20 Best Shows Of 2023 On Itunes

Domestic abuse is a delicate matter, and onscreen depictions always run the risk of being either too sensational or mopey. The Lost Flowers of Alice Hart, thankfully, is neither. It sensitively and creatively tells the story of Alice and all the other survivors who June shelters on her flower farm. More than just decor, these flowers serve as a lifeline to the girls: not only do they grow and sell them to earn a living, but they’ve also made a special secret language out of them. Different blooms mean different things, and when you live in a world where your pain is systematically ignored, it makes sense to communicate in hiding. Granted, the Lost Flowers of Alice Hart can get overly dramatic at times. Some plotlines include hiding who the child’s real father is and fighting to get custody of said child. But it’s unfair to dismiss the series as mere melodrama. It’s doing important work by shedding light on the manifold ways women are mistreated, and it does so in a commendably original and artful way.

Like some of his best roles, Bob Odenkirk plays the unlikeable but relatable lead in titular Lucky Hank. He’s a celebrated writer, but hasn’t written for years. He’s the head of the literary department, but works for an underfunded college in the middle of nowhere. He’s constantly judging other people’s lives while hating his own, no matter how good it seems to outsiders. In other words, he’s a smart fool who gets in the way of his own success and happiness, and with the right actor (which Odenkirk most certainly is), those types are always fun to watch. Bleak and dry, but fun nonetheless. And thankfully, despite what the title suggests, Lucky Hank isn’t a sole character study but a wonderfully packed ensemble dramedy. We’re just as privy to Hank’s life as we are to his academic colleagues, students, and family, who all speak to the realness of working in academic spaces.

Part court drama, part medical procedural, and part detective mystery, The Apothecary Diaries is the sort of anime that easily handles multiple genres and does it so well. With the insatiably curious Maomao investigating certain court ailments as a poison tester, it naturally creates a new mystery of the week, all deduced from her apothecary beginnings and her life in the red light district. It’s also integrated well into the main plot, as Maomao’s whole promotion starts from her sense of justice, with each mystery carefully revealing the court dynamics, various motivations each player has, and how the overall world of this Imperial China-inspired court operates. The Apothecary Diaries ties it all together with excellent writing.

From the creators of the beloved sitcom Brooklyn Nine-Nine comes Killing It, an offbeat but endearing show starring Craig Robinson. Down on his luck and out of viable financial options, the show’s lead (also named Craig) turns to python hunting in Florida to earn some extra income.

It’s an absurd premise that gives way to fun and hijinks, but for all its silliness, Killing It touches on important topics such as class and race. It walks a tightrope between comedy and criticism and gracefully succeeds, all while having something of value to say.

A parody of the true crime industry, Based on a True Story is as dark as a comedy can go. It follows Ava and Nate (Kaley Cuoco and Chris Messina), a couple who, in an attempt to save their marriage and bank accounts, partner up with serial killer Matt (Tom Bateman) to create a podcast about Matt’s killing sprees. It proves to be a hit in murder-obsessed America, but Ava and Nate soon realize that their success comes with a bloody price. 

Based on a True Story is the type of show that has a lot of fun trying on different hats—all at once, it’s a satire, thriller, horror, and romance—and though it’s not always successful at balancing them out, there’s something addictive about watching it try. Even when the constant tonal shifts and murky morals threaten to tear the show down, you can’t bring yourself to look away. This is mostly thanks to Cuoco and Messina, whose dynamic chemistry and live-wire performances all but prove their status as sitcom veterans. Bateman is also effectively terrifying, able to maintain his killer guise amidst ever-shifting genre backgrounds. 

Often, the show treads the fine line between making light of and shedding light on violence in modern-day America. But the risk pays off, making it a killer watch for anyone willing to give it a try.

It’s ironic that Pete Davidson is the least interesting part of Bupkis, an autobiographical series about the ins and outs of Davidson’s life. The half-hour comedy takes on the same raunchy, stoner, and self-deprecating humor Davidson is known for, so if you’ve seen some of his stand-up specials, SNL segments, and the film The King of Staten Island (a much better outing, in this writer’s opinion), you’ll know what to expect in Bupkis: a lot of Davidson revisiting his childhood trauma and poking fun at himself for being the internet’s reluctant star.  

That’s all fine and funny enough, but what really makes Bupkis much better than your standard sitcom is the people around Davidson. If you can appreciate anything about Davidson, it’s his appreciation for the people most others would usually forget after fame. Hometown locals, childhood friends, extended families—they’re all here and they all shine much brighter than the series’ star. Brilliantly, Joe Pesci plays Davidson’s grandfather, Edie Falco his mother, and Bobby Cannavale his uncle. They’re fully fleshed and superbly acted, bringing much-needed tenderness and humbleness to the picture. It’s a pleasant surprise to see them in a series that is teetering on the verge of self-indulgence. So with Bupkis, you can come out of curiosity, but you will stay for the supporting characters, who truly live up to their role and hold this show up with mighty skill.

Mesmerizing as its idol, Oshi No Ko is a spellbinding adaptation of the original manga hit. Centered around an idol’s secret twin children, this binge-worthy anime brilliantly takes the reincarnation trope to tackle the Japanese entertainment industry. The premise alone is brilliant, but stunning animation and catchy tracks elevate the source material. The show isn’t afraid to go in-depth– as the twins progress through their careers, certain scenes effectively explain quirks in the industry that regular viewers wouldn’t know. However, the show remains mindful of its young characters, ensuring a careful discussion without going too far. Oshi No Ko uncovers what makes stars so captivating, without sacrificing the glitz and glamor in its explanation.

It’s chilly this summer with vengeful spirits, cursed hands and double pupils in the horror-comedy Dark Gathering. Keitarō Gentōga has always attracted ghosts, and despite his fear, he is ready to socialize again after two years. Unlucky for him, his first student as a tutor is Yayoi Hôzuki, his best friend’s cousin obsessed with finding the ghost that stole her mother. Although Yayoi’s obsession with using a reluctant Keitarō is played up for laughs, her moe appearance preserves a level of disturbing (thanks to her double pupils). By episode two, the story still feels shallow, but there’s enough spook to carry you through the heat. 

It’s a new term at Kimberly Magic School, an academy with an 80% survival rate. Immediately we are introduced to the school’s magical compound and our two main leads, Oliver Horn and Nanao Hibiya. Nanao, in particular, sticks out in her samurai garb and nonchalance toward danger (and most social cues), which is saying something since this is already an odd world filled with talking plants, magical creatures, and a busty, threatening headmistress. Because it chooses worldbuilding over backstories, the fantasy series doesn’t seem as formulaic as it could be. But it does expertly set up the dangers the students will experience in the next seven years. It’s also interesting that the magical students rely on swords instead of the usual wands; the possibility of even deadlier fights later in the series makes it an easy draw.

After delving into the secrets of giants under the sea, James Cameron and National Geographic now explores the giants above ground in Secrets of the Elephants. Natalie Portman narrates the intricate social behavior of four elephant families from around the world, as each family adapts to their specific environments, as well as living beside, and sometimes, together with, the human world. Of course, the show offers picturesque views and fun facts about these gentle giants, but it recalls the same sociological approach that defined Secrets of the Whales as they treat the elephants’ behaviors as its own human-like culture.