30 Best Shows Of 2023 On Amazon Prime

You don’t necessarily need a lot of money to make a sci-fi series good, but it doesn’t hurt to have either. In Silo, high production value ballasts a solid script and committed acting to make an impressively detailed and astonishing future world set deep in the underground.

No one knows why or how they got to where they are, and part of the show’s charm is that it’s able to sustain that mystery and hold off exposition until absolutely necessary. A master class in storytelling (the pilot episode is one of the best I’ve seen in a while), Silo is an exciting and prestigious entry into the sci-fi genre—closer to the gritty likes of Dune and Westworld than to the fizzier Doctor Who and Star Trek.

Even without doing the important and long overdue work of uplifting Native American voices, Dark Winds manages to be an intriguing mystery, layered with complex performances and bolstered by the majestic expanse of the American Southwest (in the ‘70s no less!). Finally released from the shackles of supporting roles, Zahn McClarnon shines here; he’s in top form as the gritty but softhearted police officer who protects his tribe from encroaching federal forces. The mysteries that propel the show are compelling too; they have the same beats as any you’d expect from a crime thriller, but they’re seeped deep into Native American mysticism, making them intriguing and wholly unique. 

Created by Janine Nabers and Donald Glover (Atlanta), Swarm is a dark and bloody deep dive into fan culture. It follows Dre (Dominique Fishback), a young woman whose obsession with a Beyoncé stand-in takes a dark turn after the unexpected death of a loved one.

Artful, daring, and legitimately scary, Swarm is one of the bolder shows to come to streaming in a while. It doesn’t hold back, not with the commentary nor with the blood, which can be too much for some viewers, but if you were thrilled by films like Misery and The King of Comedy, then this mind-blowing take on celebrity mania will certainly have you hooked.

Imagine if Showtime’s survival epic Yellowjackets was a comedy, and being stranded with your high school friends resulted not only in ethical and moral dilemmas but a lot of witty banter and major bonding as well.

Then you’d have something like Class of ‘07, an apocalyptic series with the irreverent humor of many millennial shows out there. It’s every bit as funny, addictive, and deep as you’d hope it would be, with the show excellently blending bleak circumstances with quirky jokes and hopeful epiphanies—kind of like how The Good Place manages to make a breezy comedy out of death and the afterlife. In fact, Class of ’07 is reminiscent of many comedic gems, including Derry Girls in its all-girls setup and Bridesmaids in its female-forward crassness. And like both stories, Class of ’07 offers heartwarming insights into the power and perplexity of female friendship.

Be that as it may, Class of ’07 is a distinct charmer. This Aussie show is delightful, hilarious, and utterly watchable in its own right.

Deadloch begins like any other self-serious police procedural. A body washes up on shore, sparking widespread fear and a twisty mystery that eventually and intriguingly reveals layers of itself. Local officer Dulcie Collins (Kate Box) takes to it like it’s the most important case in the world, and for some reason, everything we see onscreen is tinged in gray, as if the town is set under a perpetual stormcloud. 

Then a joke finds its way into the dialogue, followed by another, and another. The show, it turns out, is as much of a sitcom as it is a mystery, with Dulcie acting as the straight man grounding us through the kookiness of it all. The rest of the characters are actual characters, wonderfully zany and larger-than-life as they bumble around and commit small-town gaffes. A hearse screeches to a halt when a random passerby yells, “You’re going the wrong way!”, and a millennial policewoman exclaims, “I can’t believe I’m on a stakeout! It’s so aggressively police-y.” 

It’s quite the risk to be both funny and serious, to dole out this many jokes while solving multiple murders, but Deadloch pulls it off with so much charm to spare. It’s a refreshing take on the buddy-cop series, ambitious and modern and unafraid to laugh at itself every once in a while.

It sounds bizarre to say that out of all the superhero media out there, it’s a cartoon that seems to have the most realistic storylines. But it’s also true. Thanks to its serial format and animation style, Invincible has more freedom to explore universal feelings like guilt and pressure, but also problems that are specific to this world, such as the moral ramifications of killing for good, for instance, or whether there is such a thing at all. Superheroes also question how human they are and what they deserve. It goes in deep, a bit like The Boys but with less irony and more humanity. Also, it’s just a very refreshing world to enter, watch, and explore. There are overlaps in heroes to be sure, but Invincible gives them their own spin, plus the 2D animation gives it a nostalgic charm.

The Killing Vote takes the “vote to kill” storyline and pairs an anonymous vigilante with an ambitious yet apathetic officer, creating an intriguing setup that questions how everyday inequalities extend to the justice system. The first episode is quite disturbing as it tackles child pornography, but with this pilot, the series is able to cement an expectation it fulfills in succeeding episodes: this is a severe show that tackles severe cases and severe criminals. Coupled with immersive performances across the board (the star-studded cast includes K-drama staples Park Hae-jin, Park Sung-woong, and Lim Ji-yeon), The Killing Vote is already off to a high-intensity start. If it keeps this up, it very well could be one of 2023’s best.

Black Snow has the sleek style of a modern murder mystery, but its concern with Australia’s colonial past that sets this show apart. As a neo-noir series centered on a murder, the show has all the classic elements: the hardboiled detective, the suspicious townsfolk, and the murder. As the murder is set in 1994, nostalgic summer-tinged high school scenes make it easy to root for justice for the show’s young victim.

But the series stands out as it’s always mindful of Isabel Baker, always concerned with her and her dynamics with her friends, family, and her South Sea Islander (ASSI) community. Supported by the strong performance of newcomer Talijah Blackman-Corowa, and even consulting the ASSI community personally in the show’s development and production, Black Snow is excellent not just as a murder mystery but also as a depiction of a community that’s rarely portrayed on screen.

Structured more like a network procedural than a gritty streaming miniseries, the TV adaptation of The Lincoln Lawyer feels easy, even nostalgic, to watch. The formula is simple: in every episode, Mickey handles a new case (most of them wrongful convictions against people on the fringe), all while dealing with a larger, more complicated case and his inner demons. There to help is his trusty driver Izzy (Jazz Raycole), who gets him everywhere in his Lincoln Town Car, and his two ex-wives, with whom he shares a surprisingly healthy relationship. All these elements come together to make an entertaining legal drama. It’s not the most compelling thing out there, but it’s consistently enjoyable and endlessly likable.

Between HBO’s The Rehearsal and Peacock’s Paul T. Goldman, it would seem that genre-bending reality-based shows are having a moment. Among the more lighthearted and enjoyable ones out there is Jury Duty, which follows a trial involving improvisational actors, save for one: Ronald Gladden, a friendly everyman who has yet to realize that everything around him, from the inane case to his oddball co-jurors, is fake. Every now and then though, thanks to the sheer ridiculousness of it all, Ronald looks like he’s at the cusp of figuring it out, but the guy (bless his soul) is just too damn nice to get there. 

And that’s what makes Jury Duty so watchable. It finds a heart in the ever-hopeful Ronald who, as the appointed foreman, goes out of his way to help his fellow jurors. Whether that means reading a script with James Marsden (who plays a hilariously narcissistic version of himself here), building up nerdy genius Todd’s confidence, or even just encouraging ol’ Barbara to stay awake, he’s there every step of the way. More than just laugh at Ronald’s ignorance, we’re also asked to look at his capacity for caring for people, which makes Jury Duty not just funny and experimental, but unexpectedly endearing as well. If you’re looking for a show that’s both easy and eccentric, familiar and new, then you should put this on.