100 Best TV-MA TV Shows on Netflix Right Now

It’s easy to forget that Netflix helped boost the popularity of the true crime genre, especially since it’s pumping out a new series almost daily. A lot of them are rushed and sensationalized, but there are a few that are worthwhile. Into the Fire is thankfully the latter. Showrunner Jenna Lamia and Director Susanne Bier tell Terkanian and her daughter’s story in a refreshingly measured way, making sure to hone in on Terkanian’s restless energy. It’s that energy that rallies the community behind her in breaking open the case and uncovering many more missing persons besides her daughter. The same energy makes the show feel more dynamic and alive than other true crime documentaries. It’s also more restrained and respectful. No overdramatized suspense or sensationalized twists here, just an incredibly true story, cleverly and humanely told.

Full of twists and turns, Queenmaker is a corporate turned political K-drama where a corporate fixer plays campaign chess against her former employers and retail conglomerate the Eunsung Group. Centered on her and the earnest human rights lawyer she’s trying to get elected, the show has Do-hee mentoring Kyung-sook in the art of PR, this time for the good. Even as the show reuses the genre’s classic tropes, the series’ plot points are entertaining, with each new twist naturally occurring as each side tries to dig dirt on the other and use it for political clout. It’s one of the most intriguing K-dramas we’ve seen this year.

Life never goes the way we expect, especially for those who don’t have plenty of options. Because of this, parents strive to create a path for their kids to the best possible future they can manage, even if it causes some resentment. The Good Bad Mother portrays this, with some melodramatic flair, but the way the series tells its story is complex, layered, but totally compelling – as Jin Young-soon tries to reconnect with her son while also seeking justice for her husband, and Choi Kang-ho looks for family in any way he can. And it’s balanced with lighthearted humor and slice-of-life sequences that celebrate the lives of the ordinary people.

The first few minutes of The Tourist make it seem like a straight action thriller. It’s cool and gritty, with Jamie Dornan ably playing the role of strong but likable leading man. Then ever so subtly, it shifts its tone into something more playful and wholesome, then shifts back to dangerous territory. The back-and-forth feels jarring at first, almost like we’re seeing the show discover what it should be in real time. But eventually, it settles into a comfortable and confident rhythm, one that’s difficult not to watch. The funny bits are care of silly townie humor and that dry Australian wit, while most of the high-intensity action is thanks to Dornan (though he delivers amusing zingers too, especially when paired with Shalom Brune-Franklin). The Tourist seems designed to reel in broad viewers with different tastes, and it does just that thanks to its strong performances and nicely balanced tone.

Misunderstood by some at the time of its original release, this three-episode adaptation of Dracula from the creators of BBC’s Sherlock goes from being a highly satisfying slice of horror to something totally unrecognizable—which is why it’s so rewarding to revisit today. Blessed with stellar production design, incredible practical effects, and brilliant performances from a depraved Claes Bang (as the titular vampire) and an impossibly heroic Dolly Wells (Sister Agatha), the miniseries may take many liberties with the source material, but it always builds toward greater themes. And while some problems remain, like its rushed and tonally jarring finale, how the show is ultimately able to explore the distrust that Dracula leaves in his wake, as well as the nature of Dracula as a legend in himself, is well worth the binge.

After the success of Castlevania, it became apparent that there was a market for American anime– so Netflix teamed up with Powerhouse Animation Studios and the Greek-American Parlapanides Brothers to create Blood of Zeus. Claiming to be a tale “lost to history”, the show takes familiar strands of Greek mythos, such as demigod births, fantastical beings, and powerful gods, woven together through the journey of Heron as he sets out on a heroic quest. It’s a distinctly Western tale, but the epic battles, arena duels, and demonic hunts mixes well with Powerhouse’s animesque art style, creating a novel combination that feels fully original.

This series is fascinating and incredibly easy to root for. The premise itself comes from a well-intentioned place, and is an idea that can even justify filming as a TV show. The presentation packs a layer of dissonance between its often, dare I say, adorable tone and the gravity of the situation that these people are potentially in. It’s not something that I’d say adds to or takes away from the show, but it is something that’s always in the back of your mind when the interview bits get a little too dumb and funny. The idea of prisoners governing themselves reads like a recipe for disaster, so the tension is always there. But when you see a good chunk of them taking it seriously, it’s all you need to want to see the show through.

If you’re a fan of dialogue-driven, single-setting shows, this series is perfect for you. It revolves entirely around suspect interrogations and dynamics between detectives, which lead to 3 “storylines” per episode: (1) whether the suspect is guilty or not, (2) the characterization of the suspects, and, (3) the characterization of the detectives. The third storyline might be necessary to push the series up an extra notch, but it’s easily the least interesting part of the series. The show creates tension layer by layer, and it has a way of keeping its premise fresh each time; I’m not sure that this is a format you want to binge. But it’s also 3-4 episodes a season, so you might as well?

Perhaps the best thing to be said about this series is that isn’t dripping with sensationalism. Then again, most works in the genre don’t get the survivors’ side of the story, as it pulls off in an excellent first episode. Sadly, that’s not the case for all episodes, but all the same it still feels a lot safer than most true crime. It gets to the heart of the matter quickly with intimate and honest interviews, and its barebones approach to its elements is another fantastic green flag. Of course, it’s still true crime though. If you don’t like that, you won’t suddenly like this series.

If you’ve seen one too many true crime documentaries, you might shake your head at the things sixteen-year-old Penelope does upon running away from her high school camp. You might (rightly) ask, why is she camping in the middle of nowhere all alone? Why is she trusting all these different strangers who, for all she knows, could be a serial killer or a trafficker? And why approach that bear? Why sleep in that clearing? But the sooner you let go of those worries and accept that Penelope is more of a fable about growing up and finding yourself than it is a literal survival tale, the better. Which isn’t to say it fails as the latter—Penelope is surprisingly watchable as she learns the ways of the wilderness. In fact, one near-silent episode is dedicated to just Penelope learning the ropes, literally, and it’s one of the season’s best. As long as you don’t get stuck in the details of Penelope’s journey and take aside your cynicism for just a while, you’ll find something touching and humanizing in this short but sweet series.