The New York Times is slow-rolling out its countdown of the 100 best shows of the 21st century so far in that snazzy way that they do these types of things. The site looks beautiful and has a lot of resources, like ballots from noteworthy showrunners and stars, which is how I have come to know that Connie Britton likes Arrested Development, Bob’s Burgers, and RuPaul’s Drag Race. Connie Britton is good people.

A lot of the celebrities showed zero restraint when it came to voting for their own shows – Britton for Friday Night Lights (but not Nashville or White Lotus), Alec Baldwin for 30 Rock. Elisabeth Moss voted for both Mad Men and The Handmaid’s Tale. And why shouldn’t she? They were both amazing shows. Drew Carey voting for The Price Is Right at Night, though? Shameless, but I’d probably do the same.

I love the insights you can take away from these things. Simpsons creator Matt Groening didn’t have Mad Men or Breaking Bad on his list, but Keith Olbermann’s Countdown? You bet.

Danny McBride may have the most interesting ballot. I want a Downton Abbey rewatch podcast with McBride in my ears immediately. Sit me next to the guy at the party with passionate takes about 90 Day Fiancé, Lost, and Jackass.

Uncut Gems’ actress Julia Fox also contains multitudes, voting for reality trash like The Jersey Shore and The Simple Life, as well as primetime soaps (Desperate Housewives and Nip/Tuck), comedies (Pen15 and Fleabag), and award-winning dramas (Ozark and The Handmaid’s Tale).

Nate Bargatze, on the other hand, was comfortable letting everyone know he puts both Entourage and Jimmy Fallon’s Tonight Show on a pedestal.

As with their movie list from a few months ago, the Times is also letting the hoi polloi create their own ballots to share on social.

This is mine. It is, I believe, factually accurate and kinda boring. Whittling down a list of probably 20 shows worthy of top 10 status is difficult. I feel like I really let Atlanta, Better Call Saul, The Leftovers, and Fleabag down.

Here’s some accompanying justification for my choices.

Barry - Only gets better upon re-examination. Impeccable cast, funny, violent, visually bold, narratively tight. As influenced by the Coen Bros. as Tex Avery.

The Office - The last great workplace sitcom. They made meals out of minutiae and made us care about every uniquely drawn character. Astonishingly attuned to the droning corporate existence.

Six Feet Under - Put an ominous clock on family drama, identity crises, and existential dread while facing the fear, loathing, cruelly, and non-negotiable nature of death. Messy in the best way.

30 Rock - A machine gun of bits and jokes. Smart and stupid at the same time in the best way. No expiration date on its comedy.

The Knick - Mad science, God complexes, grime, and cocaine. One of the single best lead performances in TV history (the cocaine). Clive Owen was pretty amazing, too.

The Wire - Pretty good; have you seen it?

It’s Always Sunny -Five of the worst people on television hilariously punishing each other and the world for their existence. Two decades in and no real creative dips.

Hacks - The standard bearer for all odd couple and mentor/mentee relationship stories going forward. A resounding comeback story nestled within a savage Hollywood satire. One of the 3 most satisfying series finales of the century.

Veep - The anti-West Wing when we needed it most. Petty, rude, brilliant. Uncomfortably prophetic. Rivals The Office in whole ensemble utility. The one that puts Julia Louis-Dreyfus on TV Mount Rushmore.

Mad Men - The greatest drama and, somehow, one of the 10 best comedies of the century. Really knew how to pick their spots. An epic odyssey of cultural and personal change. Its lows were higher than most shows’ highs, and it was a towering narrative skyscraper when it was truly on.

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