100 Best British TV Shows to Watch Right Now

It’s amazing how shows fueled only by fast talk can feel as gripping as any thriller out there. The Diplomat is cerebral and heavy on geopolitical jargon, but somehow, it manages to feel genuinely exciting, each new episode impossible to not play next. Thanks is due in large part to Keri Russell who, fresh out of her incredible stint in The Americans, returns here as messy and intense and endearing as ever. On the one hand, The Diplomat is about the delicacy of diplomacy, about how every decision made at this level has ripples of consequences throughout the globe. But it’s also, amusingly, a marriage story. Russell plays a woman who has long been defined by her more renowned if egotistical husband, played perfectly by Rufus Sewell. They have a complex relationship that is as much a career partnership as it is a romantic one, and part of the show’s charm is blending all these story arcs seamlessly. Fans of West Wing, Veep, and Homeland will find much to like in this series, especially because of its informative takes and engaging performances.

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.

This series’ illustration style and colors are so soothing—a blend and pop of color to make a calming universe, where fantasy elements are introduced with no prior context but fit in snugly with the warm vibes. Hilda and other characters approach things with softness and trust in their communication, which gives both the show and the viewer a feeling of safety and self-assuredness. If you love a good overall gentleness to your shows, you’re in for a treat with Hilda: the writing is excellent and friendly, the humor is on-point when it comes in, and the beautiful lore develops at a welcome, inviting pace.

Each episode of the medical show The Pitt follows an ER team over the course of an hour. There are no time jumps or montages, this is real-time for them. Countless patients come and go, their injuries ranging from terrifying to deadly, and whether they live or die depends on how fast the team responds. Leading everyone is Dr. Robby Rabinavitch (Noah Wyle), who is himself recovering from the trauma of losing a colleague during the COVID pandemic. However, unlike Grey’s Anatomy, the drama of the characters in The Pitt takes a backseat to the patients’ issues. That’s not to say we don’t get to know the characters well, just that the writers have very smartly and subtly found a way to integrate who they are into what they do. Much like the medical staff who front it, The Pitt is a highly efficient show. We experience a roller coaster of emotions and get what feels like a lifetime’s worth of medical exposure in a span of an hour. It’s intense, chaotic, disturbing, and at times even triggering. But it also feels essential to watch. It’s a welcome reminder of our mortality and the humanity needed to keep it at bay.

Pressured by the feeling that everyone is having sex except him, Otis (Asa Butterfield), like most teenagers, is very uncomfortable with sex, masturbation, and intimacy in general. In addition to the standard-issue teenage awkwardness, to make things worse, he grows up in a sex-positive household under the watchful eyes of his mother Jean, played by Gillian Anderson, who is a sex therapist. Obviously, the subject is omnipresent as are erotic art, oversized dildos, and coitus-craving couples all over the house. The twist comes when he transforms his tribulations into a business model by teaming up with bad girl Maeve Wiley (Emma Mackey) to counsel his teenage peers on sexual issues of all kinds. As you can imagine, uninitiated teenagers have a lot to offer in that department. Apart from its raunchy premise and explicit images, this is a hilarious, diverse, and warm teen comedy thanks, in particular, to the writing of playwright Laurie Nunn. Lauded by critics for its honesty, this future comedy classic will surely teach you a thing or two about sexuality yourself.

Arabella is a Twitter-famous writer from London who has one night to submit a draft of her second book. She gives herself an hour’s break that night to go out for a drink with a close friend. When she gets back, she realizes that far more than one hour had passed, that she had blacked out, and that she had bruises all over her body. Like the excellent Chewing Gum, the BBC/HBO miniseries I May Destroy You is a Michaela Coel one-woman show: she is the showrunner, the writer, co-director, and leading actress. And whatever Coel touches, she makes it personal and without compromises. I May Destroy you is based on her experience of being sexually assaulted while making Chewing Gum. To make sure she told this story right, she turned down a $1 million deal from Netflix over creative ownership. It is not only dizzyingly told and brave, but also original and funny. A timely drama if there ever was one!

In the dark comedy This Is Going to Hurt, Ben Whishaw stars as junior doctor Adam, who’s barely keeping it together in the understaffed and under-equipped ob-gyn ward of Britain’s NHS hospital. We see, often in sad and graphic detail, what goes on in a public hospital and the heavy toll this takes on both the patients’ and medical staff’s personal lives. It’s hard to look away, especially when Adam addresses us in the first person.

Even more upsetting? The miniseries is based on a memoir. Former medical trainee Adam Kay wrote a best-selling book detailing his horrific time at the NHS, and now he serves as executive producer and writer of the series.

Industry has all the markings of an HBO show: an abundance of sex, drugs, alcohol, and sure enough, an inextinguishable affinity for the F word. Like Succession, The Sopranos, and even Euphoria before it, it revels in its freedom to explore the nitty-grittiest parts of its subject matter and put its gruesome findings on full display. But instead of capitalism, organized crime, or teenhood, Industry incisively takes on hustle culture.

Through the eyes of four new hires at a premier investment bank in London, we see the dangerous means people put themselves through in order to achieve some semblance of respect, recognition, or at the very least stability. Bullying is rampant, hazing is normalized, competition is encouraged, and blind loyalty is rewarded. The characters are so flawed and damaged, you’ll often find yourself rooting for their demise. But you’ll also be glued to their arcs and storylines. Will they break the cycle of abuse or continue it? Can they actually change the system from within or does that remain a utopian dream? These questions are hardly charming, but Industry has a way of making them engaging, exciting even. It fully inhabits the meanness you can and should only enjoy behind the safety of a TV screen.

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.

In BBC’s The Capture, a young soldier’s murder conviction is overturned thanks to submitted video evidence. But before he can enjoy his newfound freedom, a different video—this time live CCTV footage—places him at the scene of a new crime. The proof seems damning, but the deeper Detective Rachel Carey (Holliday Grainger) digs into the case, the more she learns about the wider conspiracy underneath it.

The Capture is everything you’d expect from a British police procedural: intelligent, lean, and sufficiently dramatic: no extra fat and unnecessary bits to be found here as action and mystery take center stage. And although TV may already be brimming with thrillers like it, what sets The Capture apart is its eerie insight into our so-called “post-truth” era. Instead of hardened criminals, our heroes go up against deepfakes, disinformation, and 24/7 surveillance. The series lets us know that the threat manipulated technology poses isn’t mere science fiction anymore—it’s evolved into an unfortunate and unbeatable reality.