20 Best Shows Of 2023 On Itunes

This comedy created by and starring Danny McBride is about a dysfunctional family of superstar televangelists. He plays the eldest son who gets blackmailed with a video from one of his not-so-virtuous nights. Watch it for easy laughs, especially if you’re used to McBride’s brand of humor, but maybe skip it if not. Also with John Goodman and Adam DeVine.

Despite featuring a sharp script and solid performances, Party Down struggled to rake in views when it premiered in 2009, and sadly had to quit after just two seasons in. But since then, its small cast had gone on to become TV luminaries and its sardonic humor garnered newfound appreciation among the younger crowd. Even the show’s hustle culture premise, which was quite novel then, can be found in almost every show now. 

So it’s not a stretch to call Party Down a pioneering comedy. It’s simple and efficient, with each episode taking place at a different event, but it’s also deeply funny and keenly aware of the ironies and hypocrisies of the industry it’s a part of. People, myself included, were afraid that it might lose some of its underdog edge when it was rebooted in 2023, but rest assured, it remains as knife-sharp and hilarious as ever.  

You just wouldn’t expect yet another superhero show from The CW to carry the sort of emotional weight typically reserved for prestige melodramas, but Superman & Lois gets close. In contrast to recent darker portrayals of the Man of Steel, this series allows Clark Kent to remain a nerdy, wholesome dad, whose greatest challenges come from the problems he can’t solve with his powers. In fact, some of the superheroics only slow the show down from doing what it does best: navigating different relationships within the Smallville community, exploring various conflicts that can still pop up in a loving marriage, and looking at how Clark and Lois’s kids deal with the secrecy around having (or not having) powers.

Strong, character-focused writing and mature, measured performances help put Superman & Lois above a number of its superhero contemporaries. It still falls victim to cheesy situations and occasional stretches of monotony (especially in the second season), but its dedication to human drama over action set pieces and expanding its lore makes it easy to be moved by their most personal problems. This is what DC has needed all this time.

In fantasy worlds, races with different lifespans are a given, but rarely does a work actually contemplate how these variations would affect relationships between them. Frieren: Beyond Journey’s End starts after a great war, at the moment of peace, and to the titular elf, her shared journey with the human Himmel and their party feels like a blip in her life, their ten years of friendship blurred amongst her thousand years… until Himmel dies, which shifts her perspective on mortality. Frieren won’t have that much extravaganza we’re used to in other fantasy shows, but the way Frieren tries to reconnect with her former comrades, and the way she remembers their memory through flashbacks, all become a gentle and moving meditation on purpose, meaning, and connection, all paired with outstanding art and some of the best worldbuilding we’ve seen in anime.

Big City Greens is simultaneously loud and laid-back, perfectly in line with its premise. At the heart of it is a healthy family dynamic (the father-son relationship in particular stands out), but it has enough organic tension to invest in beyond the laughs. On that end, its self-aware jokes can be universally funny for kids and grown-ups, and their timing of punchlines is pretty on point. Of course, some episodes have more to them than others; but all things considered, it’s not some empty-headed cartoon, it’s got satisfying resolutions, and the songs are always a welcome treat. Ultimately, a great direction for kids’ comedy adventures to take.

Set in 1930s Hollywood, a decadent city festering with crime and corruption, Perry Mason is a stylish noir series that fully recalls the crime classics of its era. It has the hallmarks of an old-fashioned mystery, the most prominent of which is the titular detective himself, Perry Mason—a boozy antihero with a heart of rusty gold—but it keeps plenty of secrets up its sleeve, making it fresh and surprising at almost every turn. 

Sometimes, it gets ahead of itself and takes on too many plot lines for its own good, but if you can forgive the occasional convolutedness, the show rewards you with shocking twists and rich performances.  

Created by Boyz N’ The Hood director John Singleton, Snowfall is an epic crime drama that tracks the rise of the crack epidemic in the United States, mostly through the lens of Franklin Saint (Damson Idris). Over the seasons, we follow Franklin and a host of characters separately but equally involved in the drug trade. There’s someone from the government, someone from the other side of the border, and someone from a gang. These sectors and more are represented in this large-scale examination of crime and corruption, and though the show initially struggles to tie connections in a cohesive way, it eventually rises to the occasion in compelling ways. 

Snowfall is the type of show that only gets better each turnout, so if you’re not so sure about the first season, you might want to give the next ones a shot to make sure you don’t miss out.

Knowing better than to dwell on its title character’s early life in bondage, Lawmen: Bass Reeves grants him his freedom early on and establishes him as a man of inherent dignity and complex emotion. Even in the first two episodes watched for this review, Reeves (thanks to a stellar performance by David Oyelowo) is defined by a wide range of relationships and skills—all of which is unified in the character’s realization that emancipation has not automatically led to peace, and that America remains a relatively lawless land. It’s all handsomely mounted, with high production values and a willingness to breathe through quiet moments that give its somewhat obligatory western action the gravity it needs.

What does corporate heaven, the Dark Ages, the Oregon Trail, and a post-apocalyptic world have in common? Nothing, except that they are all settings for each season of Miracle Workers. The eccentric comedy anthology series plays out somewhat like a set of extended Saturday Night Live skits, with one of its youngest writers Simon Rich running the show, but the absurd humor works as Rich juxtaposes today’s modern behavior in these novel settings each season. It’s quirky and light on its feet, focusing on silly situations, but through these short episodes, Miracle Workers do create miracles in the way Daniel Radcliffe, Steve Buscemi, and Geraldine Viswanathan’s characters resolve to make a meaningful change, despite terrible circumstances. It’s not as in-depth and profound as The Good Place, but it’s funny and surprisingly witty, dealing with ideas about what’s good and how to get the will to do it.

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.