20 Best TV Shows with A-List Actors

Set in 1980s Hollywood, Winning Time doesn’t just borrow from the decade, it imbibes it in its very fiber. It’s dizzyingly fast-paced and dazzlingly glamorous, pulling out all the stops from the cinematography, which employs a hybrid of film and tube camera, to the all-star cast, which includes Sally Field, Adrien Brody, and Jason Segel. It’s a technical feat, but amazingly, it also excels as a character study for Lakers legends Magic Johnson (Quincy Isaiah) and Kareem Abdul-Jabbar (Solomon Hughes), as well as the team’s charismatic owner, Jerry Buss (John C. Reilly). The writers go in-depth into their histories and weave a story so gripping, you can’t help but binge all 10 episodes in one go (and research the truth right after). If you’re an NBA fan, you might be disappointed to know that a big chunk of the script doesn’t adhere to real events, but you will no doubt be delighted to watch basketball in the way it was intended to be watched: riveting and nail-biting, with a lot of drama and glamor to match. 

It may have never reached the heights of popularity that other prestige antihero dramas of its time did, but The Americans stayed true to itself for six incredibly consistent seasons. In the vein of “real” spy shows and films, it’s much more deliberately paced, with the bulk of the drama taking place not through shootouts or technical wizardry but through the gradually fraying relationships between characters and their respective beliefs. As the Cold War stretches on for Philip and Elizabeth Jennings (played by real-life couple Matthew Rhys and Keri Russell), the former begins to feel increasingly drained by all the violence he’s committed, wishing for a mundane American life; while the latter maintains a steely dedication to her mission, which also puts her loved ones in harm’s way.

Throughout The Americans’ run, it creates a stunningly detailed tapestry of both Soviets and Americans agents giving themselves over to causes that they still don’t fully understand. But perhaps even more so than a story of loyalty to one’s nation, it becomes a story about the constant demands of marriage and of making connections in a dangerous world despite the risk of betrayal. It never announces its themes loudly, but by the end the weight of these characters’ isolation and disillusionment is unlike anything else you could experience on TV.

As a mystery-driven crime drama, Mare of Easttown treads pretty familiar territory without necessarily digging too deeply into the sociopolitical context it seems to hint at throughout its seven-episode run. But as the miniseries’ focus shifts from the usual procedural elements to more personal drama among the townspeople of Easttown and certain past events they haven’t moved on from, the series gets to evolve as well. The details of who was responsible for the inciting crime are ultimately less important than the conditions in the town’s history that led to the crime in the first place, whether by consequence or by fate. Some reveals here may come off as anticlimactic to some, but the series ultimately has more on its mind that’s definitely worth paying attention to.

Based on true events, Black Bird follows James Keene (Taron Egerton), a narcotics dealer sentenced to ten years in jail. He makes a deal with the authorities to reduce his sentence, but in return, James has to befriend their deadliest convict—a child murderer played by the excellently terrifying Paul Walter Hauser—and extract a confession out of him before it’s too late.

If you’re a fan of gripping crime thrillers, anti-heroes, star-studded shows, and watching British actors do a perfect American accent, then Black Bird is right up your alley. The miniseries is also an excellent showcase of topnotch performances; Egerton and Hauser bring the house down in their excellently staged two-handers, Greg Kinnear is reliably sturdy as the determined detective, and Ray Liotta in one of his final roles is devastating as an ailing father. 

While the dual lead performance concept can easily be a recipe for disaster at times (cf. Gemini Man), the always amazing J.K. Simmons (Whiplash) shows everybody how it’s done in this tense sci-fi thriller. When the risk pays off, it pays off big time! Set in a counterfactual 1980s East Berlin, Counterpart unfolds in two parallel worlds that were bridged by East German scientists. When a flu pandemic kills millions in the first world, the two worlds enter a Cold War-like state.

Both Simmons’ characters (Simmonses?) work in the institution (“interface”) that oversee this bridge between earths: Howard Silk, a low-level employee who transmits messages he doesn’t understand, and Howard Silk Prime, a clandestine agent working for the parallel world’s interface institution. While this may seem like an overly complicated plot, don’t fret. To be sure, Counterpart is complex, twisted, and raises some big questions, but it’s also a gripping political thriller where everyone tries to kill somebody somewhere, like Bourne. It’s the best of both worlds – pun intended. But if you’re into the philosophical aspects of sci-fi, screenwriter Justin Marks does not disappoint, offering some new answers to the age-old question of what makes us who we are: nature or nurture.

What if the UK’s MI5 was run not by sleek secret agents, but rather, a bunch of second-rate, hand-me-down spies? Slow Horses gives us a taste of that as it centers on Slough House, a division of MI5 that serves as a detention center for their smart but hopelessly damaged goods.

In this six-part miniseries, the Slough House agents reluctantly exchange their humdrum duties for a big and unexpected case. Led by the eccentric Jackson Lamb (a very funny and effective Gary Oldman), they track a group of Right-wing terrorists and their hostage before it’s too late. With its brisk pace, endearingly bumbling characters, and deft balance of suspense and humor, Slow Horses might just be one of the finest thrillers out there.

When Elle Fanning and Nicholas Hoult play power-hungry monarchs, what else more is there to say? The actors are very much in their element here, having already perfected similar roles in many films prior (one of them being The Favourite, which was co-written by The Great’s creator). They are the picture of elegance and royalty, and we need no convincing that they can hold 18th-century court.

Which is why when The Great takes us into its true, crude depths, they transform from simply credible to incredible. Aided by a wonderfully offbeat cast and the one-two punch of a hilarious and raunchy script, Fanning and Hoult deliver splendidly.

To be sure, this satirical show is not always funny. Sometimes, it takes dark turns to underscore the cruelty of the era, and other times it is genuinely moving in its drama. But this revisionist take on Russia’s Last Empress will always be a ball to watch, if only to see the artifice of aristocracy be stripped off and mocked with acerbic wit and might.

“My father took me to see Butch Cassidy and the Sundance Kid, and from that day forward, the movies have been the church of my choice.” So begins The Last Movie Stars, a documentary following the lives of Hollywood legends and inseparable sweethearts Paul Newman and Joanne Woodward—written, narrated, and directed by Ethan Hawke.

The six-part docuseries is as much a story of Hawke and his love for cinema as it is of Newman and Woodward. It may sound indulgent to some viewers, but the series is all the richer for it. Hearing Hawke talk about his love for this couple is like hearing your good friend fanboy over his ultimate idols—the sheer giddiness is simply irresistible.

Hawke brings together a star-studded cast to read long-forgotten interviews (George Clooney plays Newman and Laura Linney plays Woodward), and the result is a delightful, nostalgic ode to Hollywood’s most unforgettable couple.

Plenty of things go on between love and separation, marriage and divorce. There is the pleasant high of intimacy, the devastating low of heartbreak, the frustration of misunderstanding, and the bliss of friendship. Fleishman is in Trouble explores all this from the point of view of recent divorcees Toby and Rachel Fleishman, but interestingly, this POV is narrated by their friend, Libby. The result is a multifaceted take on love, entertaining and enlightening in its nuance. Based on the bestselling book by essayist Taffy Brodesser-Akner, the series is also strikingly written. Whether it’s Libby’s storytelling you’re hearing, Toby’s witticisms, or Rachel’s dagger-sharp remarks, prepare to cry and laugh in equal measure.  

In a case of perfect casting, Jesse Eisenberg plays the neurotic Toby, Claire Danes his unhappy wife, and Lizzy Caplan their quick-witted friend. Other sitcom greats make appearances too, like Adam Brody and Josh Radnor, making Fleishman Is in Trouble highly watchable on all fronts. 

From the very start, Poker Face lays out all its cards—it shows us who dies and in the hands of whom. That is how an episode always opens, but in each case, we’re in a different corner of rural America, bumping elbows with different folks. That’s because our unwitting detective, the human lie detector Charlie (Natasha Lyonne) is on the run from a crime syndicate. So with nothing but her trusty car and the clothes on her back, she races through the US while making friends and enemies along the way.

There is a pattern to the story, but the thrill lies not in seeing when Charlie inevitably solves the case but in how she does it, which is full of heart and wry humor. Lyonne is absolutely magnetic, and her performance is only one of the show’s many hit-making elements. With a star-studded cast, beautiful Americana backdrop, and masterful editing (whose camerawork and coloring recall the show it references, Columbo), Poker Face sure is a trip to watch.