Movies

The best TV moments of 2024

BBG News

As a film critic who has spent countless hours analyzing scenes and characters from all corners of the globe, I must say that these selections truly showcase the power of storytelling across various genres. From the political intrigue of Wolf Hall to the melodrama of The Traitors, each scene highlights not only exceptional acting but also the human condition in its purest form.

In the ever-evolving world of television, we see traditional networks being replaced by streaming platforms, while budgets from venture capitalists are pushed aside for advertising-supported models. Despite the shifting landscape and diverse formats, it’s evident that quality continues to stand out – and 2024 has proven to be another fantastic year for top-tier television content.

We’re about to unveil the findings of our extensive Readers’ Poll shortly, however, ahead of the announcement, we sought opinions from the team at Digital Spy regarding their standout moments. These aren’t necessarily from their favorite shows or even the highest-rated ones – they’re just instances that left a lasting impression on them. Have you caught any of these moments? Is there anything else we should have included?

The Penguin: Oz kills Victor

Ian Sandwell, Movies Editor

Is it unusual or unconventional of me to admit that my favorite moment from this year’s TV was particularly grim? Yet, I must confess, it resonated deeply with me.

In today’s stories, it’s not often that villains are purely evil without some redeeming qualities. However, when Oz chokes Victor to death in a prolonged, agonizing manner, The Penguin eliminates any chance of Oz being seen as an anti-hero and instead portrays him as a heartless, wicked character. This portrayal is exceptional and makes the show truly memorable.

The Bear: Ice Chips

Laura Jane Turner, TV Editor

In simpler terms, although some viewers felt that the third season of “The Bear” was its least impressive, the high caliber of the series means that even a so-called “weak” season remains outstanding.

In the episode ‘Ice Chips’, although the overall tempo might have been uneven, it delivered the most outstanding television moment of the year. Interestingly, it was Donna, Sugar’s chaotic and rule-defying mother, who showed up at the hospital during labor.

The scenes ahead offer an intricate portrayal of intergenerational trauma, both oppressive and therapeutic in nature. As Sugar experiences labor pains, Donna turns the focus onto herself. They grapple with deeply ingrained issues and hurts within their relationship – a cycle that Sugar aims to disrupt to spare her child from experiencing similar pain.


Lost Boys and Fairies: Gabriel meets Jake’s mum

Erin Zammitt, Soaps Writer

As a passionate gamer, I’d say: “In my world of pixels and virtual realms, I’ve stumbled upon ‘Lost Boys and Fairies’ – an extraordinary three-act series gracing the screens of BBC One. It’s a heartfelt tale of a same-sex couple embarking on the journey to adopt a child, filled with raw emotions, courage, and the powerful bond of a found family. Not only does it masterfully weave the beauty of the Welsh language throughout its narrative, but it also delves into themes of love, shame, and the incredible power of family.

In one scene towards the end of the series, characters Gabriel and Andy are trying to legally take care of a young lad named Jake, and it’s revealed that they encounter Jake’s biological mother, Becky.

In the span of ten minutes, Gwyneth Keyworth skillfully showcases an array of feelings in her performance. She convincingly depicts a character who is devastated by her circumstances yet finds solace in the fact she’s providing a brighter future for her child.

Rebecca’s character is humorous, bold, and tender, leading audiences through a heart-wrenching tale in a surprisingly short duration. Her exceptional portrayal significantly enhances an already impressive show, making it worthy of recognition.

Mr Loverman: Barrington’s coming-out scene

Janet A Leigh, TV Writer

One significant factor that made Barrington’s ‘real’ coming-out scene in Mr Loverman particularly impactful was his earlier emotional explosion, which occurred when he unintentionally disclosed his sexuality to his grandson during an intense argument. This outburst, marked by its intensity and raw honesty, set the stage for a powerful revelation.

The contrast of that moment with the tender, more intentional one he later has with his daughter only heightened his vulnerability. It was Lennie James’ ability to conjure up Barrington’s fear and trepidation in the most exquisite way, however, that made the understanding and love he received from his daughter all the more meaningful.


Wolf Hall: the fight with Norfolk

Chris Longridge, Editor

I’ve extolled the virtues of “Wolf Hall” quite extensively, so I won’t delve too deeply again into the intricacies of its storyline, the nuanced acting or the minimal dialogue that eliminates exposition to a point where it’s only in retrospect that you fully grasp what has transpired.

One particularly striking moment was when Cromwell reached his breaking point in episode four. Following a severe bout with fever and learning that his rival, Gardiner, was reinstated to the court, Cromwell found himself at a dinner where Gardiner subtly accused him of being a murderer. Overwhelmed by years of animosity from Duke of Norfolk, Cromwell almost confirmed Gardiner’s suspicion by grabbing Norfolk aggressively by the throat.

In this instance, the threats hold no weight; what truly mattered was demonstrating the massive impact of a minuscule power shift. It seems Cromwell may have realized that his reign is over, as he’s now on a descending path. Regardless of his intelligence and strategic planning, there’s nothing that can prevent his fall from grace at this point.


The Traitors: Diane’s ‘funeral’

Kate Goodacre, Managing Editor

The Traitors” turned out to be a delightfully excessive winter treat that sparked lively discussions among my friends, even in our typically tranquil WhatsApp group during January. From the captivating close-ups of Charlotte relaxing in her castle bedroom (complete with a bath scene!) and Andrew’s fitness regimen involving dumbbells, to the collective frustration at nobody exposing Harry, or Claudia sending letters using an actual owl, there was no shortage of topics for our chatter when it came to season two.

Claudia Winkleman’s “funeral-themed prize pot challenge” was the epitome of overdramatic flair. To claim the money for their team, participants needed to unmask the Traitors by following a trail of clues, all while traversing the Scottish highlands in monochrome formal attire, accompanied by a horse-drawn carriage. At one instance, a choir serenaded them with a clue (quite unexpectedly).

In a chilling setup where Diane was one of three competitors hidden inside coffins on the ground, her son Ross found himself in an agonizing position, forced to observe as the other contestants figured out that Diane was the victim by placing big black roses into her lap – without revealing their family bond.

Note that our group chat remained quiet for a full three minutes, heavy with tension. At that instant, Ross didn’t succumb – yet it ignited the beginning of his brief stint as an antagonist…

What did the beloved Diane think about the entire event? She said to the BBC’s Newsbeat, “I adored the drama, I adored the grandeur, the splendor – I found it magnificent,” she expressed. “I certainly believed it surpassed finding an envelope on a chair.

So did we, Diane. So did we.

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2024-12-14 11:49

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