “Twin Peaks” Season 3):

Sorry, Timothy

This week, in “cast members admitting their feelings were hurt on Twitter who showrunner Dave Mandel later retweets”…

David Simon, Spitting Fire Once Again

In response to this charming young man on Twitter:

“The Wire” and “Treme” executive producer David Simon had the following retort:

As one reply noted:

This Sounds Like a Valuable Public Service

“The Mindy Project” creator Mindy Kaling has a request:

This is indeed a valuable skill set — because trust us, “The Keepers” is not. easy. to. watch.

Everyone Loves Jessica Chastain

As previously reported by IndieWire, the star and Cannes jury member spoke passionately about the poor portrayal of women in film during a press conference — words which resonated with more than one female creator.

And she loves everyone right back.

Wood-iacs? Woodphiles

We could have gone further, trying to come up with names for Zach Woods enthusiasts. But it felt like a dangerous path.

READ MORE: Zach Woods Compares His ‘Silicon Valley’ Character to a ‘New England Mom,’ and Here’s Why That’s Hysterically Tragic

We Are Cautiously Optimistic

In times like these, “Transparent” creator Jill Soloway just won’t give up. (Though she might seek some help.)

Best. Emmys. Campaign. Ever.

And finally, “BoJack Horseman” really knows how to say “for your consideration.”

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No TV show in recent memory has been as savage about the concept of “awards season” as the Netflix animated comedy “BoJack Horseman.” But Raphael Bob-Waksberg, the creator of the Hollywood (sorry, “Hollywoo”) satire, is campaigning for it anyway.

“It feels like the weirdest season to try to squeeze out awards for, considering the whole season is one long story about how award shows are ridiculous, and meaningless, and arbitrary, and they won’t bring you happiness or joy,” he told IndieWire.

READ MORE: The 20 Best Animated TV Shows of the 21st Century, Ranked

Bob-Waksberg isn’t exaggerating when he describes the show’s take on this particular sort of circus. In Season 3 of “BoJack Horseman,” we saw former sitcom actor BoJack (voiced by Will Arnett) hit the campaign trail after his life-changing dramatic turn in a biopic of Secretariat (a performance we learned in Season 2 would be largely computer generated). But after a few episodes that explored everything from the junket process to the nuttiness of film festivals, the season took a darker path in exploring just what getting an award might mean for a creative person — and what, exactly, it won’t affect.

“I’m happy when people like the show and when people talk about the show, so I think awards are just another way for people to hear about the show and hear, ‘Oh, that show’s good? Yeah I’ll check it out if this body of people says that it’s worth checking out,'” Bob-Waksberg said. “I don’t want to shoot myself in the foot here talking about awards shows because… ‘Yes, please. Consider us. Give us your gold, so that we may love ourselves and feel worthy, in its shining reflection.’ But I think you could watch the season of ‘BoJack’ and you would kind of get a sense of how I really feel about all of this.”

[Editor’s note: Spoilers for “BoJack Horseman” Season 3 follow.]

If you need a reminder of what exactly Bob-Waksberg means by that, here’s what happened in Season 3: BoJack hits the campaign trail to get an Oscar nomination for “Secretariat,” but (after a cruel tease due to a nominations mix-up caused by Todd and Mr. Peanutbutter) is left without recognition.

“In the episode where he finds out that he doesn’t get nominated, we kinda got to have our cake and eat it too,” Bob-Waksberg said. “Because of the structure of the episode, you get to see what would happen if he did get nominated, and we can kinda play out that story, and then undercut it and say, ‘Well actually, he didn’t even get nominated.'”

It’s a brutal story choice (which, for the record, Bob-Waksberg credited to the writers’ room as a whole), but one that seems to resonate with the show’s audience, for reasons that aren’t crystal clear to the creator. “Maybe it’s a little bit of guilt. We don’t deserve all this love and affection and adoration that we have been given, and that also we’ve instilled upon ourselves. This kind of awareness that yeah, these award shows or these magazine covers — all of it is a little bit silly, and an indulgence. And we kind of enjoy it in the moment like a really good chocolate bar. But we know that we shouldn’t, and we know that it’s not quite right or fair or appropriate,” he said.

And that sense of doubt or guilt might be what contributes to the show’s popularity within Hollywood. “When someone kinda comes in and is like, ‘I’m gonna take you down a peg. I’m gonna deflate this balloon a little bit,’ it’s like a relief. It’s like, ‘Oh, thank God. Yes.’… We’re just dumb people, bouncin’ around, trying to do stuff. We really don’t deserve any of the acclaim that we’ve been given. And so I think people like that, because it affirms something deep and true, within them.”

That’s something that speaks to the show’s ability to move between comedy and drama — which could work to the show’s advantage in the awards race, given that the primary category in which “BoJack” is competing is Best Animated Program, with no presumption of genre beyond that.

Does that give “BoJack” an advantage, given how often the show delves into darker subjects? “I don’t think it does necessarily, because I think it’s all just people voting on how they want to vote anyway. I don’t think they’re really paying attention to the language of the name of the category,” he said. “I think it’ll just be like, are we enough people’s favorite show? And if so, they’ll vote for us. And they can like us for any number of reasons. They could think we’re the funniest, they could think we’re the best animated, they could think we have that great ‘Leisure Class’ joke. However they’re moved to vote for us, they are welcome to do so.”

What would an Emmy nomination mean to Bob-Waksberg? It’s not a simple answer. “I am trying to triangulate this correctly, because I don’t want to insult anybody. For me personally, not much. We did not get nominated for Emmys the last two years. I am not expecting to get nominated this year. I don’t think it’ll change my day-to-day life, all that much.”

“BoJack Horseman”

But… “That said, I think it could be good for the show. Which then would be good for me because that would mean I would get to keep making it,” he said. “I’m having trouble feigning enthusiasm. You know what I mean? It’d be cool. Don’t not vote for us, if anyone’s reading this. If people are like, ‘Oh fuck that guy. He doesn’t want it. I’ll give it to someone who wants it,’ know that I’ll take it, and it’s nice, and I think it would make me feel good. Yeah.”

In the end, it’s the show itself for which Bob-Waksberg reserves his passion. “I think ‘BoJack’ is a show that runs on surprise and innovation and finding new stories to tell always and new ways of telling them. New dynamics to play, new relationships to play, new characters in and out of the mix,” he said. “But I think I get bored very easily, so I think if it started to become routine or if I ever start to sound like, ‘You know what, I got a handle on the show. I know how to make this show,’ I think I would very quickly be looking for other work.

“Luckily, I never feel like I know how to make this show. Every time we get in front of the whiteboard, and think, ‘Okay, blue sky. Let’s make an episode of television.’ I always think, ‘I don’t know how to do it’… I don’t know how it comes together. It’s a magical, mystical process, and yet somehow it continues to happen.”

“BoJack Horseman” Season 3 is now streaming on Netflix. Season 4 should premiere later this year. 

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Last Year’s Winner: “Archer”
Still Eligible: Yes.
Hot Streak: “South Park” has been nominated four years in a row, 12 of the last 13 years. “The Simpsons” has been nominated two years in a row, but previously had a 24-year hot streak before it missed out on a nod in 2014.
Fun Fact: “The Simpsons” and “South Park” have been duking it out in this category for as long as the latter has been in existence. Fox’s iconic comedy has 10 awards and 25 nominations, while Comedy Central’s most heralded series of all time has five wins and 15 nods.

With one of last year’s nominees no longer eligible — “Phineas and Ferb,” which aired its final episode in 2015 — there’s at least one open slot in the Outstanding Animated Program category. That’s good news for the newcomers and those denied entry for past season. We’re hoping that bodes well for “BoJack Horseman,” which IndieWire named not only the best animated series of 2016, but the best TV show, period.

Netflix is pushing “F is for Family” as well, Bill Burr’s raunchy, adult sitsom which debuted its second season just before the Emmys eligibilty cutoff. Meanwhile, HBO is hoping to snag a spot for “Animals,” the Mark and Jay Duplass-produced series with an all-star roster of voice actors. And Crackle has got a few well-liked stars of its own on “Supermansion,” including Emmy magnet Bryan Cranston.

READ MORE: ‘BoJack Horseman’ Season 3 Argues Awards Are Meaningless — But Its Creator Still Wants an Emmy

But they’re going to have to compete with the big boys. Last year’s winner, “Archer,” is still eligible and backing a lush new season with a noir twist. “The Simpsons” and “South Park” remain Academy favorites, and “Bob’s Burgers” is only three years removed from its first victory.

Plus, let’s not forget the long shots, especially given this branch of the Academy’s predilection for underdogs.  “Family Guy” hasn’t been nominated since 2008, and “Samurai Jack” hasn’t seen a nod since 2005. Both have their fervent fandoms, though, as do “Future-Worm!” and “Tangled: The Series.”

Below are IndieWire TV Critic Ben Travers’ predictions for Outstanding Animated Series (in alphabetical order), which will be updated throughout the awards season. Make sure to keep checking IndieWire for all the latest buzz and highlights from the 2017 race, and read the rest of the predictions in all categories, as well.

Predicted Nominees:

1. “Archer”
2. “BoJack Horseman”
3. “Bob’s Burgers”
4. “The Simpsons”
5. “South Park”

Spoilers: “Family Guy,” “Animals.”

In a Perfect World: “Samurai Jack”

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In the not-so-good old days, summer used to be a break for more than just students. It was time off from great TV, as broadcast networks aired reruns, sports, and reality competitions while they assumed people were outside having fun. But since the new golden age began, all these TV shows have had to fit in somewhere, and many networks chose to run them during the less competitive summer months.

That’s led to a boon of TV’s best shows popping up when no series dared debut before. So, to honor the latest summer sensation — Netflix’s “GLOW” — we’ve gathered the elite qualifiers below and ranked the seasons by overall quality, summer spirit, and re-watchability. To be eligible, seasons needed to be released in the months between June 1 and August 31 during the 21st century. After all, there’s plenty of new options to consider, but sometimes you want to beat the heat by bingeing the best.

READ MORE: ‘GLOW’ Review: The Series of the Summer is Netflix’s ’80s Wrestling Comedy

15. “It’s Always Sunny in Philadelphia” – Season 2

Debut: June 29, 2006
Episode Highlights: “Dennis and Dee Go on Welfare,” “Mac Bangs Dennis’ Mom,” “Charlie Goes America All Over Everybody’s Ass”

“It’s Always Sunny in Philadelphia” is an ideal summer show in that heat drives people crazy, and no one is crazier than this gang of drunken hooligans. Plus, Season 2 was when the gang fully came together — Danny DeVito joined the cast — and a number of iconic, endlessly re-watchable episodes were released. Grab a cold one and go a little cuckoo.

READ MORE: ‘It’s Always Sunny in Philadelphia’ Supercut Brings Together Every ‘God Dammit’ From All 134 Episodes — Watch

14. “Mr. Robot” – Season 1

Debut: June 24, 2015
Episode Highlights: “eps1.0_hellofriend.mov,” “eps1.7_wh1ter0se.m4v,” “eps1.8_m1rr0r1ng.qt”

When you’re laying in a field watching the fireworks or catching some rays on the beach, you need something to talk about. Few shows fueled conversation as well as “Mr. Robot” in its debut season, with its intriguing mysteries, striking visuals, and oh-so-juicy twist(s). “Mr. Robot” put Sam Esmail, Rami Malek, and USA Network on the map. Dark skies on a hot summer’s day have never been such a welcome sight.

READ MORE: ‘Mr. Robot’ Season 3: Why Sam Esmail Couldn’t Ignore Trump’s Victory When Writing New Episodes

13. “Californication” – Season 1

Debut: August 13, 2007
Episode Highlights: “Pilot,” “California Son,” “The Devil’s Threesome,” “The Last Waltz”

The dark knight of California relationships was never more honorable than in his first season, as Hank Moody’s (David Duchovny) valiant efforts to win back his departed wife and daughter were charming, sincere, and not-yet-overstretched. In fact, the arc of Season 1 is ideal for the three months of summer: 12 episodes, an endearing start, and an ending more fitting than the series finale.

READ MORE: ‘The Larry Sanders Show’: Want to Understand Its Genius? Start With David Duchovny

12. “Review” – Season 2

Debut: July 30, 2015
Episode Highlights: “Brawl, Blackmail, Gloryhole,” “Curing Homosexuality, Mile High Club,” “Catfish, Haunted House,” “Murder, Magic 8 Ball, Procrastination,” “Conspiracy Theory”

Honestly, “Review” Season 2 is a highlight from start to finish. Forrest MacNeil’s quest to evaluate an array of experiences from being buried alive to granting wishes has applicable lessons for every season, but creative possibility peaks during the long days of summer, and no one grabs a hold of life like the man who reviewed happiness itself. Let his sacrifices inspire you, and don’t let his ending become yours.

READ MORE: ‘Review’ Review: One of TV’s Best Comedies Kicks Off Its Farewell Season with Some Greatest Hits

11. “Six Feet Under” – Season 5

Debut: June 6, 2005
Episode Highlights: “Singing For Our Lives,” “Ecotone,” “All Alone,” “Everyone’s Waiting”

For some, all the life on display during summer’s green, glowing months brings to mind the opposite: the dark release of death. “Six Feet Under” embraces these ideas in imaginative ways, encompassing the frustrating and the fascinating elements of what we’ll all face one way or another. And the final season is oft-heralded as the best finale of any series — a fitting end for a show about the ultimate goodbye.

READ MORE: ‘Six Feet Under’ Anniversary: The 7 Episodes Peter Krause and Michael C. Hall Remember Best

10. “You’re the Worst” – Season 1

Debut: July 17, 2014
Episode Highlights: “Pilot,” “Sunday Funday,” “Constant Horror and Bone-Deep Dissatisfaction,” Fists and Feet and Stuff”

After a season of wedding after wedding, it’s healthy to take a skeptical look at monogamy from a couple who can’t help but embrace it. Stephen Falk’s modern romantic comedy can be the perfect goodbye to summer love, or a healthy perspective to push new coupledom into fall, winter, and beyond. Jimmy (Chris Geere) and Gretchen (Aya Cash) may not be the most well-adjusted individuals, but it’s hard to find a pair better suited for one another; love may be a fool’s game, but it’s one you can’t refuse when asked to play by the right person.

READ MORE: ‘You’re the Worst’: Why Sunday Funday Had to End, According to Aya Cash, Kether Donohue and Stephen Falk

9. “Louie” – Season 3

Debut: June 28, 2012
Episode Highlights: “Miami,” “Barney/Never,” “Late Show: Part 2,” “New Year’s Eve”

Summer in New York is very much its own thing, and few are better suited to guide you through its limitless possibilities than the free-thinking mind of Louis C.K. Whether you’re taking a vacation during your summer vacation or walking the streets of a city flush with noise, movement, and life itself, “Louie” offers a tweaked, inviting perspective thanks to stories like Louie’s peculiar Miami adventure and auditioning for the “Late Show” gig at home in NY (with special guest David Lynch). Everywhere you turn, there’s something new — embrace it.

READ MORE: ‘Better Things’ Finale Review: Pamela Adlon Dedicates a Perfect Season to Her Daughters, But It’s For Absolutely All of Us

8. “The Leftovers” – Season 1

Debut: June 29, 2014
Episode Highlights: “Pilot,” “Guest,” “The Garveys at Their Best,” “The Prodigal Son Returns”

Like a combination of the crazy from “It’s Always Sunny” and the darkness of “Six Feet Under,” Damon Lindelof and Tom Perrotta’s initial whack at the novelist’s work feels like a meditative recovery through persistent insanity. Summer is meant to be a time of leisure, for family vacations and group barbecues. But when tragedy strikes at the worst time, as it’s prone to do, the hot months’ relaxing vibes warp into unending anxiety. A long day is stressful; a calm night is a mind-trap. Who better to sweat them out with than a sweaty Kevin Garvey (Justin Theroux) and an uncensored Nora Durst (Carrie Coon)? Manhattan vacationers can’t escape a mad New York summer in Mapleton — nor should they try.

READ MORE: ‘The Leftovers’: The Best Shots of the Final Season, Chosen by Director Mimi Leder

Continue reading for the top seven series of the summer.

“BoJack Horseman” has been taken down from China’s streaming site iQiyi just two days after Netflix made its debut in the country, Bloomberg reports. Three episodes of the animated comedy series became available on the site on June 19, thanks to a recent licensing deal between Netflix and iQiyi, but now are no longer available.

READ MORE: ‘BoJack Horseman’ Season 3 Argues Awards Are Meaningless — But Its Creator Still Wants an Emmy

In an email to Bloomberg, iQiyi said simply that “Adjustments need to be made to the content.” Netflix wasn’t immediately available for comment. “BoJack Horseman” follows a washed up actor, voiced by Will Arnett, who navigates the sleazy world of show business.

China has previously censored U.S. shows on streaming sites, taking down “The Big Bang Theory” in 2014. Last week, China’s State Administration of Press, Publication Radio, Film and Television reportedly forced multiple outlets to stop broadcasting commentary it said was violating government regulations.

Netflix shows like the documentary series “Making a Murderer” and the cooking-focused web series “Chef’s Table” were both still available on iQiyi on Tuesday, Bloomberg reported, and the company has plans to release both the second season of “Stranger Things” and the drama series “Mindhunter” in the near future.

READ MORE: The 20 Best Animated TV Shows of the 21st Century, Ranked

Last week, iQiyi senior vice president Yang Xianghua said that having Netflix shows debut in China at the same time as they do in the U.S., the streaming site would need to submit the content early to allow time for potential censoring.

Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.

In the guarded, analytical world of cinephiles and telephiles, Netflix’s newly implemented “skip credits” button has caused quite a stir. Some argue the convenience is what matters when you’re plowing through a late-night binge, but others contend ignoring who made the content by skipping past their names demeans the art itself.

Still others, well, they don’t care. They just want to watch their favorite Netflix original series without being rudely interrupted by a theme song they’ve heard one too many times or a lengthy opening title card that’s painfully slow.

But what about the exceptions to the norm? What about the shows that benefit from a stylistic, tone-setting introduction? What about series like “Unbreakable Kimmy Schmidt” and “BoJack Horseman,” for which the opening credits have inspired ringtones and detailed breakdowns of their creation?

Let’s face it: Sometimes the credits are essential to enjoying the series. Heck, sometimes they’re better than the series itself.

This week, IndieWire TV Editor Liz Shannon Miller and TV Critic Ben Travers have made a list. Via the Very Good TV Podcast, these two judicial TV obsessives have ranked every opening credits sequence from each Netflix original series from best to worst.

Why? For fun, mainly, but also so you know which to skip and which to watch; which credits to give a second look and which ones to move on from, again and again, until the show is over. Perhaps you’ll even find a new show to love because there are so many Netflix originals now, and you probably missed a couple.

To hear proper explanations and rationale for the ranking, listen to the podcast above. For the credits sequences themselves as well as the full, final list, click through to the next page. Enjoy, debate, and always, always look up who’s making your favorite show. No matter how bad the credits, the series’ creatives deserve acknowledgement.

Continue reading for the full ranking of Netflix original credits sequences.

Days after this year’s Emmy nominations were announced, it’s still stunning that the third season of “BoJack Horseman” was overlooked by TV Academy members for Best Animated Series.

Except for a well-earned voice acting nomination for Kristen Schaal, whose performance as the tragic Sarah Lynn was heartbreaking, the Netflix animated series went unrecognized. Given that “BoJack” was the best show of 2016, live-action or otherwise, this is just a bit frustrating.

Consider what’s fascinating about the Outstanding Animated Series category: the fact that the name does not specify what genre the show might be, beyond animated. The five nominees this year — “Archer,” “Bob’s Burgers,” “Elena and the Secret of Avalor,” “The Simpsons” and “South Park” — are all some variation of comedy (“Archer” leans more towards the action side of things, while “Elena” is targeted towards the Disney princess set), but it’s not required that they adhere to a comedy mindset.

Which theoretically should have worked to “BoJack’s” advantage, as the show isn’t just full of insanely wonderful comedic beats, but some significant drama and tragedy – including a season finale that pushed the show to a new level of darkness.

“BoJack Horseman”

Netflix

When IndieWire spoke to creator Raphael Bob-Waksberg during the awards season cycle, he said that he’d never thought about the name of the category in that way. “I don’t think it does [make a difference] necessarily,” he said, “because I think it’s all just people voting on how they want to vote anyway. I don’t think they’re really paying attention to the language of the name of the category… I think it’ll just be like are we enough people’s favorite show? And if so, they’ll vote for us.”

But he did acknowledge that “one of the very exciting things about making ‘BoJack’ is that it can be anything. And that it can be a comedy, but it can also be heartbreaking, and it can also be very cynical but it can also be very sincere. Every season we do, we find more and more ways to explore and new areas to roam around in.”

This week, Bob-Waksberg is taking the news in stride, tweeting out his support for Schaal yesterday:

But we also know from speaking with Bob-Waksberg that his relationship with awards is as complicated as his series, something reflected in the third season as BoJack hits the awards season circuit, promoting his prestige biopic “Secretariat.” Over the course of the season, BoJack descends into the madness of self-promotion in the pursuit of a trophy, in a way that tears apart every one of his significant relationships and leaves him very much alone.

“One of the things we had a lot of fun with was the Oscar race and the character of Ana Spanakopita, kind of this bewitching kind of temptation in his ear, to be his most self-confident, self-aggrandizing me-first kinda guy,” Bob-Waksberg said. “In the first two seasons, we see him try to move away from that and try to be a better person — we surround him with positive influences, and people who are trying to make him better, and help him towards his journey of self discovery. It was really fun in season three to be like, ‘What if we brought in an influence that kinda did the opposite?’ That pulled him back to his basic urges, and kind of let that run amuck with him, and saw how that kind of poisoned him and influenced him against a lot of people who had been trying to help him and cared about him.”

Bob-Waksberg seems to have avoided those same kind of negative influences, remaining relatively zen about the awards season process. “I’m happy when people like the show and when people talk about the show, so I think awards are just another way for people to hear about the show and hear, ‘Oh, that show’s good? Yeah, I’ll check it out if this body of people says that it’s worth checking out,'” he said. “I don’t want to shoot myself in the foot here talking about awards shows because, ‘Yes, please. Consider us. Give us your gold, so that we may love ourselves and feel worthy, in its shining reflection.’ But I think you could watch the season of ‘BoJack’ and you would kind of get a sense of how I really feel about all of this.”

This year’s omission doesn’t necessarily mean that “BoJack” will never break into the Emmys race — FX’s “Archer” went similarly unrecognized for its first four seasons before breaking into the Best Animated Series race in 2014 (and eventually winning in 2016). But it’s still disappointing for fans of the series. Looking back at Season 3…

…it’s hard to imagine this series not being recognized in any category, though Bob-Waksberg liked the category they pursued. “I am very honored to be considered in the Best Animation category,” he said, “because I think there are a lot of exciting things happening in animation right now. And so it’s kind of fun that, yeah, it’s not necessarily comedy. What a wide, vast world to explore. It could be anything.”

“BoJack Horseman” Season 4 premieres September 8 on Netflix. 

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Not every TV show can get the Emmy nominations they deserve. That’s been a fact of life since the awards ceremony began 68 years ago, and it’s only intensified in the new golden age of television.

But the 2017 Emmy nominations unveiled a few major shocks we have yet to shake. Namely, why did “The Leftovers,” “Transparent,” and “BoJack Horseman” all miss out on major nominations?

“The Leftovers” earned one Emmy nod, for Ann Dowd as Guest Actress. “BoJack Horseman” landed one, as well, for Kristen Schaal’s voice acting. And “Transparent” did very well in total nominations — landing seven, including three acting nods — but missed out on Outstanding Comedy Series for the first time in its three seasons of eligibility.

All this came after massive FYC campaigns, sterling reviews, and enthusiastic support from fans. Heading into the nominations, two of the three series were expected to land nominations in their genres’ top categories, and “The Leftovers” was a popular spoiler pick.

So… what happened?

The Not-So-Crazy Conspiracy Theory

Aside from being bonded in their top-level Emmys banishment, these three programs may have missed the cut for the same reason: a little publicized tweak in the voting procedure.

“I think all three shows you’ve cited — ‘The Leftovers,’ ‘Transparent,’ and ‘BoJack Horseman’ — are all victims of the new Emmy voting,” Gold Derby editor Tom O’Neil told IndieWire. “The system for choosing nominations changed this year, seemingly in a small, insignificant way, but it ended up having a radical impact across all the nominations.”

The change comes down to how many shows voters can include on their ballots. When voting in the past, TV Academy members would choose 10 options. In 2017, votes could be cast for “all those entries they have seen and feel are worthy of nomination,” per the official language of the Academy. In other words, they weren’t limited to 10. They could vote for as many as they wanted.

This may have made it harder for shows without broad appeal to get nominated. Whereas in the past, intensely beloved series could get in on the strength of their passionate voter base, the new system may have diluted the results to appease more widely-liked programs.

For example, when voters only had 10 options, devoted fans would have made sure to include “The Leftovers,” but “Westworld,” “Stranger Things,” “This Is Us,” or other hit series may have been left off. Voters simply didn’t have room to include everything they thought was worthy and were forced to narrow it down to 10 candidates. In doing so, they made sure to include their 10 favorites. This year, they didn’t have to exclude anyone, and even if “The Leftovers” was their favorite show, its vote counted the same as programs voters felt were generally worthy. Their No. 15 choice counts as much as their No. 1.

“With this year’s Emmy nominations, we saw more consensus,” O’Neil said. “You know how every single year, Margo Martindale is nominated and there are always these die-hard Emmy favorites [like her]? That’s because those people have core, strong support, but they don’t have the broad support. So when you ask the voters this year to check off everything they think is worthy, all of a sudden you’ll notice the impact has been profound: Shows with more passionate support were dinged.”

One could make the argument that if a show doesn’t have broad support, it shouldn’t be nominated. But the flip side is that we don’t know if the nominees represent the best shows chosen by the TV Academy or simply the ones seen by the most people. In a day and age when no one is watching every TV show, this kind of system feels especially problematic.

Continue reading for individual analyses on on “The Leftovers,” “Transparent,” and “BoJack Horseman.”

Put six showrunners from some of TV’s most innovative shows on stage, and right now the talk will eventually turn to the possibility of a writers strike.

And indeed, the question of a strike came up midway through IndieWire’s first-ever Fan Favorites Panel, held Saturday during WonderCon 2017 at the Anaheim Convention Center. “It’s a complicated situation,” said “BoJack Horseman” executive producer Raphael Bob-Waksberg. “Nobody wants a strike… but also the writers would like to be paid fairly for the work that we’re doing. The business has changed a lot.”

READ MORE: Writers’ Guild Negations Stall as Leaders Call for Strike Authorization

Bob-Waksberg and “Arrow”/”DC’s Legends of Tomorrow” executive producer Marc Guggenheim pointed out that many shows now produce only 10 episodes – which means fewer paychecks for some writers.

Writers Guild of America members will vote later this month on whether to give its board authorization to call a strike. Even then, a vote in favor won’t guarantee a strike, but will allow the WGA to call one if necessary. “No one wants to strike, but that is our one negotiating leverage,” Guggenheim said of the vote.

IndieWire’s Fan Favorites Showrunners Panel at WonderCon 2017

IndieWire

One of the issues is that shorter seasons of shows means that some writers have to hop from show to show in order to make a living wage, but Guggenheim pointed out that “contractually, some are being prohibited from working more than six months” because they’re paid per episode, but sometimes episodes take weeks to be made. He also noted that in the age of Peak TV, making these shows aren’t as profitable for the day-to-day creatives, but “corporate profits have gone monstrously up.”

The Alliance of Motion Pictures & Television Producers are also rolling back the guild’s healthcare.

“But don’t worry. Everyone’s going to have this awesome health care,” Guggenheim joked, invoking the President’s rhetoric. “It’ll be the best. It’ll be ‘bigly.’”

Bob-Waksberg and Guggenheim joined four other showrunners on stage to share secrets of the craft – from negotiating with their networks over what swear words are acceptable, to how much fans on social media might impact a storyline. Also on the dais: Jessica Goldberg (“The Path”), Jonah Ray (“Mystery Science Theater 3000”), Sera Gamble (“The Magicians”), and Aline Brosh McKenna (“Crazy Ex-Girlfriend”).

Moderated by IndieWire executive editor Michael Schneider, the panel was an informative, entertaining and at times raucous affair with some of the panelists hijacking (or should we say “BoJacking”?) the usual format and asking questions of their fellow showrunners.

Princess Carolyn and Bojack in “Bojack Horseman”

Netflix

The President came up again when one fan asked the panel how it was to create a TV show in the current political environment.

“It’s hard to write the show from a fetal position,” Bob-Waksberg quipped.

Guggenheim had a surreal moment for the “DC’s Legends of Tomorrow” episode that envisioned a dark future in which Thawne (Matt Letscher) reigned over grave new world where he was so respected, he even got a call from President Trump.

“In this episode ‘Doomworld,’ reality has changed,” he said. “The world is in the control of these narcissists who are totally evil.We thought the [real] world would be different [when we wrote that].”

READ MORE: ‘The Magicians’ Bosses on How Trump Ruined Their ‘Fillory Clinton’ Joke and Inspired Season 2’s Destructive Entity

Gamble felt the effects of politics in particular for this current season of “The Magicians.” She first noted the parallels with the characters who are students at a magical university who are suddenly thrust into positions of power and responsibility as rulers of the kingdom of Fillory. “Basically, the season is about Trump,” she said and added that nicknaming Margo’s character “Fillory Clinton” this season had to be cut out after the first mention after Hillary Clinton lost the election since it didn’t have the same power.

But Gamble also noticed that the storyline about Julia’s (Stella Maeve) rape and attempts to get an abortion were planned from the start, but after the election she felt editing and airing those scenes felt more significant. “The show felt different for me,” she said. “It just became heightened for everyone. It also lent a certain importance to our story.”

Jade Tailor and Stella Maeve, “The Magicians”

Eric Milner/Syfy

The conversation also shifted to the constantly changing world of Standards & Practices, particularly profanity. Over on “The Magicians,” the Syfy series gets away with saying “fuck” but with the audio dipped a bit. “We actually got to say the C word,” Gamble revealed. “Standards & Practices… at first they said to take it out of the script but we forgot. The ultimate decision was made because the character was calling that herself. They let it go; it was like a present. We have unlimited S words.”

On a network show like “Crazy Ex-Girlfriend,” however, profanity is rarer. Brosh McKenna said that for the song “Shitshow,” the series had to ask to use the word “shit” twice. “We asked them for two bleeped “shits,” so they literally gave us two shits,” she said. The showrunner also told a story about how co-creator Rachel Bloom wanted to use the lyrics “his balls smell weird.” One way to get around that racy topic was to have the words have a double meaning, and therefore they had Bloom’s character holding stress balls in her hand, which she initially resisted.

Rachel Bloom and Santino Fontana on “Crazy Ex-Girlfriend”

Scott Everett White/The CW

READ MORE: ‘Buffy,’ ‘Community,’ ’30 Rock’ and More: TV’s 12 Best Musical Episodes and How Well They Worked in Song and Dance

Bob-Waksberg doesn’t necessarily have those issues since “BoJack Horseman” is on Netflix, but he said, “We try to limit ourselves to one non-dip ‘fuck’ per season.” He said that when shows like “Mad Men” used such language sparingly it made each use into a “powerful moment.”

Other highlights of the panel:

– Ray said that the revival of “Mystery Science Theater 3000” very much honors the original series. “There’s no new angle. It’s still the same show. It’s a riffing show. It’s a puppet show,” he said. “[The show premieres] April 14. There are 14 episodes. Don’t binge it. That’s ridiculous. These are movies.”

– Goldberg, who is a first-time showrunner on Hulu’s “The Path,” said that the Meyerist Movement in the series has been thoroughly developed. “We have a whole bible now,” she said. “It’s a literal bible with terminology and acronyms. It’s probably 40 pages. There’s holidays.”

– Musicals could be contagious. On the heels of “The Flash” holding a musical crossover episode with “Supergirl,” the tribute to “Les Miserables” in “The Magicians,” and the acclaim of “Crazy Ex-Girlfriend,” one fan asked if some of the DC series stars could be heading to West Covina.

“Let’s do it!” enthused Brosh McKenna. “Send them over.”

Goldberg added, “I love musicals. If we have Season 3 of ‘The Path,’ we’ll have a musical number.”

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Every week, IndieWire asks a select handful of TV critics two questions and publishes the results on Tuesday. (The answer to the second, “What is the best show currently on TV?” can be found at the end of this post.)

This week’s question: What’s a show that you may have quit or written off, but were happy that you gave a second chance?

(This could mean a show that got better as it went along, a show that course-corrected, a show that you felt got lumped together with others and therefore didn’t get a fair shake at first, or one that you see differently because of some changed perspective in your own life.)

Pilot Viruet (@pilotbacon), Vice

This question is good timing because I just spent my weekend watching all of Halt and Catch Fire! I remember watching the first episode at a preview screening and struggling to stay awake (if only because Lee Pace was in attendance, and I did not want to disappoint him), and then having a similarly hard time during the actual premiere. I was so bored with the pilot that I refused to review it, and I kept ignoring everyone who reassured me that it does, indeed, get better. They were right, of course, and I finally gave in on Friday and finished that first season – most of which I disliked!- and then jumped right into the next two seasons, which I marathoned over two days. And those seasons are great, so great that I actually felt bad for writing off the show for so long. You can see how the series fixed itself, how it honed in on the character traits that were truly compelling, and how it became its own show – rather than the shadow of all the series that came before it. Of course, I have terrible timing: now that I am fully, 100 percent invested (I cried during Saturday’s premiere, of course), I only have a few more weeks before it ends.

Karen Gillan and John Cho, “Selfie”

ABC

Joyce Eng (@joyceeng61), TVGuide.com

My relationships with shows usually go the other way: We start out strong, the honeymoon period ends, they do something terrible, and I break up with them. I did see the error of my ways with “Selfie” though. I, too, judged a show by its name, but I should’ve known by then that the ABC bylaws dictate its comedy gems be saddled with awful titles. “Seflie” was charming and adorable, Karen Gillan and John Cho were charming and adorable, and in some ways I’m glad it only got a short but sweet 13-episode season. There was nothing forced or artificial about Eliza and Henry’s relationship; if anything, its brief run made the show go all in on Gillan and Cho’s fantastic chemistry. But “Selfie” deserved more and better, and I’m sorry I doubted you in the beginning. Also, someone please give John Cho a show.

Allison Keene (@KeeneTV), Collider

Even though I now call it the best show on television, I (gasp!) wasn’t a big fan of “The Americans’” first season. I was recapping it at the time and therefore had to stick with it, but in hindsight I’m certainly glad I did.

Plenty of people liked “The Americans” right off the bat, and though I haven’t gone back and rewatched Season 1, I can’t think of any specific flaws that it overcame later on — I just personally didn’t connect with it. Yet “The Americans” went from a show about spycraft that I wasn’t wholly invested in, to a show about a family that made my stomach tie up in knots and gave me anxiety while watching it (in the best possible ways). I spent time talking about and thinking about it even when it wasn’t on, and would say Seasons 3 and 4 are some of the best TV I’ve ever seen.

For the most part, just given basic time constraints, when I quit a show in its first or second season — either because I didn’t like it quite enough to keep watching, or too many episodes piled up on my DVR and I was avoiding them for too long — I don’t go back to it no matter how many people swear that it gets better (caveat: anthologies and apparently “Homeland,” which I can never fully quit despite my better judgment). I never actually quit “The Americans,” thankfully, but if you have then give it another shot; it’s one of the most unique and casually heartbreaking series on TV.

Keri Russell and Matthew Rhys, “The Americans”

Patrick Harbron/FX

Tim Surette (@timsurette), TV.com

Maybe it’s my instinctive hatred of shows set in Victorian England, but Showtime’s late “Penny Dreadful” was dreadf not that good in its first season. The series clearly had lofty ambitions early on, but came across as a blabbering novel rather than a pulpy monster mashup (or maybe I was still sour the show was so quick to kill off Proteus). But against my typical behavior I stuck with it due to the dry well of summer television in 2014, and thank Dracula I did! Around the end of Season 1, things turned around and by the time Season 2 got going, “Penny Dreadful” was offering up some of the most gorgeous sequences of the year and had gelled storylines together in a much more satisfying (and comprehensible) way that carried over to the final season. It went from sloppy letdown to one of the best shows of the year quickly. Also, excuse while I light my TV critic credibility on fire, but ABC’s much maligned “Cavemen” and NBC’s “Animal Practice” got a lot better in later episodes, but you wouldn’t know that because you were too busy dog-piling on them.

Liz Shannon Miller (@lizlet), IndieWire

When “Episodes” first premiered, I dismissed it as an attempt by American writers to capture the spirit of British comedy — however, I finally gave it another shot just recently and was pleasantly surprised by how well it utilizes its cast, especially the brilliant Tamsin Greig. I wish I’d given it a shot sooner, but at least now I’m caught up for the final season.

Daniel Fienberg (@TheFienPrint), The Hollywood Reporter

This one is going to unavoidably require cheating, because there are lots of answers. I tired of what I saw as grim irony in the first season of “Breaking Bad” and stopped watching before catching up in the third season. No regrets. I watched an episode or two of “The Shield” and stopped watching it because although I respected it, I’m just not the biggest police procedural fan. That one I didn’t go back to until it was over, but then I binged the whole series in a month. I never quit on “Bates Motel,” but I was pretty close and I was just going through the motions and then it finally got good in the fourth season and I was glad I’d stuck with it. I think probably the best answer I can give “Bojack Horseman,” where Netflix only sent out five-ish episodes initially and they were promising-but-unremarkable and I put it in the, “Life’s probably just too short and that’s OK” pile. I didn’t finish the season until months later, I think when the surprise holiday special dropped, and then almost immediately I felt annoyed that Netflix let me underestimate a show that was in my annual Top 5 both of its subsequent seasons. And I wasn’t the only one who felt that way. Look at the show’s Metacritic and RottenTomatoes scores and you’ll see a first season that earned a mixed response and then SUDDENLY the show was a critical darling for the next two seasons, almost unanimous. I think in terms of numbers, “Halt and Catch Fire” is similar, but I liked and appreciated that show from the beginning. But I wasn’t that prescient on “Bojack.”

“Bates Motel”

Cate Cameron/A&E Networks LLC

Damian Holbrook (@damianholbrook), TV Guide Magazine

This is my secret shame: I wrote off “Supernatural” after its first couple of episodes, not because I thought it was bad, but because I was covering two other sci-fi/genre shows that premiered during the 2005 fall season — “Threshold” and “Surface” — which kept me too busy to keep up with the Winchesters. Of course, both of those flopped bigly and by the time they were finally dead, it felt like I had missed the “Supernatural” boat. Every season, I swore I was gonna catch up, binge on the DVD sets, do something to get on board. After all, I loved the two stars and am a horror fiend. But there always seemed to be another show that kept me from adding Sam and Dean into the rotation. Finally, I found the syndicated repeats aired at about the same time I would get to the gym about eight years ago, so I made morning dates with the demon-hunting brothers and while the pounds didn’t exactly fly off, I did eventually figure out exactly how this show has lasted so long and why it has such a devoted fandom, of which I now count myself a member (although not one who screams at everyone else over various ‘ships. That’s just bullshit.)

April Neale (@aprilmac), Monsters & Critics

“Ray Donovan” on Showtime, Season 1. It was one I was ready to chuck out with the bathwater and wanted to love out of the gate but did not in the beginning.

Abby Donovan’s (played by Paula Malcomson) jarring accent could have been helped if she only watched the YouTube series “The Real Housewives of South Boston.” The Showtime series went from so-so to amazing really fast in Season 2. Fantastic, well-written performances turned in by an older talented cast, led by Jon Voight as Mickey Donovan was the main reason why.

Voight’s conniving paterfamilias came to life in Season 2, as the FBI turned up the heat on his son Ray (Liev Schreiber). Add to that the well-crafted character of Sully Sullivan (James Woods), and the Los Angeles bureau chief (Hank Azaria) whose wife Sherilyn Fenn (we need more Ms. Fenn on TV, casting people!) blazed as the kinky married couple who appeared as straight arrows.

Wendell Pierce as Mickey’s parole officer, perfection. Mickey down in Mexico, hilarious. Boston reporter (Vinessa Shaw) tempting Ray out of his marriage, sultry. Ray’s encounter with mysterious June Wilson (Ann-Margret) from Ezra’s (Elliott Gould) past, delightful and interesting cameo. What a phenomenal cast! No kids! A percolating story and sophomore save (not slump) that made up for the cardinal sins of a torpid Season 1… and made me a series fan.

“Ray Donovan”

Showtime

Ben Travers (@BenTTravers), IndieWire

As part of the IndieWire by-laws dating back to 2014 (and the unspoken agreement all writers have in regard to Wikipedia referencing), I’m obligated to mention “BoJack Horseman.” After seeing just the first six episodes, I tossed aside the Netflix animated comedy for being a bit too familiar, a bit too episodic, and for not fulfilling its satirical potential. Well, Raphael Bob-Waksberg has proven me wrong every episode since, and I couldn’t be happier. Season 4 is easily my most anticipated post-“Leftovers” TV series of the foreseeable future, and “BoJack” topped IndieWire’s list of the best TV shows from 2016.

That being said, this kind of second-guessing is a significant source of anxiety for me (and I imagine for many more critics, as well). Because I don’t want to appear uninformed, I make sure to watch all the episodes provided for review, barring unforeseeable restrictions. It feels like part of my job, but it also perpetuates a never-ending cycle — especially when something like “BoJack” pops up: If I feel obligated to watch five of 10 episodes because that’s what I’m given, why not watch the final five episodes once they’re released? Shouldn’t the season be judged as a whole, not individually? What if the season improved? What if there’s another “BoJack”?

There will always be another “BoJack,” but as Emily Nussbaum and more critics annually argue when the end-of-year lists roll out, there’s simply no way any one person could see all the TV out there. If it weren’t for “The Leftovers,” which is so good it makes critics want to quit their jobs, it would be impossible to claim, “This is the best TV show of 2017,” simply because no one has seen them all.

But — to paraphrase the great coach of a wretched sports team — even though perfection is unattainable, we can catch excellence in its pursuit. By revisiting “BoJack,” I caught it once. What excellence am I missing out on now? For better or worse, I’m addicted to the chase, woe be to my health.

Q: What is the best show currently on TV?*

A: “Twin Peaks” and “Game of Thrones” (two votes each)

Other contenders: “Halt and Catch Fire,” “Insecure,” “The Lowe Files,” “People of Earth,” and “Survivor’s Remorse” (one vote each)

*In the case of streaming services that release full seasons at once, only include shows that have premiered in the last month.

Our favorite self-loathing 90s sitcom star is back and he has a new lease on life (supposedly). The Season 4 trailer of the animated Netflix satiric dramedy “BoJack Horseman” has been released, giving us a glimpse of what to expect from our favorite immoral equine.

READ MORE: ‘BoJack Horseman,’ The Best Show From Last Year, Deserved An Emmy Nomination

When we last saw BoJack Horseman (voiced by Will Arnett) he was arguably at his worst, contemplating (and attempting) suicide after a tumultuous season of ups and downs for the washed-up ’90s star. The closing shot of BoJack gazing at the wild horses running just after choosing not to kill himself, paired with Nina Simone’s “Stars,” leads viewers to believe that there’s more to look forward to in life for BoJack.

The series, created by Raphael Bob-Waksberg, revolves around BoJack Horseman, a washed-up star of the ’90s sitcom “Horsin’ Around” who initially planned his big return to celebrity relevance with a tell-all autobiography. The series takes place in Hollywood and satirizes celebrity culture, drug abuse, anxiety and the film industry.

From what we’ve seen in the trailer for Season 4, things might actually start to come together for BoJack and friends. Every character has something to work out this upcoming season, from Diane and Mr. Peanut Butter’s struggling marriage to Todd finally moving forward with his life and making something of himself. But perhaps the most interesting plot point teased in the Season 4 trailer is how BoJack will move on from not getting his Oscar nom, and whether his supposed daughter will be a part of that healing process.

With plenty of drama, laughs, and tears promised, Season 4 of “BoJack Horseman” is sure to continue its tradition of captivating viewers and delivering storytelling that’s nothing short of amazing.

Season 4 of “BoJack Horseman” premieres Friday, September 8th on Netflix.

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Heading into Season 4 of Netflix’s “BoJack Horseman,” it’s understandable to be a little unsure about the show’s direction.

Unlike past installments of the animated series created by Raphael Bob-Waksberg, there was no obvious arc to hook the action. Season 1 revolved around former ’90s sitcom star BoJack (voiced by Will Arnett) collaborating with writer Diane (Alison Brie) on his memoir;  Season 2 focused on the production of BoJack’s dream project “Secretariat”; Season 3 followed BoJack’s subsequent journey through the Hollywoo (not Hollywood) awards season.

When it came to the fourth season, the end of Season 3 put into motion a few key future storylines – but left BoJack himself totally adrift. It’s a choice that fit perfectly with the show’s at times bleak and existential outlook on life, but one that meant Season 4 would begin as a relatively unknown quantity.

However, by the end of the season, we know these characters, and this show, far better than ever before. “BoJack’s” signature tropes — the background visual jokes, the animal puns, the brutal moments of sadness — remain reliably consistent, but turns the focus largely inward, ensuring that some of the more outlandish plots support and highlight the more emotional storylines.

We see episodes devoted to Mr. Peanutbutter’s (Paul F. Tompkins) political career, Todd’s (Aaron Paul) reliably wacky business ideas, and Princess Carolyn’s (Amy Sedaris) Hollywoo scheming. But “BoJack Horseman” never forgets what the real meat of those stories is: Peanutbutter’s marriage to Diane, Todd’s search for identity, Princess Carolyn’s desire to “have it all.”

Without getting into spoilers, it’s worth noting that the harsh turns that friendships and relationships took during the course of Season 3 aren’t easily forgiven, speaking to the way in which “BoJack” has never flinched from bleak emotional honesty in contrast to its more fantastical elements.

Acting-wise, beyond the series regulars many reliable favorites return (again, no spoilers), while new members of the voice cast include Aparna Nancherla, Andre Braugher, Matthew Broderick, RuPaul Charles, Sharon Horgan, Felicity Huffman, Vincent D’Onofrio and Zack Braff. The latter three are just a few of the people playing themselves in a fashion similar to other celebrities who have appeared on the show in the past — unafraid to poke brutal fun at themselves.

Meanwhile, the show remains as interested as ever in satirizing celebrity culture, with an added political edge. Though the production schedule of “BoJack” means that writing on the season had already begun prior to the 2016 presidential election — thus the current political climate is not heavily felt within the framework of the series — the writers still engage with important topics on an evergreen level. There’s nothing quite as prescient as Season 2’s Cosby episode, but on more than one occasion, it does aim to say something important within the framework of comedy.

More importantly, the season proves the depth of the character development that’s been established in earlier seasons, making the past feel present in a number of episodes that delve into more than one character’s family history. “BoJack” has always stood out in the binge-viewing world for its commitment to balancing the concept of the season as a whole with individually cohesive episodes, ensuring that installments rarely blend together, even as a larger narrative is told.

For those who might be expecting a jaw-dropping breakout episode on the level of Season 3’s largely silent experiment “Fish Out of Water,” know that rather than aim for one big moment of artistry, Season 4 instead plays semi-consistently across several episodes with animation styles and points-of-view, shifting through time periods on a level beyond flashback. More than once, the past, present, and future find ways to collide, informing each other even as they reveal buried secrets and tragic truths.

No one’s ever really OK on “BoJack Horseman.” The people who say they are are lying, and the people who know they’re not are constantly grappling with that knowledge. But Season 4 features less lying, more people trying to push through to a better state of being, and discovering that maybe sometimes, when you least expect it, there’s real hope of finding that happier place — maybe even finding it in other people.

Grade: A

1. “BoJack Horseman” Season 4 (available September 8)

Why Should I Watch It? “BoJack Horseman” transcends animation, comedy, and any other genre you want to put it in. Raphael Bob-Waksberg’s story of a horse looking for significance in all the wrong places — Hollywoo to be literal, fame and fortune on a figurative level — delves into deadly serious topics like drug overdose, depression, and alcoholism while still finding time to make endless animal puns and elicit deep belly laughs. It’s goofy, fun, exciting, poignant, and profound, often all at once. Don’t miss “BoJack.”

Best Episode: Though there are no spoilers in her review, IndieWire TV Editor Liz Shannon Miller watched all 12 episodes of Season 4 and says “maybe [Episode] 2” is the best of the lot. She also noted “they are all my children,” in a rather creepy bid to imply every episode is quite good. Enjoy.

2. “Call the Midwife” Season 6 (available September 18)

Why Should I Watch It? We’ve gone over this before: “Call the Midwife” is like a good cleanse: You’re never hungry for something else, and you feel so much better once it’s over. The long-running BBC drama is about a group of midwives and nuns who work out of a nursing convent in London during the 1950s, but it’s so much more than that. Warm-hearted and efficiently told, the camaraderie of the group remains a priceless commodity — even with the original protagonist, Jenny (Jessica Raine), gone since Season 4.

Best Episode: You gotta love a traditional British Christmas special. From “Downton Abbey” to “Sherlock” to “Doctor Who” and more, many popular U.K. series feature bonus episodes for the holidays that are longer than your average entry. As good as some of these have been — “Doctor Who” deserves a special nod for its specials — you haven’t really seen what a Christmas special can be until you’ve seen a “Call the Midwife” Christmas special. That’s right, “Downton”! These ladies are coming for your crown! Enjoy.

3. “Gotham” Season 3 (available September 21)

Why Should I Watch It? Ah, “Gotham.” These episodes — and plenty more from the previous two seasons — remain the best post-Nolan “Batman” entertainment out there, persisting despite the blemishes cast by “Batman vs. Superman” and “Suicide Squad.” Our introduction to a young, ambitious Commissioner Gordon (Ben McKenzie) leans a bit too heavily on episodic structuring early on, but the magnificent (Emmy-nominated) production design and strong breakout performance from Robin Lord Taylor (as Oswald “Penguin” Cobblepot) make the journey more than worthwhile. It’s the best Batman we’ve got, and that’s no sleight to “Gotham.”

Best Episode: Subtitled “Mad City” for its first 14 episodes, before switching over to “Heroes Rise” for its final installments, “Gotham” Season 3 perfects the serialized arc it began near the end of Season 1. While great for a binge, it does make it tricky to pick out a best episode, so we’ll cheat and go with with the two-part season finale, “Destiny Calling” and “Heavydirtysoul.” Call me a romantic, but watching Gordon struggle between his love life and protecting his city is a dramatic dilemma that works every time. And Season 4 looks to be oh so good.