15 Best Shows on BritBox Right Now

If The Responder doesn’t use its relatively short length to tell the meatiest story, its shifty character dynamics still make for compelling drama. At the heart of this police drama is its protagonist’s desire to be “a good person”—even if he’s already neck-deep in a web of corruption and deceit that he can’t just escape from. It’s a premise that’s definitely been done before, but the show still gives it a distinct flavor, with a quiet, small-town feel and strong performances across the board. As a by-the-book rookie cop, Adelayo Adedayo displays helplessness and defiance in different ways, while Martin Freeman successfully plays against type, as a world-weary officer whose every outburst stings with both indignation and self-loathing.

Before Park Chan-wook adapted her novel Fingersmith in The Handmaiden, author Sarah Waters wrote Tipping the Velvet, her debut novel that painted the life of lesbian women in Victorian London. Surprisingly, this controversial novel was produced and broadcast by the BBC in 2002, sticking faithfully to the plot, with all the racy sex scenes and relaxed depiction of lesbian life that shocked the public at the time, but over the years, the miniseries has become known as the refreshing classic that shifted the way lesbians were depicted on screen. While primarily centered on white women, Tipping the Velvet changed the way Victorian sexuality was depicted, with the joy, sensuality, and happiness in Waters’ passionate narrative.

The titular cleaner, Wicky (Greg Davies), is a simple man who serves as a foil to the eccentric people he meets in each episode. Sometimes, he’s cleaning up after a murderous suburban wife, other times, he’s helping fake a crime for an egocentric influence. Always, Wicky and the show find the humorous and humane threads in these bizarre moments. Despite all the blood and gore, it’s a deeply comforting show, the kind that reaffirms your faith in humanity and its capacity for kindness—all in less than 30 minutes.

Who would’ve thought that the supremely suave Cary Grant came from humble beginnings? Grant, played marvelously by Jason Isaacs, is given the docuseries treatment in Archie, which tracks his journey from his downtrodden childhood in Bristol and his vaudeville days in New York up to his busy, blinding career in LA as a Hollywood star and his twilight years as a stand-up comedian. Grant’s eventful and surprisingly traumatic life already makes Archie a compelling watch, but Isaacs’s performance elevates the show into something unmissable. Isaacs disappears into Grant; his version isn’t a mere impression (though he gets the voice and tics to a tee) but a sympathetic understanding of a highly misunderstood man. The other actors playing Grant aren’t as good, so the show can feel uneven at times. The graphics and backdrops are also hit-or-miss, alternating between comically bad to believably okay. But Isaacs saves the show, capably carrying it on his Grant-broad shoulders.

It’s not easy to stand out in the crime genre, but Catch Me a Killer does a pretty good job of it. It’s set in South Africa, where dynamics like race and gender are slightly different than in the US or UK. It’s also based on actual crimes solved by Micki Pistorius (Charlotte Hope), a chain-smoking read-headed profiler who helps develop the South African police’s investigation processes. But setting and character quirks aside, what makes the show unique is its hero’s philosophy: Pistorius believes that each killer, no matter how demented and harmful, deserves to be understood. “Is there something wrong with me, that I don’t hate them?” she asks in an early episode. Do murderers deserve empathy? It’s a question that follows her in every case she takes, in every corner of the country, and it’s also one that she finds increasingly hard to answer. Catch Me a Killer is a mostly straightforward procedural, but it often dabbles in the existential, making it a thought-provoking and soul-stirring watch.