This World Can’t Tear Me Down is a timely release on friendship, punk, and anti-fascism. From the Italian cartoonist Zerocalcare, his second Netflix show shifts his musings over mental health to his experiences with regard to the country’s rising neo-Nazism. As xenophobia tears his friend group, it’s easy to feel the fear and self-doubt Zero’s cartoon counterpart feels. It’s easy as well to empathize with Sarah and Cesare, characters failed by the system around them. In many ways, they themselves feel like they haven’t met their potential. But the show suggests that perhaps status and achievement aren’t what being successful is all about– it’s about holding onto principles. Through punk soundtracks and shifts between stop motion and 90s cartoon style, This World Can’t Tear Me Down captures the millennial generation’s bewilderment, as well as their hope.

Dickinson takes more than a few creative liberties in telling the story of one of America’s greatest poets, Emily Dickinson (played here by the effervescent Hailee Steinfeld). As soon as the first pop song blasts in the background, followed by more than a few expletives blurted by the characters, it becomes clear that the series is more interested in making Emily’s life story not just understandable to a new generation, but timeless and universal too; it’s a tale about freeing oneself from the constraints of gender and society, and how regardless of whether you succeed or not, it’s the attempts that keep us human. 

The series is funny and tender and vivacious, kept afloat by its modern sensibility and desire to showcase a whole new side of Emily. Here, she’s a fighter, a (queer) lover, and an intellectual. But she’s also spoiled, narrowminded, and selfish—she is after all, still a growing girl. Dickinson succeeds on two counts: as an enlightening biopic, artistic license notwithstanding, and as an energizing coming-of-age series, complete with awkward epiphanies and inspiring character developments. 

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.

The latest addition to the murder mini-series genre is the incredible thriller “The Staircase.” It originally aired in 2004, but the producers took the same director and allowed him to add new episodes in 2018 to complete the story. 

The plot: A famous American novelist’s wife is found dead, and he is accused of killing her. His life comes under scrutiny as everyone asks whether she died in an accident or was murdered. If you liked their other hit, “Making a Murderer,” you will love this. You should also definitely check out “The Keepers” or Netflix’s binge-worthy crime documentary, “Evil Genius.”

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

“No one lives just one article or one headline of a life. There’s more.”

Last Call may be a true-crime docuseries, but it doesn’t pigeonhole itself as such; the advocacy for humanizing LGBTQ+ people is undoubtedly at its helm. The series expands past the context of each crime, giving testimonials and evidence of the lives, struggles, solidarity, and fears of the community. It acknowledges the efforts of the New Jersey State Police whilst shedding light on the inherent biases of society, law enforcement, and media when responding to crimes against gay people. Interviews with family members, detectives, and activists round out the narrative, ensuring that the lives lost are not forgotten due to shame, hatred, or sensationalism.

In Move to Heaven, a man and his son clean up after the dead—specifically, the dead who have no one else to look out for them. Believing that no one should be robbed of a respectable farewell, they piece together the deceased’s possessions and celebrate them postmortem. It’s a noble job, but its existence is threatened when the father passes away. It’s now up to the ruffian uncle with a heart of gold to continue the business and bond with his nephew, who himself struggles with Asperger’s. 

It’s easy for Move to Heaven to feel weighed down by all the important stories it tries to tackle; represented here are disabled people, depressed people, queer people, overworked people. But it breathes so much life into these stories that they hardly feel like the drag other shows and movies make them out to be. Tragedy here is expertly blended with humanity, and the result is a moving and compassionate series that stands out even in the saturated content space that is Netflix. 

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.

This is Breaking Bad meets The Social Network. Based on a true story that took place in Leipzig, Germany in 2015, this show is about Moritz, a high-schooler who starts Europe’s biggest drug market online. He initially does this to impress his ex-girlfriend, who had just come back from the States with new drug experiences.

The transformation of a nerd into a drug kingpin is fascinating. But because it is based on a true story, there is an important nuance to that transformation. Moritz is rarely portrayed as a hero, and his creepy side is always present. This makes for an interesting and exciting plot-heavy show.  

Based on a forthcoming memoir by queer music duo Tegan & Sara, High School follows the twin sisters in ’90s Canada as they figure out their place in school, in family, and ultimately in each other’s lives. Despite the well-worn premise and the throwback setting, High School feels fresh and honest in ways that are not always present in teen stories. It’s delicate and subdued while still being potent and edgy—a great alternative if Netflix’s brasher teen fare isn’t for you. High School has been likened to other great authentic coming-of-age shows like Freaks and Geeks and My So-Called Life.