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The following contains spoilers for some of the episodes mentioned.

Recently, I tasked seven Atlantic writers and editors with selecting a perfect episode of TV. What emerged was a list that spans genres, generations, and cultural sensibilities. Their recommendations, which include the Veep episode “C**tgate” and a SpongeBob episode that examines “the empty promise of the good life,” are proof that identifying good TV is, at its core, a gut instinct. A perfect episode must find a way to burrow itself in the viewer’s mind, ready to be recalled in today’s crowded field of television.

When I posed the same challenge to The Daily’s readers earlier this week, I was met with enthusiasm and exasperation. “This is an impossible question,” Eden wrote back. “It’s like asking for the perfect song, the perfect movie, or the perfect book.” That being said, “I can think of five off the top of my head!”

Eden’s list includes “Forks” from The Bear, “Through the Looking Glass” from Lost, “The Suitcase” from Mad Men, and “Long, Long Time” from The Last of Us. And that doesn’t even cover “Friday Night Lights, or The Wire, or Insecure, or Derry Girls, or The Sopranos, or The Wonder Years, or My Brilliant Friend, or Curb Your Enthusiasm,” Eden added. I can sympathize—the breadth of options is dizzying.

Maybe some criteria would help. Our culture writer Sophie Gilbert wrote that “the thing I love most is when a television series tells a complete story in miniature—a stand-alone short that puts a particular dynamic or relationship or cast member front and center.” Radio Atlantic’s podcast host, Hanna Rosin, argued that, “unlike a perfect movie, a perfect episode of television does not need to surprise you or make you cry. It just needs to move your beloved or loathed characters through the formula in an especially excellent way.” And Suzanne, 59, offered her own formula: “The script must be: (1) tense or funny; (2) warm and loving to the viewers, performers, and crew; and (3) move the overall story forward.”

Of course, the benchmarks for what makes an episode perfect are as subjective and varied as viewers’ selections. But a thorough analysis of The Daily’s reader responses has uncovered some patterns. At least five people named a West Wing episode: Two readers nominated “Two Cathedrals,” which shows “the effects of death on time,” wrote David, from Chicago; L. Hawkins, 70, recommends “Noel,” adding that viewers should “listen for the sirens as the episode fades out.”

“Long, Long Time” from The Last of Us was mentioned by both Eden and Bob—it offers “a lesson that love may find you at any time, any place, and under the most unexpected circumstances,” Bob wrote. Two readers agreed with Atlantic film critic David Sims, who insisted in our recent roundup that “the richest cache [of perfect episodes] to search is the ‘case of the week’ entries of The X-Files.” Lisa, 47, wrote that she was thrilled to see “Clyde Bruckman’s Final Repose” in our list (she also recommends the series finale of Derry Girls).

Other readers highlighted examples of good comedy. In only 22 minutes, “Remedial Chaos Theory” from Community “tells seven different stories, with each timeline building on the last,” E.F., 46, wrote. “The Ski Lodge” from Frasier stands out to Bruce, 52, who said that the episode is “riddled with quotable laugh-out-loud lines.” And L.M., 61, laughed until she cried watching a loopy Steve Martin in Only Murders in the Building’s “Open and Shut.”

For some, a perfect episode tells a story that reverberates throughout their life. Sharon, from California, wrote about an episode she remembers watching on Hallmark Hall of Fame, which follows a grief-stricken child who reads a story about magical silver shoes. To his astonishment, he finds skates that look identical, which he puts on to go skating in hopes of bringing back his dead parent. “As life went on and I became the mother of a child who lost his father in childhood, I’ve recalled the episode more than once,” Sharon wrote. “Now, at 80 years old, it still breaks my heart.”

Related:

Eight perfect episodes of TV The 13 best TV shows of 2024

Here are three Sunday reads from The Atlantic:

The oligarchs who came to regret supporting Hitler The last days of American orange juice America’s “marriage material” shortage

The Week Ahead

Captain America: Brave New World, a Marvel action movie starring Anthony Mackie and Harrison Ford (in theaters Friday) Season 3 of Yellowjackets, a thriller series about a girls’ soccer team whose plane crash-lands in the wilderness (premieres on Paramount+ Friday) Beartooth, a novel by Callan Wink about two brothers near Yellowstone who agree to commit a heist to settle their debts (out Tuesday)

Essay

Illustration by The Atlantic

ADHD’s Sobering Life-Expectancy Numbers

By Yasmin Tayag

When I was unexpectedly diagnosed with ADHD last year, it turned my entire identity upside down. At 37, I’d tamed my restlessness and fiery temper, my obsessive reorganization of my mental to-do list, and my tendency to write and rewrite the same sentence for hours. Being this way was exhausting, but that was just who I was, or so I thought. My diagnosis reframed these quirks as symptoms of illness—importantly, ones that could be managed. Treatment corralled my racing thoughts in a way that I’d never before experienced.

Read the full article.

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Catch Up on The Atlantic

The government’s computing experts say they are terrified. Nobody wants Gaz-a-Lago. Trump’s assault on USAID makes Project 2025 look like child’s play, Russell Berman writes. How Trump lost his trade war

Photo Album

Naga sadhus, or Hindu holy men, arrive in Prayagraj, India. (ANI / Rahul Singh / Reuters)

Take a look at these photos of Maha Kumbh Mela, a religious festival in India that’s also the largest gathering in the world.

P.S.

I realize it’d be a bit unfair to make everybody else share their perfect episode without naming mine: the series finale of Fleabag. There are many good things I can point out about this episode—Claire’s mad dash to happiness, Fleabag’s final confession, the Alabama Shakes song that plays over the show’s last moments. But above all else, it moved me, reminding me that love can outlast the person who prompted it.

— Stephanie

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Tom Brady is the greatest quarterback in NFL history (for now). He is not the greatest NFL broadcaster of all time (for now). So why is he calling the Super Bowl tonight, and why is Fox Sports paying him $375 million over 10 years—more than any other broadcaster in sports history—as if his excellence in the former job automatically qualifies him for the latter?

By the simplest conventional analysis, Brady’s initial returns make the contract look like a bad bet. His performance in the booth has received mixed reviews, to put things charitably. In a season when NFL ratings have declined overall, they fell more for games on Fox than on CBS, and more people tuned in to CBS on average to watch football than to watch Brady’s late-afternoon slot. In fairness, as Austin Karp at Sports Business Journal pointed out, the games on CBS this year happened to be closer in the fourth quarter, and many people watching Fox might have clicked away because the outcome was a foregone conclusion.

Applying any normal ROI analysis to Brady’s contract is difficult for at least four reasons: He is not a normal person, “celebrity sports broadcaster” is not a normal job, the NFL is not a normal industry, and televised football is not a normal business.

For starters, Tom Brady is … uh, Tom Brady. (Yes, this is the high-quality analysis you come to The Atlantic for.) He is the GOAT of quarterbacks by conventional career statistics; he is also the most decorated quarterback in NFL history by championships, a part-owner of an NFL franchise, one of the most famous people in the world, and one of the most annoyingly handsome people alive. If you want somebody with this résumé (or, frankly, even trace elements of this résumé) to commit to working with you for a substantial period of time, you’re going to part with a gargantuan amount of cash.

[Read: How the economists took over the NBA]

Even when they’re not all-time talents with supermodel jawlines, NFL broadcasters are paid like kings. Al Michaels, the legendary play-by-play guy with Amazon, is reportedly paid $15 million annually. So is the nearly-as-legendary Joe Buck, at ESPN. Tony Romo, the former Dallas Cowboys quarterback who provides occasionally oracular commentary for CBS, gets closer to $17 million a year. At $37.5 million a year, Brady’s salary seems eye-bleedingly high compared with basically any job, but in the context of other famous commentators, his salary is merely eye-watering.

Nor is Brady just an NFL broadcast personality; he’s a celebrity NFL broadcaster. Celebrity television hosts are mascots, emcees, and gold-plated utility players. For example, Jimmy Kimmel is not only paid handsomely to host a late-night show; he’s also well known within Disney for being the ultimate team player who’s game to schmooze a big advertiser in a pinch or to host the Disney “upfronts,” where the networks show off their upcoming programming to advertisers and media. Fox Sports can theoretically use Brady in a similar way. For their latest IndyCar promotional campaign, Fox taped a short cameo with Brady joking about his jawline. How much marginal ad revenue will the Fox Sports analytics department assign to that one Brady spot? I have no idea, but the very possibility of being able to deploy Tom Frickin’ Brady as a corporate asset is worth an amount of money that exceeds his immediate value as a broadcaster.

There’s another way that Brady’s value to Fox Sports might be greater off-camera than on. Ratings seem more sensitive to the quality of the matchup than to the quality of the commentary from the broadcast booth. At a time when the NFL is trying to expand to streaming—sending Thursday games to Amazon and Christmas games to Netflix—Fox needs every edge it can get to negotiate the best games. Brady, who might be able to leverage his deep connections to the league in a pinch, is the rarest asset. He helps Fox present its broadcast to the league in terms that no other network can match: “We have the GOAT. They don’t.”

[Read: A fake yellow line changed football forever]

Football bestrides American culture like nothing else. It is the last vestige of the defunct 20th-century mainstream and the keystone to the entire multi-hundred-billion-dollar cable bundle. Last year, the NFL accounted for 72 of the 100 most watched television broadcasts. The previous year, football accounted for 93 of the top 100. (Election coverage and an unusually high-profile World Series accounted for almost all of the difference.) Every year, Fox Sports spends about $2 billion every year for the rights to broadcast NFL games. Tom Brady’s contract is less than 2 percent of that annual licensing fee. Because protecting the relationship with the NFL is worth tens of billions of dollars, an understandable calculation from Fox Sports could be: Does it really make sense to play moneyball with the NFL, or should we just suck it up and pay a 2 percent GOAT tax to guarantee that the most famous person from the most important cultural industry is ours for the next decade, as streaming giants threaten to crash the gates?

Look at it one way, and Tom Brady is paid almost $40 million a year to provide a television service that doesn’t seem to actually drive television viewership. But look at it another way, and you can see Brady as a corporate mascot, a brand-marketing tool, a break-glass-in-case-of-emergency asset, and an affordable “tip” to pay the NFL on top of its licensing deal to secure the best football matchups, which actually do drive viewership.