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Ghana's opposition leader John Mahama officially won the country's election on Monday, easily defeating the ruling party candidate after voters punished the government's economic management and high living costs. Mahama won 56 percent of the votes in Saturday's presidential ballot, compared to the ruling party candidate and Vice President Mahamudu Bawumia, who secured 41 percent, the electoral commission said announcing official results. The landslide comeback for former president Mahama ended eight years in power for the New Patriotic Party (NPP) under President Nana Akufo-Addo, whose last term was marked by Ghana's worst economic turmoil in years, an IMF bailout and a debt default. "These eight years have witnessed some of the darkest periods of our governance," Mahama told crowds of supporters blowing horns and whistles in his party office in Accra. "This mandate also serves as a constant reminder of what fate awaits us if we fail to meet the aspirations of our people." Bawumia, a former central banker, had already quickly conceded defeat on Sunday, acknowledging Ghanaians wanted change after the government failed to shake off widespread frustration. Bawumia also said the Mahama's National Democratic Congress (NDC) party had won the parliamentary vote in Saturday's election. Official results for the parliament are still being tallied. Mahama, 66, had previously failed twice to secure the presidency, but in Saturday's election he managed to tap into expectations of change among Ghanaians. He promised to "reset" Ghana, usher in economic revival and renegotiate parts of the country's $3 billion IMF accord. In his acceptance speech, Mahama promised reforms and "severe" measures to bring Ghana back on track. "The journey is not going to be easy... because the outgoing government has plunged our dear nation into the abyss," he said. "I am certain that we shall win the battle." With a history of democratic stability, Ghana's two major parties, the NPP and NDC, have alternated in power equally since the return to multi-party politics in 1992. But Ghana's economic woes dominated the 2024 election, after the continent's top gold producer and world's second cacao exporter went through a debt crisis, the default and currency devaluation. Turnout for Saturday election was 60.9 percent, a slide in participation from 79 percent in the 2020 election, results showed. With a slogan "Break the 8" -- a reference to two, four-year terms in power -- Bawumia had sought to take the NPP to an unprecedented third mandate. But he struggled to break from criticism of Akufo-Addo's economic record. While inflation slowed from more than 50 percent to around 23 percent, and other indicators stabilised, economic concerns were still a clear election issue for most Ghanaians. That frustration opened the way for a comeback from Mahama, who first came to the presidency in 2012 when he was serving as vice president and then President John Atta Mills died in office. During campaigning, the former president also faced criticism from those who remember his government's own financial tribulations and especially the massive power blackouts that marred his time in office. bur/pma/giv
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One of my top shows of 2024 actually premiered in 2021. That’s because it took a couple of years for the Australian series “The Newsreader” to make its way Stateside. Alas, it was only legal to stream in the U.S. for a handful of weeks in September and then — pffft! — it was gone before most people had even heard of it. Well, I have great news. The show will be available once again, this time via Sundance Now (accessible through the AMC+ streaming platform), which has licensed the first season. Premiering Dec. 19, it stars Anna Torv (“Fringe”) and Sam Reid (“Interview with the Vampire”) as TV reporters in Melbourne, circa 1986. At the outset, Reid’s character exudes big loser energy, which is such an amusing contrast to his work as Lestat. The show is unexpectedly funny and terrifically Machiavellian in its portrayal of small-time office politics, and I’m thrilled audiences in the U.S. will get another shot at watching it. Overall, 2024 offered a modestly better lineup than usual, but I’m not sure it felt that way. Too often the good stuff got drowned out by Hollywood’s pointless and endless pursuit of rebooting intellectual property (no thank you, Apple’s “Presumed Innocent” ) and tendency to stretch a perfectly fine two-hour movie premise into a saggy multi-part series (“Presumed Innocent” again!). There were plenty of shows I liked that didn’t make this year’s list, including ABC’s “Abbott Elementary” and CBS’ “Ghosts” (it’s heartening to see the network sitcom format still thriving in the streaming era), as well as Netflix’s “A Man on the Inside” (Ted Danson’s charisma selling an unlikely premise) and Hulu’s “Interior Chinatown” (a high-concept parody of racial stereotypes and cop show tropes, even if it couldn’t sustain the idea over 10 episodes). Maybe it just felt like we were having more fun this year, with Netflix’s “The Perfect Couple” (Nicole Kidman leading a traditional manor house mystery reinterpreted with an American sensibility) and Hulu’s “Rivals” (the horniest show of 2024, delivered with a wink in the English countryside). I liked what I saw of Showtime’s espionage thriller “The Agency” (although the bulk of episodes were unavailable as of this writing). The deluge of remakes tends to make me cringe, but this year also saw a redo of Patricia Highsmith’s “The Talented Mr. Ripley” on Netflix that was far classier than most of what’s available on the streamer. Starring Andrew Scott, I found it cool to the touch, but the imagery stayed with me. Shot in black and white, it has an indelible visual language courtesy of director of photography Robert Elswit, whether capturing a crisp white business card against the worn grain wood of a bar top, or winding stairways that alternately suggest a yawning void or a trap. As always, if you missed any of these shows when they originally premiered — the aforementioned titles or the Top 10 listed below — they are all available to stream. Top 10 streaming and TV shows of 2024, in alphabetical order: The least cynical reality show on television remains as absorbing as ever in Season 4, thanks to the probing questions and insights from the show’s resident therapist, Dr. Orna Guralnik. Everything is so charged. And yet the show has a soothing effect, predicated on the idea that human behavior (and misery) isn’t mysterious or unchangeable. There’s something so optimistic in that outlook. Whether or not you relate to the people featured on “Couples Therapy” — or even like them as individuals — doesn’t matter as much as Guralnik’s reassuring presence. Created by and starring Diarra Kilpatrick, the eight-episode series defies categorization in all the right ways. Part missing-person mystery, part comedy about a school teacher coming to grips with her impending divorce, and part drama about long-buried secrets, it has tremendous style right from the start — sardonic, knowing and self-deprecating. The answers to the central mystery may not pack a satisfying punch by the end, but the road there is as entertaining and absorbing as they come. We need more shows like this. A comedy created by and starring Brian Jordan Alvarez (of the antic YouTube series “The Gay and Wondrous Life of Caleb Gallo”), the show has a sensibility all its own, despite a handful of misinformed people on social media calling it a ripoff of “Abbott Elementary.” There’s room enough in the TV landscape for more than one sitcom with a school setting and “English Teacher” has a wonderfully gimlet-eyed point of view of modern high school life. I’m amused that so much of its musical score is Gen-X coded, because that neither applies to Alvarez (a millennial) nor the fictional students he teaches. So why does the show feature everything from Laura Branigan’s “Gloria” to Exposé’s “Point of No Return”? The ’80s were awash in teen stories and maybe the show is using music from that era to invoke all those tropes in order to better subvert them. It’s a compelling idea! It’s streaming on Hulu and worth checking out if you haven’t already. A one-time tennis phenom accuses her former coach of coercing her into a sexual relationship in this British thriller. The intimacy between a coach and athlete often goes unexplored, in real-life or fictional contexts and that’s what the show interrogates: When does it go over the line? It’s smart, endlessly watchable and the kind of series that would likely find a larger audience were it available on a more popular streamer. There’s real tenderness in this show. Real cruelty, too. It’s a potent combination and the show’s third and strongest season won it an Emmy for best comedy. Jean Smart’s aging comic still looking for industry validation and Hannah Einbinder’s needy Gen-Z writer are trapped in an endless cycle of building trust that inevitably gives way to betrayal. Hollywood in a nutshell! “Hacks” is doing variations on this theme every season, but doing it in interesting ways. Nobody self-sabotages their way to success like these two. I was skeptical about the show when it premiered in 2022 . Vampire stories don’t interest me. And the 1994 movie adaptation starring Tom Cruise and Brad Pitt wasn’t a persuasive argument to the contrary. But great television is great television and nothing at the moment is better than this show. It was ignored by Emmy voters in its initial outing but let’s hope Season 2 gets the recognition it deserves. Under showrunner Rolin Jones, the adaptation of Anne Rice’s novels is richly written, thrillingly inhabited by its cast and so effortlessly funny with a framing device — the interview of the title — that is thick with intrigue and sly comedy. I wouldn’t categorize the series as horror. It’s not scary. But it is tonally self-assured and richly made, rarely focused on the hunt for dinner but on something far more interesting: The melodrama of vampire existence, with its combination of boredom and lust and tragedy and zingers. Already renewed for Season 3, it has an incredible cast (a thrilling late-career boost for Eric Bogosian) and is well worth catching up with if you haven’t already. It’s been too long since the pleasures of banter fueled a romantic comedy in the spirit of “When Harry Met Sally.” But it’s all over the place in “Nobody Wants This,” one of the best shows on Netflix in recent memory. Renewed for a second season, it stars Kristen Bell as a humorously caustic podcaster and Adam Brody as the cute and emotionally intelligent rabbi she falls for. On the downside, the show has some terrible notions about Jewish women that play into controlling and emasculating stereotypes. You hate to see it in such an otherwise sparkling comedy, because overall Bell and Brody have an easy touch that gives the comedy real buoyancy. I suspect few people saw this three-part series on PBS Masterpiece, but it features a terrific performance by Helena Bonham Carter playing the real-life, longtime British soap star Noele “Nolly” Gordon, who was unceremoniously sacked in 1981. She’s the kind of larger-than-life showbiz figure who is a bit ridiculous, a bit imperious, but also so much fun. The final stretch of her career is brought to life by Carter and this homage — to both the soap she starred in and the way she carried it on her back — is from Russell T. Davies (best known for the “Doctor Who” revival). For U.S. viewers unfamiliar with the show or Gordon, Carter’s performance has the benefit of not competing with a memory as it reanimates a slice of British pop culture history from the analog era. The year is 1600 and a stubborn British seaman piloting a Dutch ship washes ashore in Japan. That’s our entry point to this gorgeously shot story of power games and political maneuvering among feudal enemies. Adapted from James Clavell’s 1975 novel by the married team of Rachel Kondo and Justin Marks, it is filled with Emmy-winning performances (for Anna Sawai and Hiroyuki Sanada; the series itself also won best drama) and unlike something like HBO’s far clunkier “House of the Dragon,” which tackles similar themes, this feels like the rare show created by, and for, adults. The misfits and losers of Britain’s MI5 counterintelligence agency — collectively known as the slow horses, a sneering nickname that speaks to their perceived uselessness — remain as restless as ever in this adaptation of Mick Herron’s Slough House spy novels. As a series, “Slow Horses” doesn’t offer tightly plotted clockwork spy stories; think too deeply about any of the details and the whole thing threatens to fall apart. But on a scene-by-scene basis, the writing is a winning combination of wry and tension-filled, and the cumulative effect is wonderfully entertaining. Spies have to deal with petty office politics like everyone else! It’s also one of the few shows that has avoided the dreaded one- or two-year delay between seasons, which has become standard on streaming. Instead, it provides the kind of reliability — of its characters but also its storytelling intent — that has become increasingly rare. Nina Metz is a Tribune critic.
