35 Best Apple TV Shows Right Now

Trying is a realistic but charming take on couples venturing to build a life and stable future for themselves. Heavy themes are tackled here, like infertility, infidelity, and parenthood, but the immensely likable couple that is Nikki and Jase guide us through the murky ups and downs of them all. Their heart and humor aren’t just comforting to watch, they’re also inspiring in a TV age obsessed with heavy dramatics. Like Ted Lasso, Abbott Elementary, and other well-meaning shows like it, Trying is a bit of lighthearted fare that we’d do well to indulge in every now and then.

Based on Epic magazine’s column of the same name, Little America is an anthology series based on real-life immigrant stories. The episodes vary in plot, topic, and even era—they’re as diverse as the characters themselves—but they are all connected by one thing: the hope of achieving the American Dream. In one episode, an Iranian father sets out to build his family’s dream home in a bid to prevent his son from moving out. In another, a second-generation Korean-American struggles to find his calling, much to the dismay of his war-survivor parents (“What do you know about suffering?” the mother, played by Parasite’s Lee Jung-eun asks when her son complains about med school).

Co-created by Lee Eisenberg, Kumail Nanjiani, and Emily Gordon (The Big Sick) and directed by Sian Heder (CODA), Little America is a heartwarming collection of stories, as moving as it is urgent. It’s easy to miss this over splashier shows on TV, but trust that this one’s worth tuning into.

The show’s premise is plain, but it’s also endlessly, edge-of-your-seat gripping. It’s steady and unhurried but never boring, and each episode, which represents an hour on the seven-hour flight, gives you a sliver of hope for the passengers, especially since they have pro-negotiator Sam Nelson (Idris Elba) on their side. Or do they? The show has fun playing with Sam as the anti-hero, but his heart is too big and golden to achieve that complexity. It also doesn’t bother to paint the hijackers as anything other than terrorists (at least not in the first few episodes screened for review). Instead, the show narrowly chases that mid-flight suspense, and it works. It successfully builds up to it with small but revealing moments. 

At the back of all the hubbub, there is also a running joke about what happens when you get stuck with the worst people you know. The passengers are characters you may be familiar with—the family with loud babies, the nosy seatmate forcing a chat, the lowkey racist eyeing everyone who doesn’t look like him—and it gets doubly entertaining to see them collaborate when they otherwise won’t.

For those familiar with the original book series, you’ll already know what kind of show to expect. The Apple+ cartoon is centered on the two titular amphibians going through universal adventures that makes or breaks your day. From finding the willpower to resist eating delicious cookies, to hoping a friend would contact you when you’re lonely, each episode keeps a gentle sort of humor, poking lighthearted fun at the differences between the emotional Toad and more sensible Frog. With each episode’s twenty minute runtime, and two adventures per episode, Frog and Toad is a sweet, nostalgic series that’s easy to breeze through for millennial parents and their kids.

Swagger could’ve easily been a generic sports drama about an ambitious prodigy who, against all odds and through sheer determination, makes it to the top. It is that, but it’s also so much more. Swagger offers biting commentary on race and economic realities, as well as heart-warming and relatable stories about family, love, and coming of age. It’s finely acted, with everyone from the kids and their parents to the coaches offering lived-in and realistic performances. The show is most reminiscent of the 2000 film Love & Basketball, which would make sense since the latter is directed by Swagger director Reggie Bythewood’s spouse, Gina Prince-Bythewood. Swagger and Love & Basketball have unique differences, of course, but both deeply understand and powerfully speak to the Black experience.

In Shrinking, Jason Segel plays Jimmy Laird a newly-widowed therapist who’s trying to make amends with his loved ones after isolating himself for so long. It sounds depressing, but Shrinking has the delightful buoyancy of a show like Ted Lasso (which makes sense given that they’re created and directed by the same person) and even Trying, that other Apple TV+ show that masterfully balances seriousness and silliness. Like them, Shrinking is warm and affecting, but it has one undeniable advantage: Harrison Ford. Ford plays Segel’s boss, and if you aren’t onboard yet, Shrinking is definitive proof that Harrison is actually, objectively hilarious.

In the multilingual Drops of God, French author Camille and Japanese sommelier Issei battle for a wine expert’s multi-billion-dollar inheritance. Camille may be the expert’s daughter, gifted with an incredible sense of smell and taste, but Issei is the so-called “spiritual son,” the protégé who filled in Camille’s shoes upon her abrupt departure from her father’s life. Whoever wins a series of wine-related tests gets to keep the expert’s estate and continue his legacy.

Based on the Japanese manga of the same, Drops of God is strangely but enjoyably competitive as it plunges you deep into the complex world of wine—through intense competitions, we get a closer look at the drink’s many layers, long history, and even its cultural connotations. This nice blend of knowledge and rivalry makes it a thrilling watch, but the show also has an unexpected but welcome family element to it that softens the edge a bit and gives it a sweet aftertaste. If you were ever looking for a smart but heartfelt show about wining and dining, this is it.

While the show won’t teach you chemistry (or at least not enough for non-chemists to understand certain dialogue), Lessons in Chemistry is an enjoyable adaptation of the bestselling novel. Taking what makes the novel great, the period mini-series, like many period shows, highlights the historical inequality, but does so in a way that’s organic. Protagonist Elizabeth Zott, like Brie Larson, is just simply ahead of her time, while misogyny misinterprets her words and actions. The series also expands on other characters, but still manages to keep a steady pace, through clever rearrangement and reinterpretation of the novel’s plot points. Adding in the lovely costumes, and a stronger love story to start, Lessons in Chemistry might be Apple TV+’s answer to The Queen’s Gambit, albeit set a decade earlier.

With the various police procedurals available online, it can feel like an oversaturated genre, at best. At worst, with the struggles the world has to do with regards to the justice system, police procedurals can glorify the institution. Criminal Record examines this, but it doesn’t give the easy answers other shows have when discussing the systemic failure of the police, especially when it comes to race, age, and sex. Peter Capaldi stands in as the old guard, though his skin-crawling presence keeps Dan Hegarty’s real intentions an enigma until the very end. However, it’s Cush Jumbo as the empathetic June Lenker that drives the show, with her persistence meeting Hegarty’s every move, and her frustrations mirroring the real rage the world feels with regards to past injustices. The way the two clash creates a novel rookie-veteran dynamic that makes Criminal Record so striking.

Dark Matter may be a sci-fi series, the latest in Apple TV+’s ever-growing roster of the genre, but it’s tonally closer to the sexy, psychological thrillers that used to be so rampant in the early aughts. In the first few episodes, at least, it’s more invested in Jason’s relationship with his wife Daniela (Jennifer Connelly) and doubles as an interrogation of their marriage. Are they really happier together or do they secretly wish they could go back in time to reset their fates? Eventually, the series hews closer to its sci-fi foundations as Jason embarks on a nerve-racking journey to find Daniela and their son, Charlie (Oakes Fegley) amid infinite realities. It’s at this point where the show becomes truly exciting to watch: we see different (sometimes apocalyptic and other times utopic) versions of their life in Chicago and begin to wonder if a happy ending is still in the realm of possibilities or not.