Fond Farewells: We Say Goodbye to 14 Departing TV Series


THE WALKING DEAD (AMC)

Can you believe that after a decade-plus of daring rescues and gnarly deaths, AMC’s flagship drama is shuffling to an end—without a single character ever uttering the word zombie?! Here’s hoping Rick Grimes shows up for one last hurrah before the last bite.

THIS IS US (NBC)

With hugs and many tissues, the Pearson clan’s timeline-twisting saga—an old-fashioned feel-good weepie, which inspired imitators and made Sterling K. Brown a household name—has come to a close. Yet the slow cooker that so cruelly took patriarch Jack’s life remains at large.

INSECURE (HBO)

Issa Rae’s love letter to Los Angeles was as sure-footed as its characters were shaky, confidently following Rae’s Issa and Yvonne Orji’s Molly as they fumbled their way through adulthood. Like its protagonists, the show only went deeper with time. You know what that is? growth.

BLACK-ISH (ABC)

Though network TV’s first family may have lobbed their final punch lines, Kenya Barris’s universe lives on-ish: Freeform is still airing spin-off Grown-ish, which follows the young-adult adventures of Yara Shahidi’s ambitious, aspiring fashionista, Zoey.

BETTER CALL SAUL (AMC)

We could argue all day about whether Vince Gilligan and Peter Gould’s Breaking Bad spin-off eclipses the original. but Saul is a masterpiece all its own, stuffed with gorgeous sequences and indelible performances. And yes, it is better than Breaking Bad.

QUEEN SUGAR (OWN)

before succession, another group of fractured siblings struggled to hold onto the family business in a power vacuum: the Bordelon brood, suddenly the stewards of a Louisiana sugarcane farm. Come for the clashing personalities, stay for the thoughtful handling of heavy subjects.

DEAD TO ME (Netflix)

Few friendships are more unlikely than that of Jen Harding and Judy Hale’s, the mismatched pair at the center of Liz Feldman’s pitch-black comedy. But that’s the appeal of dead to me, which will debut its long-awaited third and final season this year after a barrage of delays.

PEN15 (Hulu)

Maya Erskine and Anna Konkle’s hilarious, earnest, sometimes-hard-to-watch comedy about a pair of best friends navigating the murkiest part of adolescence is truly 2 good 2 be 4gotten.

KILLING EVE (BBC America)

The Sandra Oh–aissance began with this irresistible cat-and-mouse thriller, which (despite an unpopular final episode) showed off an incredible array of female talent in front of and behind the camera, including Jodie Comer, Fiona Shaw, Emerald Fennell, and creator Phoebe Waller-Bridge.

OZARK (Netflix)

In 2017, Wendy and Marty Byrde moved their kids to the titular region and embraced a life of money laundering, murder, and dubious couples counseling. After four riveting seasons, a bucket of Emmy love, and the skyrocketing of Julia Garner’s career, it seems they made the right call.

THE EXPANSE (Amazon)

There was broad scope and laser focus in this sci-fi series, a galactic epic that excelled in telling human stories as well as giving Shohreh Aghdashloo stunning outfits. Its last season focused largely on emotional catharsis, proving conclusively that in space, people can hear you form lasting connections.

PEAKY BLINDERS (Netflix)

What, exactly, is a peaky blinder? You’ll never know unless you devour this absorbing crime drama, which follows an Irish gang in post–World War I England. Pro tip: The lads are speaking English, but closed-captioning is a boon for American ears.

DICKINSON (Apple TV+)

“Tell all the truth but tell it slant.” The opening line from one of Emily Dickinson’s best-known poems doubles as the credo of Alena Smith’s biographical comedy, which took charming liberty with the poet’s life story—including a flash-forward that allowed Emily to peek into the 20th century.

SEARCH PARTY (HBO Max)

The worst people in the world make for compelling comedy. No show was sillier (there’s a character named Dr. Amanda Baby) while skewering millennial myopia, peppering wild twists with uncomfortable truths.


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