22 Masterful Television Episodes That You Can Enjoy Without Watching The Whole Series

After directing several films for Netflix, modern horror maestro Mike Flanagan teamed with the streamer for a number of limited horror series, including The Haunting of Hill House, The Haunting of Bly Manor, and Midnight Mass. Each of the series work in their own right as terrifying tragedies, but Hill House became outright iconic with its fifth episode, “The Bent-Neck Lady,” which examines the life and death of the doomed youngest daughter in the Crain family who discovers the jaw-dropping truth of the spirit that has haunted her for years.

Community is a contemporary cult sensation, barely avoiding cancelation over the course of six seasons despite creative turmoil, cast changes, and behind-the-scenes drama that nearly overshadowed the show’s side-splitting comedy. Before it became known as an all-timer, however, Community struggled to find its tonal footing until its 23rd episode, “Modern Warfare,” the first of the series’ beloved “paintball” episodes which employed exceptional direction from Fast and the Furious franchise stalwart Justin Lin, action movie parodies, and even major narrative developments, including the first sexual tryst between Jeff and Britta.

Mr. Robot built its reputation on defying expectations, whether from delivering mind-blowing plot twists, dread-inducing sequences of shocking violence, or surprising format changes, including an episode within the series’ second season that changed USA Networks’ entire presentation to that of its ’90s style. Yet Mr. Robot‘s most stunning hour came at the midway point of the fourth season, in which the episode showcases a multi-act, one-location play pulled off with stunning cinematography, long-takes, and an emotionally devastating central performance from star Rami Malek culminating in a truly unsettling twist that completely recontextualizes the relationship between Elliot and Mr. Robot.

An adaptation of the British series Murder in Successville, Murderville is one of the more inspired comedies from Netflix in recent memory, built on the premise that Will Arnett’s “Terry Seattle” teams with completely uninformed celebrity guests to solve a murder case. Though Murderville is consistently hilarious, the show really kicks into next gear with its 2022 holiday special, “Who Killed Santa?,” which teams Arnett with his former television co-stars Jason Bateman and Maya Rudolph, as well as several surprise guests, which delivers some absolutely absurd high spots that would seem daunting for a prospective second season to try to top. 

There are plenty of episodes of The Sopranos that you can enjoy separate from the overarching story of the series, from the dark comedy of “Pine Barrens,” the tone-setting tension of “College,” and the brutal shock factor of “Whoever Did This.” But if there’s any episode that almost lives in a space outside of the mob drama, it’s “Join the Club,” an outstanding journey into Tony Soprano’s dream-like alternate reality as he drifts in and out of a coma following an accidental shooting. Not only does the second episode of The Sopranos‘ sixth season thrive on the inherent suspense of the situation, including both of his respective “families” dealing with the touch-and-go nature of Tony’s state, but we also get another immersive trip into Tony’s subconscious, leading to one of the most compelling and analysis-worthy chapters of the entire series.

Donald Glover’s critically acclaimed FX series Atlanta almost always goes above and beyond what you might expect, but it seems the show really settles into a groove when it comes to its bizarre bottle episodes, including an entire episode centered around A Goofy Movie or the mind-melting descent into comedic madness, “Teddy Perkins.” For those unfamiliar, this episode is essentially a two-man show, with LaKeith Stanfield accepting an odd job for a terrifying, Michael Jackson-esque recluse (played by Donald Glover in full facial prosthetic makeup) in an episode that will give you goosebumps any time you’re not full-on belly laughing.

The Walking Dead worked so well for so long because of its way to balance tonal shifts and narrative gut-punches again and again, going from gruesome horror to romantic drama to post-apocalyptic thriller. But the series was rarely as riveting as it was during their “bottle episodes,” which felt more intimate and were frequently molded around the personality of its sole protagonists. “Here’s Not Here” is among their best, dropping the audience in the lap of the long-absent and psychologically traumatized Morgan (played perfectly by Lennie James) as he reintegrates himself into a new reality thanks to the guiding hand of a mysterious stranger (a scene-stealing John Carroll Lynch).

To be fair, almost any episode of The Goes Wrong Show can stand out on its own as a mini-masterpiece of comedy television, but “A Trial to Watch” is the perfect encapsulation of everything that works about the twisted “play of the week” series. From the razor-sharp wit of the script to the gut-busting physical gags, “A Trial to Watch” fires on every cylinder and doubles as the best “gateway drug” into Mischief Theatre’s relentless brand of hilarity.

Firefly may have lasted only 14 episodes and one feature film epilogue (Serenity), but the show’s decades-spanning reputation is stellar for a damn good reason. Of those episodes, fans are usually torn between two as the best of the bunch: those who enjoy the show’s weirder and wackier side might gravitate to “Jaynestown,” but the show never gets as deep and gripping as in “Out of Gas,” which delves into the space smugglers’ past while dealing with a dire situation that places them all in peril.

A surreal tale of hilarious madness, Barry elevated their unique brand of pitch black comedy into something really special in its second season with the Bill Hader-directed “ronny/lily.” This universally celebrated episode shows the series’ titular character forced in a position where he has to assassinate a cop’s ex-wife’s lover, but his plan encounters unforeseen complications, which spirals into the most brain-melting spin on a “bottle episode” that somehow feels completely at-home in the wild world of the aforementioned killer-turned-actor.

One of the most shocking episodes of true crime television ever produced, “The Life and Crimes of New Jack” felt like a true game-changer for Dark Side of the Ring, which delves into some of the most morbid and maddening tales throughout the history of professional wrestling. While most of the show sadly revolves around dead wrestlers or those victimized by the business, “The Life and Crimes of New Jack” digs into the sordid past of ECW legend New Jack (aka the late Jerome Young), who not only admits to his role in a number of controversies in pro wrestling, many of which are shown in all of their horror, but embraces his actions and complicated legacy with zero shame, making the episode really one-of-a-kind when all is said and done.

Noah Hawley’s Legion stood out among the multiple superhero series hitting the airwaves during its tenure by defying expectations, offering a surreal, nightmarish, and slow-burn take on an X-Men character. But while there are usually dazzling images and trippy storytelling devices to keep to Legion‘s sometimes confusing lore, “Chapter 14” stands out among the crowd by offering a multiversal rumination on grief that explores the many life paths down which David Haller may have pursued in the wake of a personal tragedy.

The brainchild of the filmmakers behind The Raid and The Hallow, Gangs of London features the most hard-hitting action on television today in addition to spotlighting the caliber of performance and spectacle often only associated with prestige television. Case-in-point: “Episode 6” (or “Episode 5” for UK viewers) is one of the most intense and thrilling hours of television ever made, and the fact that it almost entirely surrounds characters on the fringe of the series’ narrative makes it an even more accessible watch for those who haven’t seen a second of the show previously.

One of the unsung comedies of the past decade, Review follows Forrest MacNeil (Andy Daly), a man who dedicates his life to reviewing life experiences themselves. The show takes the premise to dark and amazing places, whether it’s Forrest reviewing a “William Tell” scenario or having his interns frame him for a crime he didn’t commit a little too well, but you don’t have to have seen any segment previously to be instantly enthralled by “Pancakes; Divorce; Pancakes,” an episode that sees MacNeil thrown into a hell of his own making that will undoubtedly leave you laughing out loud.

The first season of The X-Files does a lot of table-setting, with the show attempting to find a healthy balance between creepy “monster of the week” tales and paranoid alien conspiracy lore. But with the frequent format changes, the iconic series was able to sneak in one of the best stories it has ever offered, a small screen spin on Silence of the Lambs with Scully’s skepticism put to the test after an enigmatic serial killer (guest star Brad Dourif) who claims to have psychic powers offers to help the FBI capture a dangerous kidnapper.

By design, Poker Face allows viewers to enjoy inpidual episodes as part of a bigger picture but are almost always completely separate from preceding or subsequent chapters. “Escape from Sh*t Mountain” nearly feels like the exception to the rule but in a unique way: With an extraordinary cast and sharp direction from series creator Rian Johnson, “Escape from Sh*t Mountain” puts Charlie Cale (Natasha Lyonne) in unparalleled danger while unraveling a sordid puzzle box mystery punctuated by suspenseful set pieces around every corner.

Most Game of Thrones fans might argue the show was never better than when it focused solely on a single event, with “Blackwater,” “The Battle of the Bastards,” and “The Long Night” standing out among the crowd. But of the series’ battle-centric installations, “The Watchers on the Wall,” is likely the best of the bunch, isolating the audience with the Night’s Watch as they face the Wildling Army in a bloody battle that will keep you on the edge of your seat. In fact, this Neil Marshall-directed episode works so well on its own accord that HBO literally selected the episode to anchor the series’ sole venture into theatrical exhibition, which earned more than $1.5 million during its week-long IMAX run.

Hannibal‘s first season established the series as an incredibly dark procedural that pitted the homicidal titular doctor and troubled agent Will Graham against various imaginative serial killers while planting the seeds of what was to come. As such, many of the show’s initial episodes work quite well on their own, with “Trou Normand,” which features a killer who constructed a totem pole out of corpses, serving as one of the most engaging chapters of the lot.

Let’s be real: Almost every network sitcom takes a mulligan on their first season as they try to find their tonal footing, lest we forget the questionable inaugural outings of The Office, Parks and Recreation, or The IT Crowd. 30 Rock was in a similar position until the arrival of “Black Tie,” a fairly contained episode in which the show embraces its absurdity to the highest degree possible and delivers an absolutely hysterical half-hour of television while fleshing out its colorful and bizarre universe in real time.

When speaking of modern day examples of awesome “bottle episodes,” look no further than “Fly,” the critically-lauded third season episode of Breaking Bad that traps Walter (Bryan Cranston) and Jesse (Aaron Paul) in a meth lab that is at risk of contamination thanks to the presence of a single fly. The pair’s tensions bubble to the surface as they stretch themselves further and further to rid themselves of the pesky insect, but the episode also works perfectly as one can learn so much about each respective character, their situation, and history without having watched a single episode prior, almost as if it works as a “crash course” into the series itself.

Friends could probably throw a dozen of its more celebrated chapters onto this list, especially with their fan favorite “Thanksgiving” episodes, but “The One with the Football” is one of the most enjoyable when viewed in a bubble. Touching on the various neuroses and lingering issues between the core characters, “The One with the Football” continues to raise the stakes with each passing scene while offering big laughs and quotable lines, something that’s oh-so-rare in television comedy, let alone network sitcom fare.

It would be criminal to write this list and leave off one of the best contained episodes in television history, which ironically came about during the last WGA strike 15 years ago in one of Lost‘s most criticized seasons: “The Constant.” The episode follows Desmond, Lost‘s resident hatch dweller, whose consciousness travels through time but learns there could be deadly consequences to his predicament, which can only be stopped if he can find a “constant” that connects him throughout his respective timeframes. Emotional, intense, and mind-bending, “The Constant” is the kind of story that places you in the palm of the storyteller’s hands, regardless of your preconceptions with the series or the loaded main storylines at hand.