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.

If you’re expecting the sleek, playful, and totally over-the-top spy shenanigans of 2005’s Mr. & Mrs. Smith, you’re not going to find it in this 2024 version, not that it’s a bad thing. In fact, this show stands on its own, reinventing the spy couple into a professional partnership rather than an immediate spark that leads to marriage. This decision makes the show feel like the film’s opposite– as the longer runtime and naturalistic aura enables more focus on the incomparable Donald Glover and Maya Erskine rather than the explosions– but it makes the danger feel more unpredictable and not just action set pieces. Mr. & Mrs. Smith may not be the star-powered, guns-blazing action comedy we’re familiar with, but it’s certainly a more thoughtful, fresh take that improves on the concept.

With teen dramas crowding not just Netflix but all of TV, it’s easy to think that the Jordanian series AlRawabi School for Girls won’t be any different. But while it may share a lot of similarities with other coming-of-age stories, it stands out for its willingness to explore dark themes and cultural specificities without a pandering tone. It’s smart, mature, and complex enough to give us a feminist lead who weaponizes misogyny against other girls, for instance, or a fierce bully who eventually earns our sympathy. It’s hard to imagine the treatment being this sensitive, nuanced, and wholly engaging without the all-female cast and crew that AlRawabi thankfully has.

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.

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

This documentary series has a gritty, Western vibe stemming from the marriage between old school rasslin’ footage and the accompanying hypnotic soundtrack. Legends gather around and take turns reliving the glory days, treating every fan-driven near-death experience as a badge of honor, showing how crazy everyone was on both sides of the fence. Between the rustic location they film in and the insanely casual delivery of terrifying stories, it’s easy to be transported to another time period and find it rather relaxing (much more so than sister series Dark Side of the Ring), an era that you almost wish would return, if there was a safer way to have it.

It’s a solid premise for a show, but it is a pretty scary premise that keeps you a little on edge. The interview segments are just realistic enough to put that image in your head, while the meat of the show is a visualization of a young Dwayne Johnson worrying about girls, keeping up appearances, and just getting by, all to make him appear more real and relatable. Presentation-wise, it feels very much like a lighthearted ‘90s comedy with matching fashion, tunes, and warm messages. Meta aspects aside, it’s effectively Rock’s tribute to his family growing up, full of earnest performances once it gets going.

Alexa and Katie greets us with vintage Nickelodeon sitcom acting, which is far from the most inspiring. But the same can’t be said about this show’s premise and execution, which is incredibly heartfelt and commendable. Characters are supportive and mature where it counts, though it’s structured to feel like any other kids’ sitcom—which is to say that the intrinsic heaviness is handled well, and in line with Alexa’s desire that people not treat her any differently. The show is vulnerable and sweet, packaged in a familiar and comforting way for younger audiences learning to be brave with Alexa.

Two things stand out most. First, the animation style, which looks like a cute combination of various multi-textured elements like online avatar profiles, claymation, and origami and construction paper cutouts. Second is the voiceovers, which sound very candid and raw as if the creators had prioritized bullet points, and had visual elements and script polishing come in later. The pseudo-documentary approach and “rough” production feel exciting and fresh, and truly tie all the individual parts together. This could’ve just as well been a silly live action concept, but its serene nature and aesthetic stand out perfectly as an animated series.

An underrated sign of a good TV show (especially a reality show) is if you start imagining yourself in its world, wanting to explore, wanting to feel what its people are feeling. Watching this series is like going on a fun, over-the-top immersive activity with friends. Its participants are pleasant and capable, saving you the headaches and scream-fests with your TV. Sometimes, puzzle-solving leaves them in the dark for quite a while and we just have to ride out the confusion, but frankly this show’s down periods are more interesting and stressful than most other reality shows at their peak.