‘It’s Always Sunny in Philadelphia’ and ‘Mare of Easttown’ make NYT’s best TV shows list — but where is ‘Abbott Elementary’?
The New York Times has recognized It’s Always Sunny in Philadelphia and Mare of Easttown among the best television shows of the 21st century so far, prompting a fresh debate over the omission of Abbott Elementary.
The New York Times has placed It’s Always Sunny in Philadelphia and Mare of Easttown among its selections for the best television shows of the 21st century so far. The choices give two very different Philadelphia-connected productions a prominent place in the conversation, while also leaving one notable omission for viewers to debate: Abbott Elementary.
The list, as reported, recognizes shows that have helped define modern television. Its inclusion of It’s Always Sunny in Philadelphia and Mare of Easttown is especially striking because the programs represent sharply different approaches to storytelling. One is known for its long-running, unruly comedy identity; the other is a tightly focused drama. Their shared appearance on a list of the era’s finest shows highlights how broad the television landscape has become.
Yet for many viewers, the discussion will not end with the shows that made the cut. The absence of Abbott Elementary is likely to be the detail that attracts the most attention, particularly from audiences who see the Philadelphia-set comedy as one of the clearest examples of what contemporary television can do when humor, warmth and social observation meet.
That reaction is not simply a matter of hometown pride. Abbott Elementary has become closely associated with Philadelphia in the public imagination, and its omission creates an unmistakable question about how modern television is being evaluated. If a list is meant to capture the best and most influential programs of the century so far, viewers may reasonably ask whether popularity, cultural conversation and emotional connection have been given enough weight.
It’s Always Sunny in Philadelphia has the benefit of remarkable longevity. Its presence on the New York Times list suggests that its place in television history extends beyond its devoted audience. A show does not remain part of the cultural conversation for so long by accident. Its recognition points to the durability of its comic voice and to the importance of programs that establish an identity strong enough to be immediately recognizable.
That identity has helped make the series stand apart. Rather than adapting itself to every shift in television fashion, It’s Always Sunny in Philadelphia has maintained the kind of distinctive personality that critics and viewers can identify almost instantly. The New York Times’ decision to include it acknowledges that consistency can be an achievement in itself, particularly in a television environment where shows are constantly competing for attention.
Mare of Easttown, by contrast, represents a different kind of accomplishment. Its inclusion recognizes the power of a concentrated drama to make a lasting impression. The show’s place on the list also reinforces the continuing significance of regional storytelling. A series rooted in a particular community can reach far beyond that setting when its characters and conflicts feel specific rather than generic.
The two selections therefore offer an interesting picture of what the New York Times considers important in 21st-century television. The list is not limited to one genre or one style of storytelling. Comedy and drama can sit beside each other, and a long-running series can be considered alongside a more compact dramatic work. That range is one of the strengths of television, but it also makes omissions more noticeable.
For fans of Abbott Elementary, the omission may feel particularly difficult to understand. The series has occupied a distinctive space in the television conversation, presenting a Philadelphia school setting through a comedy that has connected with viewers. Its appeal is not based on a single ingredient. The show’s place in popular discussion comes from the way it combines recognizable workplace dynamics with a strong sense of community and an accessible comic tone.
That combination gives Abbott Elementary a strong argument for inclusion on any broad survey of the century’s most important shows. It is a series with a clear setting, a recognizable ensemble and an ability to turn everyday frustrations into stories that remain inviting rather than alienating. Even viewers who disagree about whether it belongs near the top of a critical ranking can understand why its supporters feel that it deserved mention.
Still, a list of this kind is never a final verdict. No selection can represent every viewer, every genre or every television tradition. Lists are useful because they create a starting point for conversation, not because they settle arguments permanently. The New York Times’ choices offer one interpretation of the television era. They do not erase the achievements of programs that were left out.
That distinction matters because omissions can sometimes reveal as much about a list as the selections themselves. When a well-known show is absent, its supporters are pushed to articulate what they value about it. In the case of Abbott Elementary, the response is likely to center on representation, tone, place and the ability to make an audience care about an ensemble over time.
The debate also raises a broader question about how television success should be measured. Critical prestige is one factor, but it is not the only one. Longevity, influence, audience loyalty and the ability to become part of everyday conversation can all shape a show’s legacy. Different viewers will assign different importance to each of those qualities, which makes a single definitive ranking almost impossible.
Some audiences will prioritize formal ambition and dramatic intensity. Others will look for a comedy that remains funny while developing a memorable world. Still others will judge a show by whether it reflects a recognizable part of life or creates a community that viewers want to revisit. The contrast between It’s Always Sunny in Philadelphia, Mare of Easttown and Abbott Elementary demonstrates why no one standard can satisfy everyone.
The Philadelphia connection adds another layer to the reaction. Two of the recognized programs are associated with the city and its surrounding identity, while Abbott Elementary is the title supporters most want to see acknowledged. That makes the conversation feel more personal for viewers who see Philadelphia not merely as a backdrop, but as an essential part of a show’s character.
Setting can be easy to overlook when discussing television. A program may be remembered for its cast, writing or premise, yet the place in which it unfolds often supplies the atmosphere that makes it distinctive. Philadelphia has a particular cultural presence in all three titles named in this discussion, even though the shows approach that connection in different ways. The city becomes part of the larger argument over what these programs represent.
For It’s Always Sunny in Philadelphia, recognition from the New York Times confirms that a comedy with a highly individual sensibility can earn serious consideration as part of the medium’s history. For Mare of Easttown, the selection underscores the lasting appeal of a drama that is tied to a clearly defined community. For Abbott Elementary, the omission creates an opportunity for fans to make the case that contemporary television should also honor warmth, accessibility and the cultural importance of a popular comedy.
There is no requirement that every celebrated series appear on every list. A publication’s selection reflects the perspective and priorities behind that particular project. Even so, the strongest lists invite disagreement. They encourage viewers to revisit the programs they love and to explain why those shows matter. In that sense, the argument over Abbott Elementary is not a distraction from the list; it is evidence that the list has succeeded in generating engagement.
The response also shows how quickly television reputations can become part of a larger cultural contest. Fans are not only asking whether a program is entertaining. They are asking which stories receive institutional recognition, which kinds of comedy are treated as significant and whether a show’s broad audience is reflected in critical assessments. Those questions can be uncomfortable, but they are central to any discussion of television’s place in contemporary culture.
It is possible to appreciate the New York Times’ recognition of It’s Always Sunny in Philadelphia and Mare of Easttown while arguing that Abbott Elementary should have been included. The choices do not have to be treated as mutually exclusive. A show can deserve recognition without taking anything away from another series. In fact, the disagreement may strengthen the case for looking at television history as a wide, evolving conversation rather than a fixed hierarchy.
For now, the list has produced a familiar but enduring kind of television debate. Viewers can celebrate the shows that were named, question the standards used to select them and make their case for the programs they believe were overlooked. The loudest demand is simple: if the best television of the 21st century is being discussed, then Abbott Elementary deserves to be part of that discussion.
The New York Times has offered its choices. Audiences, as they always do, will offer their own.