100 Best TV Shows of 2023 So Far

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.

The end of the world isn’t the most optimistic thing to think about, but the scenario leads you to thinking about unrealized dreams, pleasures, and aspirations: the way you want your life to be, if things have gone the way they planned. Dan Guterman, from Community and Rick and Morty, reimagines this idea in Carol and the End of the World. Carol is that mundane, downright boring character that we wouldn’t take notice of in real life, only because she actively chooses the ordinary life, but this show is extraordinary, shifting perspectives and even genres between episodes, taking unexpected turns, and celebrating the day-to-day monotony of life.

After struggling to recapture the magic of the first few Star Trek series for the better part of two decades, the franchise has finally returned to its original formula of self-contained space adventures, progressive politics, and an unabashedly hopeful tone—all to magnificent results. Strange New Worlds is classic Trek in every sense: from its truly out-there, ’60s-style sci-fi stories; to its warm sense of humor; to its welcome focus on sentiment and emotion even amid large battles and dangerous situations. The series accomplishes all of this while keeping every member of its crew unique and charismatic, crafting powerful character moments for them even in the thick of things—elevated by uniformly brilliant performances from its cast, led by a commanding Anson Mount. It’s Star Trek for old and new fans alike, and a great reminder of the distinct strengths of episodic TV.

Simple yet captivating, Skip and Loafer is a slice-of-life anime with a refreshing approach to the high school experience. While the anime genre is mostly known for its bright, high-saturated colors and action-filled, fantastical plots, this show celebrates the ordinary, with its pastel toned design, sweet humor, and clean animation. The series is centered around the main duo Mitsumi and Sosuke, but it never skimps on their friendships with their group. In fact, despite the classmates’ different backgrounds, the show’s thoughtful introductions make it easy to see why they would all care for each other, even as we get to know their insecurities. Skip and Loafer feels like a hug from the childhood best friend you had (or the one that you wished you had) – the one who you hung out with after school, the one who inspired you, and the one that changed your life for the better. Every episode is just full of pure, simple joy.

Directed by Steven Soderbergh (Oceans trilogy, Erin Brockovich, and more recently, Kimi), Full Circle is a twisty and stylish noir that takes a while to grasp, what with its epic ensemble and sweeping storylines, but once that first thread of connection is made, it becomes a series that’s very hard to leave. Each episode leaves you excited for the next, which in turn ups the ante even more. Soderbergh is in his element, and aided by a stacked cast of veterans and newcomers alike, he turns in a series that’s expertly tense and watchable throughout. 

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.

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.

There’s a lot happening in Netflix’s first Hindi survival thriller series Kaala Paani. The main plot follows the discovery of a new disease with inky rashes that confounds scientists and policymakers, which would remind viewers of the botched response towards COVID-19, but there are multiple subplots including a love story with a traumatized former nurse, a family drama between separated parents and children, and the ecological commentary on the indigenous population that survived the disease once before. But Kaala Paani is able to balance these plots, tweaking the series’ disease to visually carry the show’s science in order to dedicate more weight to each subplot. It allows showrunner Sameer Saxena to play with more philosophical themes, and allows his compelling cast to play with more complex and dynamic roles.

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.

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.