The 100 Best Miniseries of All-Time

Wild Wild Country follows the relocation of a hippie cult from India to Oregon in 1981. You haven’t heard of Wasco Country? Nor had anybody else back then. This ghost town with a handful of god-fearing inhabitants, soon became Rajneeshpuram, the cult’s new homestead, home to a thousand disciples, and the subject of nationwide media attention. Spoiler: the town’s old residents did not think much of it.

Will there be debaucherous orgies, long-haired drop-outs, preaching and chanting? Yes. But, through historical footage and interviews with contemporaries, including Ma Anand Sheela, the power-hungry secretary of the orange-clad guru, you will also be absorbed by chemical weapons and attempted murder, one of the biggest immigration fraud case in US history, and, of course, the mysterious and not-so-mysterious ways that a charismatic cult attracts and manipulates its followers. Across six one-hour episodes, this Netflix miniseries by brothers Maclain and Chapman Way gives a captivating, exhaustive, and powerful account of one of the stranger moments in American media history.

The story is so jaw-dropping that it almost had to be put to film: steadily sawing through pipes and cutting through walls, two convicted murderers managed to break out of a maximum-security prison in upstate New York in 2015. The elegant and realistic dramatization was released by Showtime in 2018 and directed by none other than Ben Stiller in what marks his TV directorial debut.

The protagonists of this unlikely feat included the shrewd, boss-type felon Richard Matt (Benicio del Toro) and the much younger, excitable David Sweat (Paul Dano). You will hardly recognize Patricia Arquette in her role as Joyce ‘Tilly’ Mitchell, a married prison employee overseeing the sewing workshop, who supported and had sexual relations with both men. She rightly received a slew of awards, including a Golden Globe in 2019, for her stunning transformation and brilliant performance.

While the pacing of this somber thriller might be a bit too slow for some, the stellar performances of the main cast are enough to keep you on the edge of your chair. It’s a cinematic TV rendition of an unbelievable story and an engrossing view inside the life and minds of disenfranchised Americans.

If you watched Homeland, you might recall that the central question was whether the main character was good or bad. In The Honourable Woman, the question is whether anybody is good or bad.

With Maggie Gyllenhaal in the Golden-Globe-winning leading role, this Netflix/BBC production centers in on Nessa Stein, the heiress to a large arms company involved in the Israeli–Palestinian conflict. When her father is assassinated, Stein aims to keep the business alive by diversifying it, essentially moving it away from the war business, and is met with fierce opposition. Her life becomes even more dangerous when a secret from her past comes to haunt her.

Created by the multi-talented actor/writer Hugo Blick, the writing of this British miniseries effortlessly dodges stereotypes and easy answers and builds a balanced complexity that’s never boring. With extremely well-crafted characters, you will find yourself on the edge, never feeling completely safe with any one of them. The perfect ingredients for a top-level political thriller.

Have you finished Wild Wild Country and are up for another binge-worthy documentary? If so, 1994 might be a compelling option for you to consider. Released on Netflix for the 25th anniversary of the events in 2019, most of the story would be hard to believe if it wasn’t… you know… based on facts and backed up by archival footage and interviews. As it often goes with documentaries, truth is stranger than fiction.

In 1994, the Ejército Zapatista de Liberación Nacional, also known as the EZLN or the Zapatistas, declared war on the Mexican government. This happened after the North American Free Trade Agreement, or NAFTA, was signed into law. Incumbent Mexican president Salinas (pictured above) selected prominent reformist presidential candidate Luis Donaldo Colosio to become his heir. Just three months later, Colosio was shot in Tijuana on live television.

1994 is a rich, informative, and fascinating account of this violent and tumultuous year in Mexican history, featuring in-depth interviews with many of those pulling the strings at the time, including former president Salinas. As the people being interviewed point out, understanding the relevance of 1994 in Mexican politics will help you understand the country’s political and economic landscape today.

Olivia Colman and Hugh Laurie (House) star in this espionage mini-series based on a John le Carré novel.

A quick mini-series that spans six episodes, it’s about a former soldier (Tom Hiddleston) who, while working as a night manager for a hotel in Cairo, Egypt, ends up getting hold of very sensitive information. He is then recruited by an intelligence officer (Olivia Colman) to bring down a corrupt businessman (Hugh Laurie.)

A highly-acclaimed TV show not to be missed by lovers of spy stories, John Le Carré films (A Most Wanted Man, Tinker Tailor Soldier Spy), or just anyone who appreciates excellent acting.

This excellent drama miniseries starts in the middle of one night when Alex, a 25-year-old, grabs her daughter and flees her home. She is chased by her abusive boyfriend but doesn’t look back. She has 18 dollars to her name.

The story is based on a real-life memoir called “Maid: Hard Work, Low Pay, and a Mother’s Will to Survive”, where Alex’s character (based on executive producer Stephanie Land) does everything to get her daughter and herself to a safe environment. She gets a trial at a cleaning job.

Maid does such a good job at portraying the many stresses that Alex goes through: will she have enough gas? Will she find a safe place to sleep? Will she get to the cleaning job on time? And as the series progresses, the questions become different but the stress is the same – except in episode five, in which she cleans a weird house, and then it becomes an actual horror movie.

And on every other aspect, the show delivers. The cast, led by Margaret Qualley and her real-life mother Andie MacDowell, is phenomenal. Each episode is long enough to leave an impact but not too long to be melodramatic. The scenery (set in Washington state but filmed in British Columbia) is gorgeous. It’s such an all-around great show.

It’s a near-impossible feat to turn something as tragic and devastating as the Chernobyl disaster into a gripping and enlightening tale, but the HBO miniseries does just that. Through insightful storytelling, affecting performances, and sharp dialogue, Chernobyl the show stuns viewers into awareness and, at its best, galvanizes them into action.

It’s a well-crafted five-hour series that does just enough in the way of humanizing a distorted reality, bringing to light the all-too-relevant consequences of power plays and placing the interests of the political elite and national image over real, human lives.

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.

Based on the 2015 Pulitzer-Prize-winning article “An Unbelievable Story of Rape”, here is one of the best Netflix productions in a while and definitely the best detective-centric show since the first season of True Detective. The eight-part drama examines the case of a 16-year-old from Washington, who claims she has been raped in her bedroom before rescinding her statement after fierce questioning of the police. Later, her initial story is substantiated by a similar incident surfacing elsewhere.

Two detectives, played masterfully by Toni Collette and Merritt Wever, refuse to assume the young girl’s guilt and embark on a relentless journey to catch the perpetrator. In addition to being a thrilling watch and insanely bingeable, Unbelievable was highly praised for shifting the attention from the abusers to the victims and making their stories heard in a true crime format. Everybody should listen closely!

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.

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. 

Something happens in Forever episode three that I can’t tell you about. If I did it, I would spoil the show up for you. I don’t want to do this. So I will try very hard to sell you on the first two episodes, just remember, the show gets very different afterward. Both in premise, general vibe, and humor.

Here’s my best pitch: Fred Armisen. That face, that tone, that voice. How can you resist a TV show that doesn’t have many characters and yet he’s the main one.

Pitch No. 2: Maya Rudolph. She is funny, expressive, and whenever she looks at something, that thing instantly gains a lot of interest. This is the best performance of her career so far, I would wager.

An HBO show that’s almost too suspenseful to watch. It stars Riz Ahmed as a kid who steals his father’s cab to go to a party, only to later find himself tangled up in a crime. Everything leading up to his arrest, while not necessarily indicative of anything criminal, boasts cut-throat suspense. And that’s the magic of this show, it’s taking familiar crime story arcs, adding flawless acting and incredible writing, and perfecting the thrills. You’ll want to binge this show but, if your anything like me, your heart might not be able to take it.

We call it a Netflix true crime documentary, but, in fact, this compelling four-parter is much more than that. It homes in on the fate of an immensely empathetic, soft-spoken, and likable family man, who loses his teenage son to drug-related violence in New Orleans’ notorious Lower 9th Ward in 1999. With corruption rampant in the city’s police department, he takes matters into his own hands and investigates his son’s murder by himself.

In doing so, main protagonist Dan Schneider notices a rise in opioid prescriptions from one doctor in particular. Fueled by a relentless determination to protect other children from addiction, he quits his job and begins gathering evidence against this doctor and, by extension, the company responsible for the sale of the notorious opioid-based painkiller Oxycodone: Purdue Pharma. In the course of his investigation, Schneider records all his findings, evidence, and intimate thoughts on audio and video. This sense of immediacy and the pretty breathtaking twists of his story make this Netflix production rise above other true crime formats. It uses the power and charisma of one individual to come to grips with a crisis of global proportions.

Over the Garden Wall consists of 10 episodes that together run just under two hours. While each episode stands alone, it’s easy to watch the entire series in one sitting. The story beckons you to go deeper into its fantastical forest called the Unknown, at the center of which lies a dark mystery, and two boys on a quest to return home.

Wirt (Elijah Wood) and his younger half-brother Greg (Collin Dean) are lost in these enchanted woods. Beatrice, a talking bird, befriends the boys and offers to guide them home. Here, the trio encounter singing frogs, beastly creatures, and sinister forces hidden in the shadows.

There is no other series quite like Over the Garden Wall, which so perfectly balances its comedic and melancholic moments. If you’re looking for something a little bittersweet, musical, and fun, this miniseries will surely hit the spot—that is, if you’re brave enough to enter its Unknown.

In the early 2000s, amid the rapid rise of online piracy and the consequent fall of paid music, tech genius Daniel Ek would find Spotify, a revolutionary streaming platform that served as a middle ground between user accessibility and artist rights. But even now, at its peak, Spotify’s success seems mystifying. How did they get away with providing free music to all? 

Enter The Playlist—an impressive attempt at answering that very question. In this fictionalized account, key players in Spotify’s success are given their own episode-long arc, starting with the visionary himself, Ek (played by Edvin Endre), followed by the artist, the coder, and the industry insider, to name a few. By employing multiple perspectives, each with its own cinematic style (a particular favorite is that of the lawyer’s, the most experimental out of all the episodes), The Playlist manages to spin the technical and complicated story of Spotify’s origins into something fresh, dynamic, and addictive. Despite utilizing the Rashomon effect—risky but rewarding in this case—The Playlist rarely strays from its main point and, the result is a lean, well-rounded story that’s just as credible as it is heightened. 

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. 

There is footage and coverage to prove that the pizza bomber story actually happened but watching Evil Genius: The True Story of America’s Most Diabolical Bank Heist everything is so intriguing it is almost impossible to believe. A pizza-delivery guy shows up to rob a bank with what he says is a bomb secured around his neck, something that he claims is part of a treasure hunt. By robbing the bank, he will unlock the next set of clues that will allow him to defuse the bomb. Bank tellers comply but on the way out he is suddenly arrested by the police, who doubt his claims, handcuff him and keep him at a distance. The device he has around his neck then starts beeping. What follows is one of the most unusual investigations ever led by security forces, brilliantly framed by executive producers Duplass brothers. A perfect follow-up to their other amazing True-crime Netflix collaboration, Wild Wild Country, it’s a tight 4-episodes that is equally terrifying and intriguing.

A five-part mini-series where the camera rarely leaves Benedict Cumberbatch, enabling him to deliver possibly the best performance of his career. He plays Patrick Melrose, an autobiographical character from renown British writer Edward St Aubyn. A wealthy man who in the first scene of the show hears about his father’s death, Patrick tries to get his act together to go retrieve his father’s ashes. However, a nasty drug habit and a dark past stand in the way of sobriety. This is a fast-paced and impeccably-acted show with a solid supporting cast that includes Jennifer Jason Leigh and Hugo Weaving.

This excellent new miniseries is a drama that takes place in an ultra-Orthodox Jewish family. Esty, a nineteen-year-old girl who is unhappy in her arranged marriage, escapes this community and travels from New York to Berlin in hopes of starting a new life.

Like all good realistic dramas, there are no truly bad people in Unorthodox. Everyone is trying to do what they think is right, which still makes for very complicated situations. Esty is played by Israeli actor Shira Haas and I know this word is overused but she really is a revelation.

It’s often said that history is told by the victors. Thankfully, this isn’t the case in The Good Lord Bird, which tracks the tumultuous events preceding the Civil War, as led by real-life abolitionist John Brown (Ethan Hawke). 

Some viewers might already be familiar with the story of how Brown “saved” slaves, but with Black teenager Henry (Joshua Caleb Johnson) as the narrator, history is repositioned and recounted through a fresh new lens. Nuanced questions about slavery, abolition, and even the revered Brown himself are brought up by Henry and his kin, such as: how much of the movement is driven by justice and how much of it by guilt? Should the white savior be absolved or are his intentions inevitably marred by ego?

Accompanying this thought-provoking tale are richly detailed costumes and backdrops, impressive cameos by historical and celebrity figures, and of course, career-defining performances by Hawke and newcomer Johnson. 

Based on the bestselling book of essays by Cheryl Strayed, Tiny Beautiful Things is, well, made of many tiny beautiful things. It’s at once a meditation on grief, a coming-of-age tale, a contemplation of family ties, a sobering look at a midlife crisis, a romance, a comedy, and an absolute tearjerker of a drama. It’s clunky on some fronts and much better on others, but overall the series packs a gut-wrenching punch with the ever-compelling Kathryn Hahn as the lead. 

It’s surprisingly light with each of its eight episodes running at just under 30 minutes, but in all, the show effectively tugs at the heartstrings and provides welcome insight into navigating the highs and lows of living a small but meaningful life.

Baby Reindeer is a tough watch, starting out with out of kilter comedy that eventually and unrelentingly reveals its darker and darker sides. But not only was this a hard show to watch, this story is genuinely difficult to tell, because of how entangled all the threads of Donny’s trauma gets– it’s not a straightforward story about going through one traumatic incident and then immediately moving to logical forms of healing. It’s about one traumatic incident keeping him stuck and leaving him and his loved ones vulnerable to even more abuse. It’s a terrifying situation. And it’s terribly, terribly honest.

Telling a thoughtful story about the Northern Ireland Troubles and the IRA, including all its crimes and glories, is quite the feat. But Say Nothing proves it up to the task. The nine-part miniseries features compelling performances, a whipsmart script, taut timing, and impeccable production design (despite spanning four decades, it always looks true to the era). Its most impressive trait, however, is that it manages to show all sides of this complex story in an understanding light. The rebellion has noble aims, but it’s still fallible. The British army establishes order, but their means don’t always justify their ends. The series isn’t appeasing all sides as much as it’s taking a long hard look at them. We’re invited to reexamine this crucial part of history and ask ourselves, under the circumstances, would we too say nothing or everything to save lives?

On the surface, The Makanai is a simple, slice-of-life show about food and friendship. While it is that, to be sure, it’s also a substantial drama that tackles questions about art vs. love, and love vs. companionship, and career vs. purpose. Under the gentle guidance of showrunner Hirokazu Kore-eda (Still Walking, Shoplifters, Broker), who generously allows up-and-coming directors to take the helm on certain episodes, The Makanai feels at once light and hefty, comforting and challenging. We’re seeing mundane events unfold before us as if we were bystanders, but we also understand that there is so much more happening than what meets the eye. A prolonged gaze, a lovingly prepped meal, an especially sharp wing-eye, all of these have much to say about the state of mind of these girls.

It’s a supremely gentle and culturally rich show with a tender heart; a truly great watch on all accounts.

Featuring almost no external conflict for its protagonist to face, this story of a young, ill-tempered calligraphy artist—sent to recollect himself at an island community—makes the private process of soul-searching as inspiring as it is cathartic. It’s a series that understands how one’s art is informed almost subliminally by the smallest observations and interactions, transforming the act of personal expression into a tribute to the people and places who give this expression real weight. So even if Barakamon spends most of its time on quaint, everyday experiences without any heightened drama, you get the sense that something significant is shifting within Seishu with every day that passes. It’s a warm, beautiful anime about some of the biggest existential questions, delivered in a modest, good-humored way.

Based on the DC Vertigo comic, Bodies is an intriguing crime thriller with a unique twist – one body, in four separate time periods, being solved simultaneously all at once. While the show is triggered by the same body, the mini-series feels like four separate shows at the same time, marrying the classic Victorian detective mystery, war-torn film noir, and modern day police procedural through post-apocalyptic science fiction. And the four separate detectives take the helm of their respective side of the case, as well as how they deal with the discrimination against them. With four excellent strands to the same mystery, Bodies is an exceptional adaptation that demonstrates how even though details change, some things still remain the same.

That The Curse is squirm-inducingly awkward won’t be news to anyone who’s watched a Nathan Fielder show before, but TV’s king of cringe digs his heels in on that approach here. The Curse chronicles the making of another show: HGTV’s inelegantly named “Flipanthropy,” which follows Fielder’s Asher and wife Whitney Siegel (Emma Stone) as they perform (the operative word) good deeds in a struggling New Mexico town. Flipanthropy is also a means through which the well-to-do white couple can shill the eco-friendly homes they’re gentrifying the town with — a galling conflict of interest that plays as a running satire of TV.

The uneasy tension between what the Siegels say they want to do versus what they actually do is the heart of the show. In true Fielder fashion, their hypocrisy is revealed through excruciatingly awkward, tortuously long scenes takes, such as the one that gives the show its title (the socially inept Asher angers a little girl, who puts a curse on him). This scene is also an example of the insane left takes The Curse constantly takes, which speak to Fielder’s ability to make his shows feel like they’re falling apart all while building to towering complexity. Suffice it to say, there’s nothing else like this on TV.

It’s hard not to be swept away by the epicness of Masters of the Air. Produced by Steven Spielberg and Tom Hanks, with the first four episodes directed by Cary Joji Fukunaga (No Time to Die, True Detective), it’s made sure to flex its massive $250-million budget. Everything is accounted for here, from the sweeping and historically accurate production design to the stacked cast of rising male stars (Oscar nominees Austin Butler and Barry Keoghan easily steal the show). Even the rousing score and sound design, while bordering on melodrama at times, build up tension and add a premium air to it. It’s a visual and sonic feast bolstered by upstanding performances and an endearing show of brotherhood. Whenever it risks being propagandistic or misguidedly patriotic, it’s the believable relationship between the boys and their grave understanding of war that ground it and give it heart. And of course, the air combats are edge-of-your-seat thrilling. Like Band of Brothers and The Pacific before it, it’s a visceral entry in the genre of World War II must-sees.

If all live-action superhero media stopped here, it would’ve been a triumphant conclusion. Carving its own path from the subversive Alan Moore classic and still so much gutsier than most superhero films and TV shows, Damon Lindelof’s Watchmen miniseries continues interrogating the idea of powerful masked vigilantes to explore institutionalized racism, America’s history of anti-Black violence, and even the phenomenon of white supremacy in “nerd culture” fandom. It’s an incendiary take on a genre that’s all-too-often reduced to mindless fantasy action, and it never tries to beat other properties at their own game—relying on constantly building intrigue and fantastic characters to tell its story.

But even if you’re not familiar with the original Watchmen story, the series should have enough style and intricate plotting for everybody. A pulsating musical score from Trent Reznor and Atticus Ross; gritty (but not flavorless) art direction; and powerful performances from Regina King, Tim Blake Nelson, and Jean Smart, among others complete this vision of a nation plunged into chaos due to collective unresolved trauma. All this makes for viewing that’s never difficult, but demands trust and attention even as the story branches off to places that seem at odds with itself. How often can you say that about a superhero story these days?

Since the 1960s, Flint, Michigan, has experienced a series of shocks. When General Motors downsized their workforce by several 10.000, the town’s population nearly halved. Unsurprisingly, it later became known for being one of the most dangerous cities in the US and for off-the-charts crime statistics. Since 2014, Flint again rose to tragic fame for a public health emergency due to contamination of its local water supply. Flint Town homes in on this perpetual state of crisis through the eyes of the local police department, who had to grapple with this dire scenario, while losing more funding year over year due to the city’s deteriorating financial situation. The few officers that are left for policing are at breaking point. The result is a gripping and rich docuseries with a host of strong characters. But it is also a brutal and sobering account of the extent to which an American city is being allowed to fail.

There are only 20 seats in Formula 1 each year, meaning that drivers are not only racing to win but to be kept on the roster. With the big stars, Ferrari and Mercedes, habitually shrouded in secrecy, Formula 1: Drive to Survive focuses more on the back of the grid. Lewis Hamilton, the five-time world champion, is rarely seen, for example, giving more room for other stories to unfold, including that of Günther Steiner, the Italian team principal of the Haas Formula One Team. That is not to say there are no big reveals. Even if you think Formula 1 is a decadent, testosterone-driven sports for rich Europeans, Drive to Survive might be welcome crash course into what makes this sport so appealing for many and might also have the potential to change your mind. If not, it is still a very well-made, slick, and engaging docuseries that will have enthusiasts and newcomers thoroughly entertained.

As is only appropriate for a limited series about such a horrific period in human history, The Underground Railroad isn’t meant to be easy viewing. Thanks to uncompromising direction from Barry Jenkins (the director of the Best Picture Oscar winner Moonlight) and unforgettable images from cinematographer James Laxton, this approaches a level of confrontational storytelling that almost seems inappropriate for the comforts of television. But it’s essential viewing nonetheless, and Jenkins makes sure to transform this into a much stranger, more thought-provoking tale beyond the brutality of its first episode.

The Underground Railroad is speculative fiction: instead of being a historical account of the real-life network of routes to help free African-American slaves, it imagines a literal train that swiftly transports Cora (a powerful Thuso Mbedu) from one dystopian vision of white America to another. With every new setting, Jenkins doesn’t just talk about slavery; he talks about how America talks about slavery, and how the stories of these Black slaves are constantly reappropriated by white supremacists.

The bizarre case of Kathleen Peterson’s death, which has yet to be fully resolved to this day, has been the subject of many a media article. The press covered it relentlessly when it all started in 2001, then a critically-acclaimed documentary was released in 2004. This was followed up with a sequel in 2018, and now more than 20 years after the deed, a dramatization has come out in the form of a miniseries. You’d be forgiven for thinking the latter couldn’t possibly have anything new to offer, but you would also be wrong. In fact, the series is a masterclass in storytelling. Led by an a-list cast (of which Colin Firth is the absolute standout) and told with such layered depth, The Staircase is a must-watch not just for true crime but for film and TV fans everywhere. 

Utilizing time jumps and crafty transitions, The Staircase isn’t set at one particular time, which is fitting considering the trial lasted for 16 years. It also isn’t centered on just the mystery or the family, but instead is just as interested in the making of the 2004 documentary that introduced (and humanized) the case to an even wider sect of people. If you’re looking for a neat ending or some form of satisfying retribution, you won’t find it here. But you will be getting an engrossing meditation on truth and its elusiveness

There’s no point denying it: Michael Jordan is one of, if not the greatest of all time. What he did to place the Chicago Bulls on the map, to inspire his teammates to a three-peat championship, and to constantly reinvent himself and grow his name as a currency—all that continues to be a template for NBA stars across generations. The Last Dance is a fittingly grand docuseries that captures Jordan’s once-in-a-lifetime shine. 

Even if you know little to nothing about basketball, the miniseries does an impressive job of making every detail about Jordan and his game compelling. We follow him from his early days in college basketball up to his nonstop rise in the Bulls to his stint in baseball, and we end at a dramatic high, as the title suggests, during the Bull’s triumphant 1997-1998 series—Jordan’s final season with the team. 

But the series isn’t all Jordan. In clever and comprehensive ways, we get to learn more about his teammates (especially defense rockstar Dennis Rodman and reliable ally Scottie Pippen), his coaches, and his closest friends, all of which makes for a well-rounded and truly riveting watch.

Reimagining a children’s classic as a mature serial killer mystery, PLUTO already had high expectations for its anime adaptation. The limited series adds an additional challenge, with only hour-long episodes dedicated to each of the series’ eight volumes, which follows not only Gesicht’s own investigation, but also in-depth stories of each of the remaining Great Robots. However, the anime, now showing on Netflix, is able to meet this challenge with its deep understanding of the source material. It’s not just a straightforward police procedural, or just futuristic dream of how AI and humans can co-exist. PLUTO is a robot series that strikes at the heart of what it means to be human.

In just eight episodes, this densely packed miniseries manages to be a beautifully told queer romance, a riveting political thriller, and an important snapshot of 20th-century America. It’s nothing short of an epic. Matt Bomer and Jonathan Bailey effortlessly carry the series on their backs. Their chemistry is undeniable, but they shine just as well in their political scenes. McCarthyism and the Lavander Scare in the ‘50s, the rampant protests in the ‘60s, the carefree parties of the ‘70s, and finally the AIDs crisis in the ‘80s, where present-day Hawk and Tim live in—all are consistently compelling thanks to the actor’s powerful, decades-spanning performances and showrunner ​​Daniel Minahan’s stable direction. The end may be (unsurprisingly) tragic, but it’s nonetheless moving because of the strong storytelling that preceded it.

Watching The Day of the Jackal feels like watching a film; it’s taut, fast-paced, and flashy, featuring incredible dual performances by Redmayne and Lynch. Like many thrillers before it, The Day of the Jackal centers on a cat-and-mouse chase between an official and a transgressor, but the series smartly blurs the line between good and evil. Redmayne’s Jackal is by all accounts the bad guy—he’s a hitman after all—but we’re shown his humane side and the lives he works hard to protect. Meanwhile, Lynch’s Bianca is a government agent, but her hands are dirtied with just as much (if not more) blood than the Jackal. Who’s really at fault here? Part of the fun in watching this is figuring that out, but it’s also just as enjoyable to see what disguise the Jackal whips out, and what moral quandary Bianca finds herself deep in, next.

Leo Tolstoy’s most famous book, on which this was based, defies summarization but this powerful, sumptuous, and head-spinning BBC production might have done just that.

In 1805 St. Petersburg, the illegitimate son of the richest man in Russia (played by Paul Dano) finds himself at the center of his country’s downfall as it faces another Napoleonic invasion. As it follows several interconnected characters, romance intertwines with war, tragedy, and greed.

Directed by Tom Harper (Peaky Blinders), this series has it all: great acting, beautiful locations, and breath-taking action. It also stays true to the philosophical nature of the written material, capturing the glamour, deceit, and insanity of its time – as well as the sweeping scope of the original Tolstoy tome. This is TV of cinematic proportions!

Very violent, very Western, and, in a breath of fresh air: very female. Godless is a grim and visually stunning series about a small New Mexico town populated almost entirely by women, including Alice Fletcher, a reserved and self-reliant widow played by Michelle Dockery. Roy Goode (played by Jeff Daniels, who won an Emmy for it) is an outlaw chased by a much worse outlaw, Frank Griffin, who is taking in by the mysterious, gun-toting widows. Written and directed by Scott Frank and executive-produced by Steven Soderbergh, Godless is an honest and powerful show with amazing performances. So amazing, it’s hard to single one of them out. If you love Westerns but sometimes find them too foreseeable, this show is for you.

Based on Gillian Flynn’s 2006 debut novel, the two actors are showcased by director Jean-Marc Vallée (Dallas Buyers Club). Amy Adams stars as the troubled crime reporter Camille Preaker, who investigates a serial murder in her hometown after a stint at a psychiatric hospital. The second female lead is Patricia Clarkson, who stars as Camille’s oppressive mother, a small-town socialite. Uncovering the mystery of the city of Wind Gap, anti-hero Camille must delve into the town’s gruesome history well as that of her own family, while also confronting her trauma and self-harming behavior. This three-pronged plot and great acting makes for a tense thriller drama. A slow-burner without being slow—grim and disturbing—and one that also packs a lot of insight into the ramifications of abuse.

The incredible script for this Hulu-produced series comes courtesy of Lawrence Wright, who wrote the Pulitzer-winning book the series is based on, and Dan Futterman, the Oscar-nominated writer who gave us Capote. It is an eye-opening, semi-fictional account of how the CIA and the FBI took conflicting approaches to counteract Al-Qaeda in the lead-up to 9/11, withholding information from each other, and obstructing a unified strategy to combat terror. The disagreements between the two security services are numerous and the relationship between their staff is hostile. At the top, Jeff Daniels plays John O’Neill, the seasoned head of the FBI’s Counterterrorism Center, while Peter Sarsgaard stars as Martin Schmidt, the chief of the CIA’s respective facility, who are both amazing. Then there’s Ali Soufan, played by Tahar Rahim, who is one of only handful FBI agents who speak Arabic back in 1998, just three years before the Towers fell. With all this testosterone flying about, the women in this show are marginalized to the fairly weak romantic storylines, but other than that the series gets a lot of stuff right. Writing, acting, and action are on point and make The Looming Tower a gripping as well as insightful watch.

Vigil is a murder mystery/political thriller set in the depths of British waters, particularly in the nuclear-powered missile submarine HMS Vigil. When a navy officer dies and a fishing trawler disappears at the same time and place, Detective Chief Inspector Amy Silva (Suranne Jones) is sent in to investigate the case.

While Vigil mostly dove under the radar when it first came out last year, the BBC production is drawing in new audiences as it streams on Peacock. Watching it, it’s easy to forget that this isn’t a box-office production, because it looks and sounds every bit like one. It’s got a massive budget, an epic scale, a thrilling political premise, and talented actors across the board—what’s not to love?

Regardless of being gay or straight in the 80s, AIDS has irrevocably shifted America in ways it long refused to acknowledge. The six New Yorkers at the center of Angels in America have their lives completely shifted due to the disease, but the way Tony Kushner weaves the disease into various social and religious concerns of the end of the 21st century, and the way director Mike Nichols translates Kushner’s brilliant play into a moving, yet comedic near six-hour miniseries proves how intrinsically linked these irrevocable shifts– the grief, the pain, and the need for hope– has been to the bittersweet progress America has made and has yet to make.

With the gorgeous period costumes, the romance, and the familial dynamics, you would think that Like Water for Chocolate’s latest screen adaptation would be just the same as the film, albeit with a Bridgerton-esque style. To a certain extent, this is true, as the essence of the novel still remains intact and the production is greatly upgraded, however, the added runtime allows this latest adaptation to expand on the novel’s commentary on race and class, and how this played out within the Mexican revolution that was mostly glossed over in the film. Como Agua Para Chocolate captures the novel’s much more rich and layered flavors, in much more fulfilling and scrumptious ways.

Long Strange Trip was originally a four-hour movie before Amazon cut it to a six-part TV show. Produced by Martin Scorcese, it tells the full story of the band The Grateful Dead. It’s an account so detailed that it will satisfy the biggest Deadheads, but it also can be appreciated by anyone. The focus is the band, but it’s also the band’s significant impact on Rock history, and by extension, on American culture. I didn’t know much about the band and I couldn’t stop watching.

This mini-series by Alex Garland (28 Days Later writer and Ex Machina director) is about a tech company like Google that has a building that only select developers (devs) work in. Sergei is one of the lucky ones that get the call but he disappears after his first day. His girlfriend, who works for the same company, tries to find out what happened to him, first by uncovering well-kept dark secrets about that building. If you liked Mr. Robot or Ex Machina, you will love this. And a surprise bonus: Nick Offerman plays the CEO of the company, in a great serious role.

This six-chapter British miniseries stars the ever-reliable Stellan Skarsgård as an erratic London police detective. He starts seeing visions or “manifests” of his recently murdered colleague and tries to solve her case even though he was excluded from it. River blends reality and illusion in a thoughtful and original police thriller.

This impressive body of work defies any classification: it’s a collection of five films that have been put together into a miniseries. Director Steve McQueen (12 Years a Slave) collected a timeless set of stories set from the ‘60s to ‘80s about London’s West Indian community and their struggle with rampant racism.

The first film, Mangrove, bears the name of the restaurant at the center of the story. As a sanctuary for the community, the restaurant quickly becomes the target of a racist police division that employs various tactics to disrupt  its popularity. The local chapter of the Black Panthers and its charismatic leader (played by Letitia Wright) get involved.

Mangrove and Lovers Rock, the next episode, were in the selection of the Cannes Film Festival that got canceled because of the pandemic.

Based on true events, the series follows the lives of Gypsy Rose Blanchard her mother Dee Dee, whose relationship is pushed to the brink when it’s discovered that Dee Dee has been faking Gypsy’s illnesses. The strange case that gained publicity following a viral 2016 BuzzFeed story and a 2017 HBO documentary works well as an absorbing, well-paced drama. Each episode is visually interesting, offering compelling imagery with a palpable tension. Haunting and spectacularly acted by both Patricia Arquette and Joey King, The Act is a highly-recommended television series, perfect for drama and true crime fans.

The Netflix four-part miniseries Lost Ollie is a bit like if Toy Story was adapted into a live-action dramedy. You’ll recognize the premise immediately: lost toy comes to life and loyally sets out on a journey to find its kid. But stuffed in between those points are poignant moments and reflections about life, family, and being.

The film isn’t also afraid to touch on darker themes, so if you’ve always wished for a slightly more mature but still kid-friendly version of this narrative—and if you’re a fan of the likes of Paddington the Velveteen Rabbit—then you’ll enjoy Lost Ollie.

Led by fine-tuned performances from Ben Whishaw and Hugh Grant at the top of their game, this three-episode series dives headfirst into the sex scandal between Norman Scott and former Liberal Party leader Jeremy Thorpe with devastating wit. Neither character is treated as morally superior over the other, as both become consumed by the media frenzy surrounding the English justice system’s thirst for controversy. And Russell T Davies’ writing and Stephen Frears’ direction allow the show’s tone to pivot from brilliantly timed notes of humor to profoundly sad stretches of tragedy and drama. Given its short length, A Very English Scandal seems to be designed for binge-watching, but it should still reward patient and attentive viewing.

Produced by National Geographic, A Small Light is a ten-part miniseries that tells the incredible true story of Miep Gies (Bel Powley), the Dutch woman who bravely hid her Jewish friends from the Nazis during World War II. Among these friends is her kindly mentor Otto Frank (Liev Schreiber) and his daughter Anne (Billie Boullet), both of whom form a tight bond with Miep. 

More than just re-adapting Anne Frank’s story to the screen, A Small Light further fleshes it out by introducing other characters in depth and giving surrounding heroes their due. In fact, it’s as much about courage as it is about survival as it highlights what it takes to lend a hand (and possibly lose it) when you don’t need to. It also helps that this noble message comes with a massive budget and excellent performers, elements that tie everything together in this high-quality series.

Boots Riley established himself as a wildly creative voice with 2018’s zany anti-capitalist satire Sorry To Bother You, and with his second project, he digs his heels even deeper into that singular approach. I’m A Virgo’s world feels deeply uncanny yet intimately familiar, what with its absurdly militarised authority figures, dog-whistling media, and greed-driven economy. It’s set in Oakland, where 13-foot Black teenager Cootie (Jharrel Jerome) lives in secrecy with his normal-sized family. Frustrated, Cootie decides to venture into the outside world, but he’s soon exploited, projected onto, and demonized. However, it’s also not long before he makes his first friends, falls in love, and unlearns everything he thought he knew about the world.

The biggest revelation is that Cootie’s favorite superhero, an Iron Man-esque billionaire called The Hero (Walton Goggins), isn’t actually doing good by enforcing the law to the letter. Though it takes many weird and wonderful detours, it’s this aspect of Cootie’s consciousness-widening that is the show’s ultimate destination. These radical politics give it a sharp overarching focus, meaning its mind-bending eccentricity never feels too indulgent. It all makes for a refreshingly original, gloriously weird watch that you’re guaranteed not to have seen the likes of elsewhere.

With years of films depicting Italian crime syndicates, most focus on their leaders – the Dons, the Capos, and the Consiglieres. Most of them focus on the mafia’s men. However, in this series, it’s the women who are the stars of the show. Based on the novel of the same name, The Good Mothers is a compelling crime drama, focused on the women, not the men, of the ‘Ndrangheta clan. It’s from their perspective we see the mafia. The masterful way the series unfolds makes it clear that their lives are constrained, that this dated way of life still prioritizes the family over their individual women. It makes it all the more satisfying when they’re given the opportunity to retaliate, and when they choose to take that opportunity. And it’s so much better knowing that this was real.

We don’t really know our parents the same way they know about us. Black Cake recognizes this, and takes that discrepancy to create a compelling mystery, expanding on that hidden world with themes of generational trauma, intercultural dynamics, and lost heritage. With the show doing justice to the book’s moments, the mystery of Eleanor Bennett’s former life is already compelling in and of itself, but it’s made even more so as her children try to make sense of it, changing their strained dynamic. It’s layered, well-written and deeply personal. It’s a unique story that has to be told.

After the only war the Americans have lost, American post-Vietnam war portrayals tend to lean as patriotic revenge fantasies or romanticized disillusionment, but rarely do they portray the people caught in between. HBO’s The Sympathizer is an adaptation of the Pulitzer winning novel of the same name, and while it’s mainly an American production, Park Chan-wook and Robert Downey Jr.’s collaboration sticks to the Captain’s perspective, as the unnamed mole protagonist writes his confession years after from a jail in Vietnam. Chan-wook excellently mirrors his approach to Viet Thanh Nguyen’s agile storytelling, shifting time periods and languages the same way the Captain shifts perspectives, though Nguyen’s dry humor sometimes wavers when translated to the screen. Still, it’s certainly a well-crafted, ambitious depiction coming from a unique perspective.

In Landscapers, what could’ve been a tedious story based on yet another true-crime affair is transformed into a fantastic fable that challenges and reimagines truth in imaginative ways. It’s more like a play than anything, complete with revolving sets, multicolor lights, and the occasional breaking of the fourth wall. But when it’s not staged like a theater show, then it has fun experimenting with form and genre. The series is masterfully edited to blend reality with the cinema Susan and Cristopher love so much, so sometimes they’re in soft-focus black and white, other times they’re in technicolor flair. It’s a technical wonder, but thanks to Colman and Thewlis’ performances, it’s also a twisted love story and an emotional roller coaster.

Most people take for granted that for the longest time, certain sectors of society had no one in their corner on screen, at least until someone bold and brilliant enough dared to meet the world on their own terms. Veneno is a series about the iconic titular trans TV personality, but it’s also a story about a trans journalist finding voice and her own gender expression through meeting La Veneno. It’s excellently structured, alternating between La Veneno’s beginnings and Valeria Vegas’ writing, and it’s just lovely to see the new faces of Spain’s trans community celebrate the woman that brought the community on screen.

In Years and Years, showrunner Russel T Davies (Doctor Who) takes our worst fears in 2019 and makes us live through them in shocking detail through the Lyons family, a likable and relatable bunch who bond through the joys and horrors of a quickly changing nation. It amplifies heated issues like the growing conservatism in the UK and the threat of world war ignited by China and the US, as well as global warming, depleting species, and our growing reliance on AI and tech. As one review puts it, Years and Years feels very much like Black Mirror, but with more heart and hope. It’s both fascinating and frightening, especially since the predictions Davies makes aren’t too far off from the unstable reality we’re living in now.

This visually stunning thriller is about a young man called Raza who is hired by a counter-terrorism officer as his informer. If you liked Netflix’s Bodyguard, you will love this, which in my opinion is has much more substance.

Originally a photographer with no link to the world of crime or terrorism, the color of Raza’s skin and his accent make the authorities believe he would be a valuable asset. And quickly, he falls into a web of crime, giving this show the appeal of the fantastic HBO series The Night Of.

This violent action-comedy miniseries is about a Massachusetts teenager who tries to retrieve a stolen 1979 Trans Am.

And the show is not nice to Wayne who, from the very first scene, takes a beating. Think of it as The End of the F***ing World but more violent and with Boston accents.

Claire Foy (The Crown), Damian Lewis (Homeland), and Mark Rylance (Dunkirk) star in this highly-acclaimed period drama about the rise of Thomas Cromwell as he goes from being the son of a blacksmith to becoming an important figure in British history.

The miniseries is made up of only six parts, despite being based on two famous books that span thousands of pages. The result is a dense, fast-paced and compelling historical drama, where each frame manages to look like a delicate painting. And all that is very difficult not to binge in one take.

These days, pandemic stories can go either of two ways: horribly or profoundly. The realism may be too much to bear, causing so-called pandemic fatigue, or it can compel you to move in the world in kinder, more self-aware ways.

Thankfully, HBO’s overlooked Station Eleven falls under the latter category. Epic, poignant, and lighthearted, the ten-episode miniseries (adapted from the bestselling novel of the same name) is one of the few pandemic-set, post-apocalyptic shows that takes a closer look at the kind and creative ways humans approach survival.

With the deluge of hyper-stylized teen shows everywhere (but especially on Netflix), Teenage Bounty Hunters comes as a refreshing and welcome surprise. Sisters Blair and Sterling, played by Anjelica Bette Fellini and Maddie Phillips respectively, strike the perfect balance between spiky and endearing, creating a chemistry that’s rare to see among TV siblings. There’s friction but also love all around. 

Their interactions alone make the series thoroughly enjoyable, but their coming-of-age hijinks and comedic timing, especially around their reluctant mentor Bowser (Kadeem Hardison), make it an absolute must-watch. If you enjoyed Booksmart but wished it was more action-packed, you’ll surely love this show.  

Though it primarily revolves around the conservative, anti-feminist Phyllis Schlafly (portrayed as a fascinatingly contradictory character by Cate Blanchett), Mrs. America is a true ensemble drama. Each episode becomes a primer for a different significant figure in the movement for women’s rights in the 1970s, but it also emphasizes how difficult it was for this movement to cohere. As these wildly different perspectives clash, the need for a truly inclusive and intersectional coalition begins to arise. Blanchett is brilliant as always, but the miniseries also showcases stunning work from Rose Byrne, Uzo Aduba, Margo Martindale, Tracey Ullman, and many more.

Created by Janine Nabers and Donald Glover (Atlanta), Swarm is a dark and bloody deep dive into fan culture. It follows Dre (Dominique Fishback), a young woman whose obsession with a Beyoncé stand-in takes a dark turn after the unexpected death of a loved one.

Artful, daring, and legitimately scary, Swarm is one of the bolder shows to come to streaming in a while. It doesn’t hold back, not with the commentary nor with the blood, which can be too much for some viewers, but if you were thrilled by films like Misery and The King of Comedy, then this mind-blowing take on celebrity mania will certainly have you hooked.

Based on true events, A Spy Among Friends tells the story of Kim Philby (Guy Pearce) and Nicholas Elliot (Damian Lewis), best friends who worked for MI6, that is until Philby defected to the Soviet Union. Subject to inquisition and intense scrutiny, Philby and Elliot test the strength of their friendship against growing political turmoil.

The series starts slow and the dialogue, while smart, can get heavy-handed. But if you give it some time, the payoffs are rewarding. The sets are immersive as it spans different eras and countries; the actors are charismatic as they present enigmatic layers for us to unfold; and the particulars of espionage manage to feel freshly shocking in a story told many times before. 

Artful, well-performed, and gripping, A Spy Among Friends is a great watch for fans of voluble but intelligent thrillers.

While best known for his provocative, existential dramas, Lars von Trier also made a provocative mini-series with surprising supernatural horror. Set at Denmark’s leading public hospital, The Kingdom takes familiar medical drama conflicts in handheld camera and sepia tone, but infused with an unsettling understanding of how the finest minds can fail, and how small science can feel in the face of the unexplained. That being said, the horror is much more wacky than spine-tingling or terrifying, but it’s played off through von Trier’s signature absurdism, taking a more humorous and sardonic approach. Riget may be an unexpected entry for those who have heard of von Trier, but it’s a must-watch for the auteur’s fans, showing a different side to the notorious director.

This is an thrilling BBC/Netflix show and a Yakuza drama that takes place between Tokyo and London. About half of the dialogue is in Japanese and the other half is in English.

Yakuza families are no longer at peace when a boss’s nephew is assassinated in London. Trying to bring the culprit in without interference from the British police, a Tokyo detective is sent to the UK to try to find him. 

There is an undeniable appeal to seeing the world of yakuza unfold, but the show’s title, which translates to Duty/Shame is a reference to the detective’s own personal conflict: the suspected murderer he’s looking for is his brother. Ouu.

This creepy miniseries stars Jason Bateman, Bill Camp, and Ben Mendelsohn. Based on the Stephen King novel of the same name, it follows an investigation into the horrific murder of a child where all evidence leads to the local baseball coach, Terry Maitland (Bateman). However, Terry’s demeanor and his shock when the police come to arrest him raise questions about whether he actually committed the crime. It’s a grim and slow-burning story with immaculate acting although it suffers from the thing it aspires the most to: the (not entirely satisfying) book. Created by The Wire writer Richard Price.

Perhaps the most complete biographical drama of its year, Fosse/Verdon is a vast and brilliantly made artistic glimpse into the mind of a highly troubled genius. Sam Rockwell and Michelle Williams both deliver the performances of their lifetimes, and Thomas Kail (jumping from stage to screen for the first time) shows much potential as an exciting fresh voice in the genre. Successfully straying away from biographical cliches, its length is felt every once in a while during segments that come to a standstill, but overall, it aids in crafting an all-encompassing and risk-heavy piece of media that is worth a watch for those who are fans of film and theater, and are looking for greater offerings in the biographical genre.

We Own This City is a six-part miniseries following the ins and outs of the Baltimore Police Department’s Gun Trace Task Force. Hailed by critics as the “spiritual successor to The Wire” (both shows were developed by David Simon), the gritty crime drama works as a smart and gripping exposé not just of the Baltimore police department, but of big and flawed institutions, in general, and the seeming inherence of corruption. The series is based on the book We Own This City: A True Story of Crime, Cops and Corruption by Baltimore Sun reporter Justin Fenton.

Unlike other adaptations of young adult novels that get caught up in overly romanticized teenage angst, the eight-episode Hulu version of John Green’s Looking for Alaska is far more self-aware about its own precocious characters. Because no matter how much earnest faux-wisdom they spout, all their intelligence still hits a brick wall when faced with unanswerable questions of grief, guilt, and what it means to truly love another person. It’s as funny as it is devastating, with genuinely moving emotional payoffs that are more than worth the wait, thanks to a uniformly brilliant cast that includes Charlie Plummer, Kristine Froseth, and Denny Love.

There is no shortage of craft and ambition in The English, a miniseries that employs tropes of classic Westerns, like the soulful anti-hero and the loyal sidekick, but also twists them enough to make them feel fresh. For instance, instead of typical cowboys, we have as our leads Cornelia Locke (Emily Blunt), an aristocratic Englishwoman, and Eli Whipp (Chaske Spencer), a native who also served in the US army. Both of them are terribly out of place in the Wild West, but they’re fueled with the kind of vengeful drive that leads to bloody outcomes, which are themselves staples of the genre.

The English is sweeping, both in scope and scenery, and solemn. Fans will appreciate how seriously the show treats the genre, and they’ll take pleasure in its familiarity, from the twisty mysteries and brutal disputes to the gritty backdrops and arid vistas. In this instance, the show’s ambition perfectly fits the genre.

In 1994, Danish auteur Lars von Trier came up with a TV series called The Kingdom, an absurd supernatural comedy that takes place in a rundown hospital in Copenhagen. The show was well-received enough to warrant a second season, but just as von Trier was polishing up the third and final installment, the deaths of more than one lead actor pressed pause on the project, till now.

More than 10 years in the making, The Kingdom part III, also called Exodus, is still very much centered on the weird patients and staff members that populate the Riget hospital, as well as the possible evil buried beneath it. The comedy/horror has a robot dishwasher and a giant head. Danes and Swedes are perennially at war with each other. Willem Dafoe and Alexander Skarsgard make odd cameos.

I’m not sure it’s possible to write a coherent synopsis without sounding like I’ve fallen off the rails, but know that it is a unique headscratcher of a show, more interesting as an experience than anything else. Von Trier was also openly inspired by Twin Peaks, in making it, so David Lynch fans in particular will truly enjoy diving into this world.

As the real-life British politician John Stonehouse who, among other things, served as a spy for Czechoslovakia and faked his own death, Matthew Macfadyen is incredibly funny. He owns the role of the bumbling fool, a master at inducing laughs and sympathy at the same time. And with Stonehouse, he has endless material. The man is narcissistic and power-hungry, but he also has a habit of biting off more than he can chew, so seeing him stumble in his lies is both funny and tragic to watch. If I can use another metaphor—watching Stonehouse is like watching a train power through despite falling off the rails. It’s a wreck to be sure, but one you can’t quite peel your eyes from.

Another great thing about Stonehouse? It only has three (concise but jam-packed) episodes. So if you’re looking for a one-day binge, this might just be it.

As one of the biggest political scandals in recent memory, Watergate has had its fair share of film and TV adaptations. But while plenty fixed their eyes on President Richard Nixon and his men, only a handful focused on the surrounding but equally vital participants. Gaslit seems like an attempt to fix that—it’s a political thriller that looks at the affair’s forgotten players and examines how their seemingly trivial actions formed ripples and grew into the massive wave that brought a presidency to an end. 

One such player, the main one in this limited series, is Martha Mitchell, played to jumpy perfection by Julia Roberts. Previously dismissed as a hysterical gossip, here Martha is finally given her due as a political whistleblower. Sean Penn, Shea Whigman, and Betty Gilpin make up an all-star cast, but along with Roberts, it’s Dan Stevens who really steals the show. He’s a chameleon as junior counsel John Dean, deeply immersed in the character’s confused but well-meaning intentions. 

Another thing that sets Gaslit apart from the others is its self-aware humor. It has a bumbling quality to it—where others replay the infamous break-in with solemnity, Gaslit pokes fun at its absurdity. It’s a series that knows when to be serious and when to dole out the jokes, making it a finely balanced and refreshing political drama.

By imagining a plausible world in which World War II is avoided when an American populist president cozies up to Hitler, The Plot Against America becomes an effective allegory for all the ways well-meaning citizens gradually allow fascists to take power. Every perspective espoused by the Levins—a Jewish family grappling with the new president’s endorsement of anti-Semitism—is treated as just one partially correct response that’s ultimately just too little, too late. These ideological discussions that make up the heart of the miniseries are nevertheless filmed on a grand scale, and played with real fervor by an ensemble cast that includes Morgan Spector, Zoe Kazan, Winona Ryder, and John Turturro.

Bollywood is the biggest film industry in the world, in terms of output. After all, the Indian film industry churns out 700-800 films per year. Because of sheer output, there are plenty of excellent hidden gems from the South Asian country, some of which we try to cover here in A Good Movie to Watch. However, for a fairly comprehensive introduction to the industry, the English-language miniseries The Romantics is a great place to start. There’s no better filmmaker to take notes from other than Yash Raj Chopra, whose media conglomerate shifted the industry for the past 50 years, so the show tackles his legacy through archival footage and interviews from India’s current roster of film stars. Footage of his films alone are already a compelling watch, but director Smriti Mundra keeps an excellent balance between these films’ personal impact, as well as the corresponding political and film history in which his works were released to. It’s an excellent introduction to the colorful and rich film history of India.

The Fall of the House of Usher isn’t an exact one-to-one television adaptation of the titular short story. Instead, the original story from Edgar Allan Poe is used as a frame to introduce a whole Succession-like miniseries, with names and subplots coming from other stories from Poe. Because of this, fans of the author might feel disappointed at the lack of old gothic flair, as the story is set a whole century and a half after, and the tone shifts as the show shifts from character to character. However, Mike Flanagan’s whole ensemble still proves to be entertaining as the Usher family deals with sci-fi mishaps, internal sabotage, and a possible supernatural element haunting the whole brood.

Pokémon is one of the world’s most popular franchises, and it’s mainly centered around the idea of cute, colorful creatures with special powers to be caught, trained, and put into battles. Pokémon Concierge is a different side to the franchise, but instead of the high-octane action and world-ending fights, the four-episode series contemplates the idea that maybe these cuddly creatures need to rest too. As anxious newbie Haru adjusts to the laidback, paradisal resort, and acquaints herself with felt-fabric versions of the familiar cartoon creatures, Pokémon Concierge is an excellent reminder to enjoy yourself once in a while.

With a film version that didn’t live up to the hype of the original novel, Netflix’s adaptation of One Day released just in time to wreck the fans’ hearts all over again, but this time, it’s a good thing. The expanded runtime allowed Netflix to delve more into the moments in the novel, with each episode dedicated to a day in the year in Emma’s and Dexter’s lives, contrasting their respective worlds and opportunities available to them as different members of London society. And the couple is played beautifully by Leo Woodall and Ambika Mod, with a believable chemistry that isn’t formed in a single spark, but made in multiple moments. If you’re needing a good cry just right before Valentine’s Day, One Day is a superb slow burn romance to let those tears out.

Despite the abundance of true crime dramas, A Friend of the Family stands out because of how effectively frustrating (and, at times, nauseating) it is to watch. Broberg is abducted more than once in plain sight, and during the investigation of her case, officers encounter dark secrets and sick twists made even more unbelievable by how seemingly perfect the families involved are. Of course, the shocking true events are one thing, but the way they’re told by creator Nick Antosca and reenacted by a stellar cast that includes Anna Paquin, Colin Hanks, and Jake Lacy transform the horrifying true story into a disturbing work of art. Completing the picture is the show’s commitment to replicating the era as accurately as possible. Everything from the title cards, needle drops, costume, and color grading works to immerse you into the distinct world of 70s suburbia. Even the Peacock symbol was given the 70s treatment, which says something about the show’s dedication to the minutest details.

British period dramas usually tend to fall under two categories: traditional or contemporary. The former risks being boring while the latter risks being obnoxious. Vanity Fair, the miniseries, thankfully falls somewhere in the middle. It sticks to the source by presenting Emma Sharpe as an unapologetic social climber, but expounds her character so that we sympathize with her circumstances. Of course she’s cunning, she has to be in order to survive. Of course she’s a flirt, she wasn’t raised to be as conservative as her contemporaries. Because of updates like these, the series feels invigorating and refreshing to watch, even though rags-to-riches and princess-and-the-pauper-like stories have been told many times. Often, it veers towards soapy territory, but it’s nonetheless fun and exciting (and sparkly for avid gown fans!) to watch.

The last time Junji Ito’s work was animated by a Western studio, it wasn’t terrible, but it didn’t match up to the terror of his original stories. Nevertheless, animators persisted, and Production I.G. and Adult Swim’s attempt is a mini-series adaptation of the three volume manga Uzumaki. Uzumaki: Spiral Into Horror is a peculiar horror series, one that may not be downright terrifying with its small-town tale, but it’s much scarier than other Western adaptations with its faithfulness to Ito’s black-and-white intricate line work. There’s probably no other way to depict this particular story– after all, it’s all about spirals– but director Hiroshi Nagahama adds dizzying movement and composer Colin Stetson adds eerie extended techniques that match the terror Kirie and Shuichi share as they struggle against the neverending spiral spell that takes over their town.

The Dropout is an eight-part series about disgraced biotech entrepreneur Elizabeth Holmes, played here to eerie perfection by Amanda Seyfried. The show follows Holmes as she drops out of Stanford and pursues her dream to be rich and famous at any cost—even if it means swindling her way to the billion-dollar finish line.

With the facts of the case publicly available and a plethora of scammer shows already streaming on the internet, it’s a small miracle that The Dropout is still able to stand out as a compelling series. This is thanks in large part to Seyfried: she plays Holmes as a shaky, self-conscious, and hyper-ambitious magnate with little to no remorse, and it works. Even though Holmes is pretty much a cautionary household name at this point, The Dropout is still worth watching if only to see Seyfried’s thoughtful portrayal. 

This eight-part horror anthology is curated by the titular director, renowned as a trusted authority in telling tales of the Gothic and in creating wondrous practical creatures. So just like his work for films like Pan’s Labyrinth, The Shape of Water, and Hellboy, Cabinet of Curiosities is also filled with frightful beings ranging from reanimated corpses to bloodthirsty aliens—and should make for a staple Halloween binge. Aside from a star-studded cast, the series is also co-helmed by some noteworthy directors, including Jennifer Kent (The Babadook), Catherine Hardwicke (Twilight), and Ana Lily Amirpour (A Girl Walks Home Alone at Night).

Emotional and increasingly hard to watch over its five episodes, It’s a Sin nevertheless reminds us about an aspect of the AIDS crisis that often gets buried underneath accounts of suffering and injustice. We’re shown a truly supportive, joyful community that wasn’t simply engaging in shallow pleasures, but helping each other become their best selves. This optimism at the beginning gives the miniseries an even more tragic quality, as these characters struggle to recover from the initial shock and confusion of the spread of this disease. It’s a smartly paced and economical show that that still manages to show off the talents of a brilliant cast—in particular, Olly Alexander, Callum Scott Howells, and a star-making turn from Lydia West going toe-to-toe with the exceptional Keeley Hawes in a scene-stealing guest role.

Black Snow has the sleek style of a modern murder mystery, but its concern with Australia’s colonial past that sets this show apart. As a neo-noir series centered on a murder, the show has all the classic elements: the hardboiled detective, the suspicious townsfolk, and the murder. As the murder is set in 1994, nostalgic summer-tinged high school scenes make it easy to root for justice for the show’s young victim.

But the series stands out as it’s always mindful of Isabel Baker, always concerned with her and her dynamics with her friends, family, and her South Sea Islander (ASSI) community. Supported by the strong performance of newcomer Talijah Blackman-Corowa, and even consulting the ASSI community personally in the show’s development and production, Black Snow is excellent not just as a murder mystery but also as a depiction of a community that’s rarely portrayed on screen.

Starring the Cate Blanchett and directed by Alfonso Cuaron, Disclaimer is every bit as cinematic and enjoyable as you’d imagine it to be. It’s juicy and well-performed (Hoyeon’s unnatural acting notwithstanding), filled with enough twists and turns to keep you seated despite the occasionally melodramatic plot. It’s designed to make you crave more: more rich acting, more pulpy mystery, more explosive secrets, and more emotional breakdowns, which Blanchett has certainly mastered. It’s not as deep as it thinks itself to be, and the script can be overwrought at times (do we really need every single movement narrated?) but the fun twists, great performances, and beautiful cinematography more than makes up for them.

Toxic Town tells the true story of how toxic waste in the steel-making town of Corby, England led a group of affected mothers to pursue justice. Helping them out is pro-bono lawyer Des Collins (Rory Kinnear), while on the other end of the case is Corby’s local government, who (unsurprisingly) are in cahoots with the steel mill responsible for the poisoning. The show’s beats are familiar; it’s a classic legal drama with streaks of political corruption and conspiracy, while also being an underdog story about victims rising to the powers that be. But its familiarity is easily forgiven thanks to the heartwarming performances of Jodie Whittaker and Aimee Lou Wood, who play two of the mothers with disabled children. The show, though short at just four episodes, gives them ample space to grieve, celebrate, and essentially be human–as opposed to just angry women serving as plot points to a drama. Their humanization and compassion for one another, as well as the thrilling pace and intelligent back-and-forths, are what make the show worth watching.

Sirens is a psychological drama that follows Devon (Fahy) as she retrieves her sister from the grasp of her cultish, billionaire boss, Michaela (Moore). The five-part series is addictive, not just because of the juicy drama and the dagger-sharp, class-conscious dialogue, but also because of its deep understanding of the contradictions of womanhood. The women are alternately jealous and empathetic, pained and ambitious. And they’re led by a trifecta of compelling performances: it’s a thrill to watch Fahy, Moore, and Alcock go at each other’s throats.

From Mike Flanagan, creator of The Haunting anthology, comes Midnight Mass, a miniseries that is just as gory, unsettling, and supernaturally twisted as any Flanagan horror flick. The series follows an ex-convict who returns to his small town just upon the arrival of a mysterious but alluring priest. As inexplicable events start to happen, the townsfolk hang onto the churchman’s words, seeking reassurance where they can.

With lots to say about religious fanaticism and perpetual grief, Midnight Mass is part of a new wave of layered and thoughtful scary stories currently dominating the genre. While its stately and meditative pace can be overbearing sometimes, it never runs out of things to shock and unnerve the soul.

In Under the Banner of Heaven, Andrew Garfield plays Detective Jeb Pyre, a devout Mormon whose faith is shaken when he takes up a violent case that involves his church. When he discovers the gruesome death of a fellow worshipper and her 15-month-old child, he is driven mad by the choices he needs to make about his faith, his family, and the threat of fundamentalism these two pillars present. Terrifying and compelling, Under the Banner of Heaven is not for the weak-hearted, but it is recommended to anyone up for a good, challenging watch. 

Shining Girls is painful to watch. How could it not be, when it follows the serial and brutal murders of female victims? Even when the series is told through the lens of sole survivor Kirby (played by the excellent Elisabeth Moss), we witness the indelible effects of assault and trauma. Kirby’s sense of reality shifts; time is circular and memories are provisional. She’s an unreliable source in her own story. 

And yet Shining Girls is also necessary to watch. It’s one of those stories where pain is the point, and it brings you close enough to the scene of the crime that it feels wrong to pull away too soon–not until you pull through the ending. 

As always, Moss is unrelentingly intense as she takes us through the deepest corners of the victim she portrays, but a strong supporting cast also rounds off the performances. Jamie Bell is particularly haunting as the yet-to-be-discovered killer. 

Once you get past its kiddy dialogue and somewhat overenthusiastic voice performances, Maya and the Three delivers one of the most thrilling action spectacles for children’s television. Taking its cue from Mesoamerican folklore, this nine-episode miniseries is draped from head to toe in lavish, intricate visuals and is directed with a surplus of stylistic choices, with characters frequently breaking out of the frame itself. And once the action starts, it almost never lets up. It never becomes too frightening for kids, and it’s mounted on a seriously impressive scale that any adult should appreciate. The fights are dynamic, intense, and beautifully constructed almost like dances—giving kids and kids-at-heart lots to marvel at together.

With the success of Narcos, Netflix has created multiple shows about drugs in Latin America to the point that the genre is a tad oversaturated, but with Sofia Vergara heading the miniseries on the real-life cocaine queenpin, Griselda is one that you have to watch. Unlike other depictions of Blanco, Vergara’s series puts her front and center, focusing on the initial struggles it took for her to be taken seriously and the darkness that emerged once she got her way. And of course, Vergara is fantastic, sliding into the drama with an ease that makes us want to see more. While the show isn’t fully accurate, and six episodes are too short to tackle her decades-long rule, Griselda nonetheless is compelling television.

When therapist Alan Strauss (Steve Carell) is kidnapped and imprisoned by Sam (Domhnall Gleeson), a patient with homicidal urges, Alan begins a painful journey that directs his attention to his dangerous surroundings as well as his repressed thoughts.

Both Carell and Gleeson are creepily good in this, with Rotten Tomatoes even dubbing their work here as a “career best.” Carell is almost unrecognizable as the troubled but subdued prisoner, while Gleeson is unnerving as the reform-seeking serial killer. The backstories and the ongoing mystery propel the story with great force, but the show is at its best when it takes time to sit with its two leads and let them go at each other. All this makes for a rewarding mystery and a compelling two-hander.

Country music fans, rejoice: iconic musical duo Tammy Wynette and George Jones are given their due in George & Tammy, a six-episode musical drama that follows the eponymous couple amid their successful careers and not-so-successful love affair. 

Michael Shannon and Jessica Chastain play George and Tammy respectively, and if you watch the series for one reason, let it be for their superb performances. Chastain, ever the chameleon, slinks into her role with ease and charm, while Shannon booms in every scene, his volatility making for an exciting watch. If you aren’t familiar with the power couple and their torrid affair, a quick Google search will reveal that they’ve led very full lives, to put it mildly, and Shannon and Chastain thankfully match that energy with their own charged turns.