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For a critic’s ranked watch list, Justice League and Justice League Unlimited take the top spot, followed by Superman: The Animated Series and Supergirl. This is Phil Pirrello’s selection and order in a February 19, 2021 SYFY Wire ranking—an editorial judgment, not an official DC verdict or a complete catalog of every Superman television appearance.
What this ranking includes—and leaves out
The ten entries below are the ten ranked slots in Pirrello’s list. The top slot groups two related series, so it names eleven programs across ten positions. His full article was a 15-entry list: it placed Krypto the Superdog, Superboy, The New Adventures of Superman (1966), The Adventures of Superboy (1966), and Lois & Clark below the ten entries covered here. The list also left out Superman & Lois: it had just premiered, and only a few episodes were available to assess. Its omission says nothing about the later full run.
Other lists make different choices and use different boundaries for what counts as a Superman show; for example, WatchMojo’s Top 10 has a distinct selection. Treat the order as one critic’s preferences, not a consensus score. No comparable audience, ratings, or critical-score statistics accompany this ranking.
The 10 ranked entries
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#10: Krypton (2018–2019)
This prequel is about Seg-El, Superman’s grandfather, rather than Superman as its lead. Its scale and legacy-character connections give it a distinctive place on the list, though Pirrello notes it was canceled after one season. Choose it for a family-and-politics story set in Superman’s ancestral world, not for a conventional Superman adventure.
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#9: Super Friends (1973–1985)
Superman is one of the central heroes in this animated Justice League ensemble. Its appeal is direct, bright Saturday-morning action and a nostalgic take on a team of familiar heroes. It is a different kind of Superman viewing experience from a show built around Clark’s private life or a continuous solo plot.
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#8: Superman (1988)
Ruby-Spears’ short-lived CBS animated series stands out in Pirrello’s assessment for its visual designs, Smallville flashbacks, and a Superman who uses more tactical thinking. Writer Marv Wolfman was involved in the stories. DC also maintains an official series page.
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#7: Legion of Super Heroes (2006–2008)
A younger Superman joins a peacekeeping team in the 31st century. Energetic animation and humor make it accessible, while its kid-friendly emotional themes give the futuristic team premise more than a succession of action scenes.
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#6: Adventures of Superman (1952–1958)
George Reeves’ black-and-white performance and his chemistry with Noel Neill are central to this live-action classic’s appeal. The flying effects reflect the limitations of the period, but that dated craft is part of the show’s historical character. DC’s official page lists Reeves, Phyllis Coates, Neill, Jack Larson, John Hamilton, and Robert Shayne in the cast.
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#5: Justice League Action (2016)
This animated action-comedy puts Superman alongside Wonder Woman and Batman for brisk superhero spectacle. It is a natural pick for viewers who want a lighter, fast-moving ensemble adventure rather than a long coming-of-age drama.
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#4: Smallville (2001–2011)
Smallville follows Clark Kent before he becomes Superman, building its drama around the tension between ordinary adolescence and an extraordinary future. Pirrello values that emotional conflict, while also pointing to melodrama and choices that have dated. It is the strongest match here for viewers interested in Clark’s formative years more than an already-established hero.
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#3: Supergirl (2015–2021)
Superman is a supporting character; his cousin Kara is the lead. Pirrello praises the cast and the show’s optimistic, inclusive tone, while noting uneven plotting. Its high position reflects the appeal of its central hero and ensemble, not how much screen time Superman gets.
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#2: Superman: The Animated Series (1996–2000)
For classic Superman stories in animation, this is one of the list’s clearest recommendations. Pirrello highlights the creative approach associated with Bruce Timm and Alan Burnett, the Art Deco-inspired visual design, and Tim Daly’s voice performance. Stories such as “The Last Son of Krypton” and “World’s Finest” show the range of the series. DC’s official series page identifies executive producer Jean MacCurdy and producers Alan Burnett, Paul Dini, and Bruce Timm.
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#1: Justice League / Justice League Unlimited (2001–2006)
The list’s top position belongs to two connected ensemble series rather than a solo Superman program. Their broad hero cast gives Superman room to play off other characters, and the later stories move into more complex territory. Pirrello especially praises the later characterization of Superman and the climactic conflict with Darkseid. Start here if you want Superman as part of a larger superhero world and value ensemble storytelling.
How to choose what to watch first
| If you want… | Start with… | Why it fits |
|---|---|---|
| Classic solo Superman animation | Superman: The Animated Series | A solo-focused animated series praised for its design, voice performance, and classic-story approach. |
| A wider animated hero ensemble | Justice League / Justice League Unlimited | Superman shares the screen with a large hero cast, with more complex stories later in the run. |
| Clark before he becomes Superman | Smallville | A coming-of-age drama about adolescence and the future hero’s destiny. |
| A live-action period portrayal | Adventures of Superman | George Reeves’ black-and-white performance anchors a mid-century take on the character. |
| A Superman-family prequel | Krypton | Its lead is Seg-El, Superman’s grandfather, and its focus is the family’s ancestral world. |
| Superman as a supporting hero | Supergirl | Kara, his cousin, leads the series; Superman is not the central character. |
The entries differ in medium, era, tone, and how central Superman is. A solo animated adventure, a live-action classic, a young-Clark drama, and an ensemble series answer different viewing moods, so the ranking is most useful as a set of starting points—not a claim that one format is objectively superior.
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