The coolest TV shows of all time - 80 of the best, ranked

A teacher dealing crystal meth in order to provide for his family before he succumbs to terminal cancer might not sound like a fridge full of chortles, but the astounding Breaking Bad is just that. Unsurprisingly dark, the show flicks back and forth between surrealism and gallows humour. Moreover, it serves as a modern-day fable; a show that while dealing in the murkier aspects of human life (a suitable reflection of our current malaise) demonstrates that actions do have consequences. Amusingly moral in other words.

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Although there had been precedents – Twin Peaks chief among them – The Sopranos changed everything. Every series that followed in its wake owed a debt to the programme. A drama concerned with the mob (a subtle metaphor for the family) it was dripping in pop culture references, was hysterically funny, glamorised nothing and, for a programme that dealt in murder and deception, was incredibly poignant and moving. Alongside The Wire it is the ultimate in box set viewing.

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We were worried that this prequel would not be able to match the, er, highs of Breaking Bad but we think it's surpassed it. Vince Gilligan and Peter Gould has created one of the best character on TV with Saul Goodman, but it is Bob Odenkirk who breathes life into the corrupt lawyer.

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It may have lost its cool at the end with a so-so season but let's not forget just how much fun it was tuning into Game of Thrones week after week, watching warring factions try and battle it out for what was a frankly rather uncomfortable looking throne. When it comes to TV, some of GoT's episodes were damn-right cinematic - and there's nothing cooler than seeing a white walker do its damage.

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The Wire has been called the greatest TV show ever by so many people that repeating such an opinion feels like damning it with faint praise. No matter, The Wire’s excellence is apparent to all who have fallen under its spell. Ostensibly a crime drama set in Baltimore, it is so much more than that. An unflinching expose of modern America – the death of the American Dream and the post-industrial urban decay - critics have called the show’s five series the closest thing we have to a modern Shakespeare. They are not wrong. We envy those who have yet to watch it.

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Most TV shows run out of steam after a couple of series. The Simpsons has now been going strong for over 30 years. Effortlessly combining elements of every successful TV programme – soap opera, surreal humour, observational comedy, social critique, kids’ cartoons – it is the ultimate post-modern, multi-layered show. And in Homer Simpson, Matt Groening has created a character that will be spoken of – like Macbeth and Don Quixote – in centuries to come.

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Although it only ran for five years, Monty Python’s Flying Circus is a comedic institution. Formulating a new form of absurdist observational comedy, its impact was so profound that it has embedded itself into the very fabric of our cultural life. Sketches such as the Dead Parrot, The Ministry of Silly Walks, Nudge, Nudge and The Spanish Inquisition are endlessly quoted. In many respects the surreal humour gave birth to the alternative comedy scene that we enjoy so much today, making it possibly the most influential TV show of all time.

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We may never get a third season of Mindhunter which is a real shame as David Fincher's TV show, about the FBI tracking and coining the idea of serial killers in the 70s, is a creepy series that takes its time as it gets into the mind of some famous killers. All three leads, Jonathan Groff, Holt McCallany and Anna Torv excel in this riveting thriller.

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Like Monty Python’s Flying Circus, The Muppet Show only ran for five years, yet, such was its success, it feels as though it ran forever. The characters are among the most loved to have appeared on TV. And in effectively appealing to both children and adults alike (predating The Simpsons by a good decade) a broad viewing demographic lapped up the nonsensical drama at the surreal variety show. Such was its success stars as famous as Peter Sellers, Elton John, Diana Ross, Rudolf Nureyev, Steve Martin, Liberace, Sylvester Stallone, Dudley Moore, Johnny Cash and Debbie Harry all appeared on the show.

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Seinfeld has been likened on a number of occasions to Samuel Beckett’s Waiting for Godot, in that it is a programme about nothing. In many respects, it’s true: Seinfeld, the hilarious creation of comic masterminds Larry David and Jerry Seinfeld, is about nothing in particular. But it’s actually about everything: life in all its ad-hoc, humdrum, miniscule glory. The wry observations and the self-deprecating nature might be second nature in sitcoms today, but 20 years ago, such anti-aspirational TV making was profound. The programme has since gone on to have a second life as a box set must have.

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Melding the movies of Steven Spielberg and the books of Stephen King, Stranger Things is like a lost series from the 80s. It's full of fanciful sci-fi outright horror and ruddy great teenage adventures, while the cast of kids (and adults) are impeccable, lead by Millie Bobby Brown as the mysterious Eleven.

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Behind-the-scenes issues may mean that we never see another Black Mirror and, if that's the case, then it would be a real shame. This is a show that has consistently offered up some of the funniest, most frightening, downright depraved looks at a dystopian world. From Star Trek parodies to social-media satires, with the added interactive movies, this is one of the most inventive things to ever be on TV.

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As much as British TV can hold it own when it comes to the rest of the world, it does sometimes lack the cinematic look and feel of its overseas counterparts. Peaky Blinders is an exception, though, a gangster tale set at the turn of the 20th Century. Cillian Murphy leads the cast but this one is all about the ensemble. Steven Knight is no stranger to gangster tales, having previously penned Eastern Promises. Oh, and he's one of the creators of Who Wants To Be A Millionaire?, too. Brilliant stuff.

While The Book Of Boba Fett didn't quite manage to create that Star Wars spark for us, The Mandalorian certainly does. The ultimate Space Western, the show proves that there is definitely life after the increasingly frustrating big-screen Star Wars sage.

We're basing this one on the first season really. The mixture of Nic Pizzolatto's writing, Cary Joji Fukunaga's direction and Matthew McConaughey and Woody Harrelson's acting makes for a stunning series that just oozes sweat-stained cool. The second and third season are definitely worth a watch but our love is for this one.

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Put unbridled masculinity, sharp suits, the dawn of the Sixties, infidelity and a heavy dose of liquor into the mixer and you get something very cool indeed. You get Mad Men. Mad Men evokes this heady time with a wry sensibility and an almost unerring authenticity. While an undoubted narcissist and charlatan, Don Draper, the show’s pivot, is one of the most absorbing TV characters of recent history.

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A vicious, funny and furious show, The Boys is one of the most graphic series of a graphic novel to hit the small screen - and we love it. The premise are simple: superheroes are real and they are real dicks. While they would be happy if it stayed that way, Karl Urban and Jack Quaid are part of a vigilante group who want to take the superheroes down. Lovely stuff.

The Wire may have started Idris Elba's career but it was Luther that cemented it. Luther is a badass detective who is put into some - quite frankly - scary situations. From the Massive Attack score to the violent whodunnit storylines, to that famous coat Luther oozes cool throughout. And we aren't finished with the character yet as there's a movie in the works.

If you look hard enough comedic material can be found in the unlikeliest of sources. And so it was with this TV adaptation of DC Comics original Dark Knight in the mid-Sixties. Played out as pop art, this light-hearted approach might have verged on parody, but the Technicolor dynamism made it perfect for its age. The flamboyant theatrics of Batman and the boy wonder Robin, might have been usurped by a return to the Caped Crusader’s return to his darker source material, but this Sixties high camp romp will always induce a smile among aficionados.

For his part in creating Seinfeld, Larry David will always be hailed as a genius. For devising Curb Your Enthusiasm he is nigh-on untouchable. A sardonic and bittersweet portrayal of the minutiae of his, admittedly exaggerated, life, the programme is really a show about manners. By exposing the hypocrisies that plague much of modern life, David is a hero to many. That he does it in such a brutally frank and humorous way only serves to increase the esteem in which we hold him.

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Traversing the most tumultuous decade in recent history, The Avengers was in an ideal place to reflect the grand changes sweeping society. Appearing one year before the first James Bond film, it captured the fascination with spies and secret agents and attached this to the burgeoning area of science fiction. In the shape of John Steed (Patrick Macnee) evergreen British staples such as style and eccentricity were maintained. Most importantly it treated women – most notably Honor Blackman as Cathy Gale and Diana Rigg as Emma Peel – as equals. Not merely an historical curio, The Avengers stands up to repeated viewing today.

Unsurprisingly, the cemetery housing once proud TV programmes is a muddled and bulging place. Some shows are affectionately remembered, some are never given a second thought. And some – Deadwood being a prime example – were cut down in their prime and shouldn’t be interred at all. The most raucous programme of the last decade, Deadwood – as befitting a show set in the lawless Wild West - wore its unabashed violent imagery as a badge of honour. Ian McShane’s depiction of the profane Al Swearengen is one of TV’s most memorable.

Arrested Development was like an unruly teen: frequently misunderstood, prone to moments of high farce and always entertaining. Why it never lasted longer than three series will trouble the minds of critics forever. Dissecting the colourful lives of the troublesome Bluth family, Arrested Development was the best, most dysfunctional, and certainly coolest sitcom of the Noughties. While it was revived for a number of seasons, the quality diminished but, hey, we still have the original series to laugh and cry over

Steve Buscemi takes centre stage in this sprawling series about Atlanta gangsters taking advantage of prohibition. It's a superb series, up there with The Sopranos in term of scope and as cinematic as The Godfather. Confession: we bought the same shoes Nucky has in the show after watching it and have no regrets.

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Surreal, maddening, innovative… trying to explain Twin Peaks can be something of a thankless task. Based around the FBI investigation (led by the memorable Special Agent Dale Cooper) into the murder of Laura Palmer in the titular town, the show – co-created by David Lynch – was really concerned with the odd underbelly of this seemingly normal community. Praised for treating its audience with a respect not normally associated with TV dramas, in many respects Twin Peaks begat the likes of The Sopranos, Deadwood, The Wire and co. And then it showed those plucky upstarts it still means business with its fantastic follow-up in 2017.

It doesn’t matter whether Happy Days was a sanitised version of American life in the Fifties and Sixties – propaganda for the American Dream – the fact is, it connected. It spoke to those baby boomers, and successive generations thereafter, that hankered after more idealistic, less complicated times. And in the Fonz it had one of the best TV characters of all time. Who didn’t wish they had their own Fonz to guide them through those perilous teenage years?

Friendships don’t get funny or furrier than on Top Cat. Set in a Manhattan alley, Top Cat, renamed Boss Cat in the UK because there was a Top Cat brand of cat food, details the colourful antics of T.C. and his buddies – Benny, Spook, Choo Choo, Brain, Fancy-Fancy – and their efforts to get one over local cop, Officer Dibble. Purportedly inspired by Phil Silvers, there were only 30 episodes of the cartoon produced. Yet its influence, and the love it engendered, is comparable to a show with 10 times as many.

In this day and age top rated shows aren’t generally much cop, quality programming being sacrificed in favour of bland platitudes. However, and this isn’t a fanciful flight into nostalgia, the Seventies and Eighties were different – a last hurrah of shows that weren’t subject to focus groups and designed by committee. Magnum, P.I. was one such show: big, bold, brash, it concerned the cool, alpha male, Vietnam Vet private investigator Thomas Magnum (Tom Selleck) and his adventures around the sun-kissed island of Hawaii. Never has the phrase, ‘Woman wanted him, men wanted to be him’, more apt.

Biker gangs meet Shakespeare in this epic tail of family, betrayal and hardcore violence. Sons of Anarchy should be mentioned in the same breath as The Sopranos and Breaking Bad, it's that good.

Spy shows were big business in the Sixties – a legacy of the Cold War and the rising popularity of 007 – and The Man From U.N.C.L.E. was up there with the best. Less tongue in cheek than The Avengers and straighter than The Prisoner, it featured the ultra-suave pairing of Robert Vaughn and David McCallum as secret agents Napoleon Solo and Illya Kuryakin. The sharp suits, snappy dialogue and reliance on ever-more ingenious gadgets meant the programme was an instant hit.

A few names for you: John Belushi, Bill Murray, Will Ferrell, Chevy Chase, Tina Fey, Dan Aykroyd, Eddie Murphy, Mike Myers, Chris Rock, Kristen Wiig, Adam Sandler… we could go on, but you get the gist. All made their name on the original leftfield comedy and variety show. Now a much-loved New York institution, the show’s anarchic edge is still as cutting as ever and much like the city that hosts it, if you can make it on Saturday Night Live, you can make it anywhere.

If ever a programmed desired cool it was Miami Vice. Purposefully stylised, it was designed, according to one of its directors, to complement the MTV generation’s perceived fondness for ‘images, emotions and energy’ over ‘plot, character and words’. In Don Johnson (as Sonny Crockett) they had the epitome of suave, Eighties modernism – for all intents and purposes Crockett was the decade personified - and the show’s ongoing battle with drug dealers echoed the era’s wider war on drugs.

A show fascinated with the messy business of death and its even more entangled aftermath might not be a barrel of laughs, but Six Feet Under was certainly compulsive viewing. An intelligent mainstream show that treated mortality with a remarkable equanimity, it centred upon the complicated lives of the Fisher clan, the owners of a Los Angeles funeral home. Running for five seasons, it also had the sense to draw a line under the show when the programme was at an all-time high.

From its theme tune to its catchphrases "we need to check the optics" and "fuck off", Succession is a show full of hateful rich people that you just can't help love. After three seasons, the show is one of the best around and while we would be lying if we knew exactly what's going on at any one time, the genius of the writing is that you just don't care and go with it. Oh, and that writer-creator: it's none other than Peep Show's Jesse Armstrong.

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When it first aired in 2007, Flight of the Conchords was like a breath of fresh air. Deliberately lo-fi, it mined a seriously self-deprecating anti-cool aesthetic, which, obviously, made it really cool. Focussing on two hapless shepherds-turned-folk musicians from New Zealand trying to make it in New York with an even more incompetent manager, the show was a musical sitcom combined with high farce. The music extended beyond pure pastiche and the humour was bitingly satirical. A gem of a programme.

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Officially the longest-running live-action sitcom in the US, It's Always Sunny in Philadelphia has been continuously funny for some 18 years no. It's a great, surreal show about Irish pub owners and their frankly depraved little lives. The action kicks in from season 2, when Danny DeVito joined the cast full time.

Based on the brilliant big-screen mockumentary, What We Do In The Shadows actually fares better on the small screen, with a bunch of Brits playing the main characters (including: Kayvan Novak, Matt Berry and Natasia Demetriou). The show follows a documentary crew following the night crawlers as they go about their immortal lives.

The coolest TV shows will always induce fan fervour. And none more so than the surreal Sixties spy thriller, The Prisoner. The idea of star, director and producer Patrick McGoohan, it mixed regular secret agent tropes with more sinister Kafka and Orwellesque overtones as McGoohan’s titular character attempted to escape his holiday resort prison. Echoing the counterculture’s cherishment of freedom, devotees would regularly invoke the line, “I am not a number, I am a free man.” The location for filming, Portmeirion, is still visited by the programme’s numerous acolytes.

While the latter seasons didn't quite have the fun and excitement of earlier seasons, X-File in its heyday was an absolute joy. The chemistry between Mulder (David Duchovny) and Scully (Gillian Anderson) was unprecedented and the when the main storyline worked, it was up there with the best event TV. Plus, there still hasn't been a scarier standalone episode of a show than squeeze, which starred the horrific Eugene Tooms.

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There are some people who believe women are not funny. These people have clearly not seen 30 Rock. Penned by and starring the irrepressible Tina Fey and based on her experiences working at Saturday Night Live, 30 Rock, much like The Larry Sanders Show, pulls the drama, the goofs and the Machiavellian politics from behind the making of a TV show and places it squarely in the centre of the story. Proving that not only is the truth stranger than fiction, but there’s no diva like a Hollywood diva.

The premise of Life On Mars sounds dreadful. A police officer (John Simm) ends up in 1973 after being hit by a car in 2006. There typically OTT Seventies stereotypes come up against our more politically correct sensibilities. However, thanks to classy acting (not least from Simm and his nemesis Philip Glenister) and razor sharp scripts, the makers pulled it off. It helped that the viewer never really knew why Simm had been sent back 30 years. Was he dead? In purgatory? Was it all a dream? Had he gone stark raving bonkers? Or did he really go back in time? Whatever it was, and everyone seemed to have their own theory, it had everyone hooked.

Beginning with an anal sex joke and getting filthier from there, Fleabag is an utter joy to watch. Creator Phoebe Waller-Bridge may have honed her character on the stage, but it was on the screen that 'Fleabag' came alive, with her to-camera witticisms, increasingly awkward situations and he dalliances with a hot priest. It's just two seasons long and already a stone-cold classic.

The final episode of M*A*S*H has 125m viewers. Let that sink in. But ever a show deserved such lofty viewing figures, it is this one. From its strangely sombre theme tune - later covered by the Manic Street Preachers - to the way it manages to mix comedy and drama into a war zone setting, M*A*S*H is sublime, ground-breaking TV, with characters you will remember forever.

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The Comic Strip Presents… and The Young Ones dragged alternative comedy kicking and screaming into the mainstream when it both shows were first broadcast within a week of each other in November 1982. While both were superb representations of the fertile comedy scene, The Young Ones was the timelier. A hilarious flipside to the rise of Thatcherism, it also brilliantly parodied student life and the nuclear family in general. Genuinely anarchic with a charm that most shows would die for, The Young Ones is fondly remembered. And rightly so.

In just one season, Squid Game went from an unknown South Korean oddity, to a global mega-hit where its key scenes proliferated into memes and its look inspired many a Halloween costume. Given just how macabre the tale is - a group of debt-addled straggles fight for their lives (and for money) through a series of deadly childhood games - we're surprised at just how popular this one become, but we're also very happy.

Sam Esmail's could-come-true tale about hackers looking to take down the corporate world is just fantastic. Rami Malek is perfectly cold and distant as Elliot Anderson, who is seemingly suffering from schizophrenia. From its very real hacking scenes to its Anonymous inspired message that capitalism is bad, this is an achingly cool show that needs to be seen.

When fashions change, as is their wont, the notion of cool shifts accordingly. However, some things will always be cool. Namely fast cars, daring stunts, wise-cracking repartee between two cops and a frisky jazz funk soundtrack courtesy of Tom Scott. In other words, Starsky & Hutch. Surprisingly gritty for a mainstream hit, the relationship between Paul Michael Glaser and David Soul was the basis for this enduring buddy classic. The timeless style, nefarious character and police informant Huggy Bear and that car were the icing on the very cool cake.

We have a True Detective situation with Killing Eve. The first season is a masterpiece (thanks to the writing of Phoebe Waller-Bridge and Luke Jenning's source material) and it's slowly downhill from there. But, let's respect the first season, which brought us one of the greatest anti-heroes of all time, Jodie Comer's Villanelle. It's such an masterclass that they should be teaching it for years to come.

The Eighties was the first real computer decade, a time when the future was tantalisingly close. Nothing exemplified this better than a computer-controlled car – KITT – and a dashing young detective (David Hasselhoff) with big curly hair. Much like Magnum, P.I., The A-Team and The Dukes of Hazzard, Knight Rider was pure entertainment escapism, but it was delivered in a compelling and stylish fashion. By the end of the decade, hit US shows started dealing in introspection, you know, feelings. That was way off the agenda here.

No other show on this list has the enduring appeal of Doctor Who. It's a show that (literally) manages to re-invent itself every few years, with its alien, otherworldly adventures usually holding up a mirror to the politics and entertainment climate of the time. We have all got our favorite Doctor, as it should be, but the constant in this show is the character itself - a (usually) calming figure, no matter how bad everything looks. Given the way the world is right now, we all need one of those in our lives.

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Set in a community college in the US, this surreal sitcom is a lot of fun, and was so good it catapulted its directors to Marvel success. This is the closest things the US has got to making something like Spaced and we just wish it was treated a little bit better in its later seasons.

By 1990 hip hop was big business, but no mainstream TV show had yet to really incorporate this thrilling new street culture into its programme narrative. The Fresh Prince of Bel Air achieved that. Unashamedly conventional, the rebellious aspects of Will Smith’s Fresh Prince were more cheeky than truly subversive, but for all that, the show did deliver something new, demonstrating that the hip hop generation was not just about unruly boyz in the hood. From here, Will Smith, and hip hop, would take over the world.

Anyone who’s found themselves at some point in their mid-20s experiencing some sort of existential ennui will love Spaced. Of course that’s not the only stipulation, but such was Simon Pegg and Jessica Stevenson’s implicit understanding of a very British take on the Generation X culture of the Nineties, that it directly spoke to that generation (and successive slackers since). Hugely influential, and with a reach that belied its mere 14 episodes, it launched the careers of Pegg, Nick Frost and director Edgar Wright.

One of the newer shows on this list but over the course of two seasons, The White Lotus has become essential TV. Creator Mike White has carved out a fantastic, grotesque look at an ensemble of rich folk who become involved in a murder mystery in one way or another. The writing is fantastic, the acting superb and the beautiful hotel setting(s) as much a ruse as the white picket fences of David Lynch's Blue Velvet as there is much ugliness within.

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Lost, alongside may more event TV classics, may have proven that the mystery is far better than the answer but that doesn't stop the show from being one of the most compelling of all time. The tale of a group of travellers who crash land on a mysterious island had pretty much everything, encapsulating creator JJ Abrams mystery box way of story telling. Yes, it ran out of steam (or should that be smoke?) but some of its episodes are still up there as the best TV of all time.

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Again, a show that went out with a whimper rather than a bang but True Blood initially was a glorious, sweaty, sweary vampire tale told under the hot heat of New Orleans. Not only did it have one of the best title sequences of all time, it was for the first few series bundles of gothic fun.

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The TV schedules can be an unforgiving place – an environment where ratings unfortunately triumph over quality. Freaks and Geeks discovered this when it was cancelled after only one season in 2000. Set in a Detroit high school in 1980, it perfectly captured the angst, the drama and the fun of being a teenager – much more than any Dawson’s Creek or The O.C. ever could. That its cast – James Franco, Seth Rogen, Jason Segel among them – are now prime players in Hollywood tells you everything you need to know about the stupidity of some people who run TV.

As long as there is TV there will be programmes dedicated to the police. And Dragnet is arguably the daddy of them all. Having sprung from a successful radio show (always a nice feed for TV), Dragnet – a term for a police manoeuvre – detailed the adventures of Sergeant Joe Friday (Jack Webb, who actually created the show) in Los Angeles. Unbelievably realistic, the show not only gave the public a glimpse into the daily operations of police detectives, but provided a template for future cop-based shows.

Donald Glover knows exactly how to capture what the world is thinking at any one time. His track This Is America was a revelation when released, almost causing a revolution. His show Atlanta is much of the same, a polemic against the economic and social issues black rappers have to go through to make it big. It's funny, engaging, witty and utterly truthful throughout.

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Managing to combine dark humour with genuine thrills, this South London set-story of reprobates struggling to deal with their recently gained superpowers operates in a league of its own. Despite a low budget, the rather unglamourous inner-city location becomes something utterly cinematic. It's one of the few shows that dares to take on the Americans at their own game (non-period shows with ambition) and unsurprisingly, there's a US-set remake on the way....

As stylised as Squid Game and as nihilistic, too, Utopia was a revelation when it was released in 2013. Creator Danny Kelly's tale is about a comic book that seems to hold the secrets to something - those who have figured this out are tracked down by a shadowy organisation, by two of the most lethargic (but terrifying) hitmen the world has seen. A 2020 US remake tried to recapture the spirit of the original show but unfortunately didn't come close.

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Spoof TV shows are ten a penny these days, but when Garry Shandling initiated The Larry Sanders Show it was incredibly innovative. Taking a fine scalpel to the self-absorbed world of TV, the programme featured a litany of Hollywood superstars superbly sending themselves up. But the show’s real success was in capturing the daily backbiting, internal politics and drudgery of working in an office environment. Ricky Gervais was taking note.

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One of the best sci-fi shows of all time (that you may not have seen). Seriously, this is the show we tell people to watch immediately when they ask what they should catch up on. Set after a Rapture-like event where millions of people on the planet just simply disappeared (and this was made before Avengers: Endgame), this show focuses on 'the leftovers who are trying to patch together their society.

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In the worlds before Monkey, primal chaos reigned. So goes the opening title sequence, by way explanation, for this most unlikely cult TV hit. For chaps of a certain age – think late 30s and early 40s – Monkey was the coolest thing on TV. A bizarre retelling of the epic Chinese novel, Journey To The West, it combines Buddhism with kung fu, although we guessing that it was the latter that drew kids’ attention. That and the ace theme tune. Monkey Magic indeed.

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The best spoofs are rendered so accurately that those viewing often believe they’re watching the real thing. And so it was with The Day Today. A hilarious parody of TV news and other current affairs shows, it brought its creators Chris Morris and Armando Iannucci instant notoriety, and paved the way for Steve Coogan and Patrick Marber. Although only six episodes of the show were ever broadcast, its influence was dramatic. Even watching Newsnight today can be an embarrassing experience thanks to the rib-tickling antics of The Day Today.

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Kenny Powers (played to perfection by the boisterous Danny McBride) is one of best comic creations of recent times. An obnoxious misanthrope, Powers was once a pro baseball player, but having fallen on hard times is forced to return to his home town to teach the sport at his old school while he prepares for a comeback. No longer worshipped by those around him and approaching middle age, this is a classic comedy of errors with Powers trying to find his place and purpose in life.

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Even if we were to just reel off the names of the characters in Toast of London it would make you chuckle. Steven Toast. Clem Fandango. Ray Purchase. Axel Jacklin. Lord Fotheringham. Cliff Bonanza. Sam Mendlips... told you!

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Bojack Horseman is a tragic tale, one that has some utterly cool elements in it but at its heart is a broken man-horse, who has swapped success for excess as he feeds on his past as a successful sitcom character. It may be a cartoon but it is one of the most realistic shows we've seen about depression and mental illness in a long time - with added horse jokes.

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In the days before all-singing, all-dancing HD3DflatscreenTV, it’s tempting to think a kid had to get his broadcasting pleasures where he could find them. But these simpler times actually were a golden age, and nowhere is this better exemplified than in the Gerry Anderson Supermarionation series’ Stingray, Thunderbirds,Captain Scarlet and the Mysterons and Joe 90. Incredibly for puppet shows, the programmes have aged magnificently, not least Joe 90, the entertaining story of nine-year-old spy Joe McClaine.

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One of the very best shows of the 80s and 90s, Desmond's is set in a barbershop but the place is more than that: it's a community space for those living in the surrounding are of Peckham. And Desmond's is more than just a show - when it was released it was showing black people in London in their everyday lives, the first to do so. It was such a hit for Channel 4 that it remains their longest sitcom.

Russel T Davies' show about the AIDS crisis is stark in its portrayal of how the disease can rip through a community. But it's also a beautiful paean to the power of friendship over adversity. While the show has horrific lows, it's the highs you remember in the end.

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With a stellar cast – John Simm, David Morrissey, Bill Nighy, Kelly Macdonald, James McAvoy, Marc Warren and Philip Glenister among them – and having sprung from the inordinately creative mind of Paul Abbott, there was no way State of Play could fail. However, not even the most bog-eyed optimist could have hoped for something this good. A gripping thriller that took in murder, infidelity, deception, conspiracy and a political cover up that went to the top of Westminster this was the equal of anything being produced across the pond. Easily the best British drama of the last decade.

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You know your show is cool when Drake comes to its rescue after it was cancelled. The rapper loved the tale of drug dealers on an East London council estate trying to make it in the big time. Ashley Walters may be the star of the show, but it was also a showcase for some of the best British talent out there, including the likes of Little Simz and Kano.

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Although it ended in something of a mediocre whimper, Britain in the mid-Nineties was a confident, fresh and vital place. This Life was part of that. Focussing on five 20-somethings – in this case a group of lawyers - just starting out on life’s great journey fed into the idea of this vibrancy. The writing and acting reflected this, and the quick cut directing gave the programme an authentic tension. If any programme could be said to epitomise Cool Britannia this was it. The less said about the risible 2007 reunion show the better.

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A sitcom deconstructing the present-day infatuation with cool, but actually achieving layers of cool itself? Surely some post-modern joke. But no, Charlie Brooker and Chris Morris properly lanced the boil of all things Shoreditch with this painfully wise-cracking and oftentimes cringe worthy programme. Not only did they expose the vacuous lifestyles of these ‘creative’ idiots they allowed everyone else not cool enough to be cool to feel just that little bit cooler in the process. Like, totally Mexico!

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Dennis Potter was arguably the greatest dramatist and playwright of his, or any other, generation. Implicitly understanding the power of TV, his genius peaked with the controversial The Singing Detective. A multi-layered tale – featuring three, sometimes four, interwoven stories – starring the mesmeric Michael Gambon as the musical sleuth in question, it served as wry political commentary, magical fantasy and hard-boiled mystery. An unforgettable and rightly acclaimed piece of television history.

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The fact that people still talk about this incredibly ambitious show in such reverential tones tells you everything you need to know. Covering 31 years of British social history in a captivating drama was a tall ask, but thanks to powerful performances from Christopher Eccleston, Gina McKee, Daniel Craig and Mark Strong (the last two being relative unknowns then), it was achieved effortlessly. The ending, soundtracked by Oasis’s Don’t Look Back In Anger, remains one of the most memorable scenes in British TV history.

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I May Destroy You is a devastating watch, one that challenges the ideas of consent and showcases someone trying to live after a sexual assault. It doesn't baulk at talking about the grey areas of sexual relationships and is a show that is fearless in its provocation. The way these complex themes are tackled throughout is refreshing - and surprisingly entertaining and cool - and we applaud writer and star Michaela Coel for this achievement.

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Queer As Folk showcases a hyperrealised version of the gay scene in Manchester and it's packed with future stars - with the likes of Aidan Gillen and Sons of Anarchy's Charlie Hunnam starring. Russel TV Davies' rawkus show was met with a mixed reception as first (it's ignorance of AIDS was cited as a reason) but it's now seen in a much better light, and there's no doubt that at the time of its release it was groundbreaking.

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While the second season has turned some people off of Euphoria, there is no doubt that this is one of the best shows about US teenagers for some while (well, since Saved By The Bell obviously). Based loosely on an Israeli show of the same name, it constantly flits between highbrow and lowbrow, hilarious and heartbreaking. As for the cast, both Zendaya and Sydney Sweeney utterly devastating throughout.

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