The 40 Best Character-Driven Shows to Watch Now

Led by visionary salesman Joe MacMillan (Lee Pace), skilled engineer Gordon Clark (Scoot McNairy), and punk prodigy Cameron Howe (Mackenzie Davis), Halt and Catch Fire trails the risky dawn of the tech revolution—beginning with the invention of the personal computer in the 80s and winding through the dark corners of the primitive internet in the 90s. 

Its exciting premise is anchored by top-notch performances, but despite having all the makings of a prestige show, it never took off in the same way Mad Men, Silicon Valley, or even Succession did.  

Hailed as “the best show that nobody watched,” critical darling Halt and Catch Fire struggled to secure wide viewership throughout its four-season run. But what it lacked in ratings it certainly made up for in storytelling. The series continued to one-up itself each season as it centered on its characters and their believably bumpy journeys to self-discovery, all while consistently scoring where it mattered most: quality and ingenuity. 

It may have never reached the heights of popularity that other prestige antihero dramas of its time did, but The Americans stayed true to itself for six incredibly consistent seasons. In the vein of “real” spy shows and films, it’s much more deliberately paced, with the bulk of the drama taking place not through shootouts or technical wizardry but through the gradually fraying relationships between characters and their respective beliefs. As the Cold War stretches on for Philip and Elizabeth Jennings (played by real-life couple Matthew Rhys and Keri Russell), the former begins to feel increasingly drained by all the violence he’s committed, wishing for a mundane American life; while the latter maintains a steely dedication to her mission, which also puts her loved ones in harm’s way.

Throughout The Americans’ run, it creates a stunningly detailed tapestry of both Soviets and Americans agents giving themselves over to causes that they still don’t fully understand. But perhaps even more so than a story of loyalty to one’s nation, it becomes a story about the constant demands of marriage and of making connections in a dangerous world despite the risk of betrayal. It never announces its themes loudly, but by the end the weight of these characters’ isolation and disillusionment is unlike anything else you could experience on TV.

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.

Based on true events, Black Bird follows James Keene (Taron Egerton), a narcotics dealer sentenced to ten years in jail. He makes a deal with the authorities to reduce his sentence, but in return, James has to befriend their deadliest convict—a child murderer played by the excellently terrifying Paul Walter Hauser—and extract a confession out of him before it’s too late.

If you’re a fan of gripping crime thrillers, anti-heroes, star-studded shows, and watching British actors do a perfect American accent, then Black Bird is right up your alley. The miniseries is also an excellent showcase of topnotch performances; Egerton and Hauser bring the house down in their excellently staged two-handers, Greg Kinnear is reliably sturdy as the determined detective, and Ray Liotta in one of his final roles is devastating as an ailing father. 

Beginning as a small-town murder mystery but eventually taking the shape of a police procedural, a spy drama, and a sociopolitical thriller, Sherwood fully reinvigorates the crime genre for British TV. With every twist comes a reminder of how deeply alienated the people of this former mining village have become from themselves, each other, and the outside world. Because underneath all the investigation lies a boiling tension: the scars of a past conflict among trade unionists on strike, the “scabs” who crossed the picket line to continue working, and police forces further provoking all this friction. These internal divisions haunt everything in Sherwood, brought to life by a superb ensemble—David Morrissey, Robert Glenister, Lesley Manville, Adeel Akhtar, and more—who all carry the weight and shame of being left behind by the world around them.

Set in the 1980s, this captivating series uncovers the dark side of a Japanese-style nightclub called “Light” in Taipei’s red-light district, challenging the façade of its joy and glamour. Beginning with the shocking discovery of a dead body uncovered by a typhoon, the show delves into the lives of its complex characters, revealing the personal dramas of the mamasans, Rose and Sue, and every “Light” hostess. While some may find its pace across 3 seasons tedious, Light the Night is a must-watch for fans of slow-burning suspense with strong performances, impactful dialogue, and a story with the intricate layers of a well-crafted mystery.

Fun, wholesome, and relatable, Haikyu!! celebrates the highs and lows of high school volleyball. The show starts off focused on two freshmen volleyball players from opposing middle school teams, who have to learn teamwork in order to be accepted into their high school club. While the team might initially come across as self-conscious, over-the-top, highly dramatic characters, it’s clear that they’re coming from a shared love for the competitive sport (and that they also just happen to be going through puberty). However, the show’s strategic storytelling makes us care about the team: explanations about volleyball tactics are taught just at the right moment in order to heighten the stakes of every player’s move. Simultaneously, every player moves into each new plot point as a natural consequence of their backstory and their perception of each event. Haikyu!!’s agile approach makes the show a compelling watch, and a great place to start if you’re new to anime.

Sci-fi is already a pretty wild genre. Anything can happen in this fantasy world, so it takes a special kind of skill to make a new entry seem original once more. But Pantheon throughout its eight-episode run manages to be just that thanks to its resonant storytelling, inventive editing, and brilliant, heartfelt premise. 

The scope of the story is as wide as it is wild: it’s about the unregulated rise of “uploaded intelligence,” after all, where human minds are fully uploaded and digitized for corporate use. Global tech companies are in an arms race to transform this discovery into weaponry, as they are wont to do, without giving mind to the human and environmental costs. Challenging them is the unlikely duo of Maddy and Caspian (Katie Chang and Paul Dano, respectively) who, as direct victims of this greed, have more than a few grievances to express. 

It’s exciting to see how far the dystopia of Pantheon goes, but anytime it flies too high, it’s always grounded by the fleshed-out humanity of Maddy and Caspian. The series runs on their self-discovery and existential crises as much as it does on extraordinary circumstances. Expect to shed a tear or two while watching this series. 

As a continuation of the original animated series done in a similar visual style, X-Men ’97 could have very easily settled for cheap nostalgia pandering to fans old and new. But what we get instead is a show that hardly seems pressured by expectations and focuses all its energy on simply telling a good story with powerful themes. The best X-Men stories have always touched on prejudice, systemic inequality, and the struggle to come to terms with one’s own differences from society. And this new series follows right along, already communicating so much character within its first two 30-minute episodes while maintaining dire stakes for its entire ensemble.

And even with the occasional awkward line reading, the quality of the writing always shines through—whether in an emotionally charged conversation between Cyclops and Jean Grey about what a parent’s responsibility should be; in the empathetic words of Storm to the rest of her team; or in one of several show-stopping speeches given by Magneto, who finds himself reluctantly aiming for balance between humans and mutants more than ever before. And in every exchange or monologue, there’s always an unease about the situation the X-Men find themselves in, caught between protecting those who wish them dead and leaving this responsibility behind to begin their own lives.

Plenty of things go on between love and separation, marriage and divorce. There is the pleasant high of intimacy, the devastating low of heartbreak, the frustration of misunderstanding, and the bliss of friendship. Fleishman is in Trouble explores all this from the point of view of recent divorcees Toby and Rachel Fleishman, but interestingly, this POV is narrated by their friend, Libby. The result is a multifaceted take on love, entertaining and enlightening in its nuance. Based on the bestselling book by essayist Taffy Brodesser-Akner, the series is also strikingly written. Whether it’s Libby’s storytelling you’re hearing, Toby’s witticisms, or Rachel’s dagger-sharp remarks, prepare to cry and laugh in equal measure.  

In a case of perfect casting, Jesse Eisenberg plays the neurotic Toby, Claire Danes his unhappy wife, and Lizzy Caplan their quick-witted friend. Other sitcom greats make appearances too, like Adam Brody and Josh Radnor, making Fleishman Is in Trouble highly watchable on all fronts.