100 Best Shows on Netflix Canada

This gorgeous drama-thriller is set in bustling Istanbul where different characters, mostly women, cross paths.

And when I say gorgeous, I mean of the drop-dead variety. The cinematography is reminiscent of the Japanese style of Kazuo Miyagawa or Columbus director Kogonada.

And it’s all matched by the dialogue. The first episode follows a woman who lays bare her life in a first session with a psychologist. The story then moves on to her psychologist seeing her own clinician, mostly discussing how she feels about seeing veiled patients.

Wild Wild Country follows the relocation of a hippie cult from India to Oregon in 1981. You haven’t heard of Wasco Country? Nor had anybody else back then. This ghost town with a handful of god-fearing inhabitants, soon became Rajneeshpuram, the cult’s new homestead, home to a thousand disciples, and the subject of nationwide media attention. Spoiler: the town’s old residents did not think much of it.

Will there be debaucherous orgies, long-haired drop-outs, preaching and chanting? Yes. But, through historical footage and interviews with contemporaries, including Ma Anand Sheela, the power-hungry secretary of the orange-clad guru, you will also be absorbed by chemical weapons and attempted murder, one of the biggest immigration fraud case in US history, and, of course, the mysterious and not-so-mysterious ways that a charismatic cult attracts and manipulates its followers. Across six one-hour episodes, this Netflix miniseries by brothers Maclain and Chapman Way gives a captivating, exhaustive, and powerful account of one of the stranger moments in American media history.

A parking lot run-in wouldn’t normally warrant anything more than an angry rebuke, but for Danny and Amy (Steven Yeun and Ali Wong, respectively), it’s the final straw that pushes them over the edge and into the domain of unfiltered rage. Years of forced optimism and unreciprocated niceness have led them to this unforgiving point, and instead of going back to how things were, they burry themselves deeper into the ground with each new act of revenge proving more sinister than the last.

Beef could’ve easily been a comical show anchored on silly hi-jinks. Instead, it’s a searing look at anger and repression in modern-day America. Danny and Amy are on opposite ends of the class spectrum, but both are riddled with unending malaise and self-hatred, parts of which are informed by their race, gender, and status as second-generation immigrants in the country. It’s their chase for the elusive American Dream, and not actually each other, that entangles them in a web of deceit and danger.

Juicy with a thrilling aftertaste, each episode of Beef will leave you enthralled, enraged, and ever-hungry for more.

This new seven-part docuseries is directed by Martin Scorsese and features conversations between himself and New York author Fran Lebowitz.

Fran talks about her experience in New York, and she’s hilarious, but no one finds her more so than Scorsese. He spends the show recovering from one laugh only to go into the next long one.

Fran has lived in New York a long time, and people know that so they come up to her to ask her about the city. “If I were a civil war buff, and I saw Abraham Lincoln, I’d think ‘Oh! he was there. Let me ask him.’”. That’s who she is.

At first glance, Monster doesn’t seem like the typical anime of the 2000s. With its muted colors, realistic action, and Eastern European setting, it seemed like a more subdued series compared to other thrillers. But because it feels so realistic, Monster is one of the most thrilling psychological series that happens to tackle the value of a human life, as the compassionate doctor Kenzo Tenma grapples with the weight of having saved a boy who grows up into a manipulative psychopath. Mangaka Naoki Urasawa and showrunner Masayuki Kojima directly challenges their respective philosophies through excellently paced investigations, well-developed characters, and the thorough examination of the different ways humanity has failed each other, and it’s downright beautiful to see how this anime adapts Urasawa’s complex, sophisticated story so faithfully.

If you’re looking for a funny yet original sitcom, look no further than Derry Girls. 

It takes place in 1990s Northern Ireland where civil unrest reigns. News of bombings is regular. This is a cause for concern for a lot of people, but for one group of teenage girls life continues as usual. Making fun of the first boy at their all girls school and being embarrassed by crushes are unshakable priorities. 

Derry Girls might have been a good show with just the 90s nostalgia and the political undertone, but the sharp and hilarious writing elevate it to greatness. It is truly one of the best sitcoms ever made. If you liked The End of the F***ing World, you will enjoy Derry Girls. They differ in plot but they both carry similar elements of dark and dry humour. 

Watch out for Sister Michael, she is hilarious. 

If you liked Netflix’ Stranger Things gloomy suspense, sit tight because there is a lot more of where that came from in Dark. Here is what they have in common: the aesthetic, great music, and they’re both about the disappearance of a child. Other than that, it is very difficult to compare Dark to anything else I’ve seen before.

This German show is about a town with a long and dark history, which is brought to the forefront of the collective conscious when a child goes missing. The plot twists and turns through decades of history – and that’s as much as I will share without ruining the show for you. 

Dark uses beautiful aesthetic, both visually and musically, to be compelling and painfully tension-ridden. 

Season two has more bouncing between timelines and more dark and inexplicable events, as now six people are missing. 

This excellent drama miniseries starts in the middle of one night when Alex, a 25-year-old, grabs her daughter and flees her home. She is chased by her abusive boyfriend but doesn’t look back. She has 18 dollars to her name.

The story is based on a real-life memoir called “Maid: Hard Work, Low Pay, and a Mother’s Will to Survive”, where Alex’s character (based on executive producer Stephanie Land) does everything to get her daughter and herself to a safe environment. She gets a trial at a cleaning job.

Maid does such a good job at portraying the many stresses that Alex goes through: will she have enough gas? Will she find a safe place to sleep? Will she get to the cleaning job on time? And as the series progresses, the questions become different but the stress is the same – except in episode five, in which she cleans a weird house, and then it becomes an actual horror movie.

And on every other aspect, the show delivers. The cast, led by Margaret Qualley and her real-life mother Andie MacDowell, is phenomenal. Each episode is long enough to leave an impact but not too long to be melodramatic. The scenery (set in Washington state but filmed in British Columbia) is gorgeous. It’s such an all-around great show.

It’s amazing how shows fueled only by fast talk can feel as gripping as any thriller out there. The Diplomat is cerebral and heavy on geopolitical jargon, but somehow, it manages to feel genuinely exciting, each new episode impossible to not play next. Thanks is due in large part to Keri Russell who, fresh out of her incredible stint in The Americans, returns here as messy and intense and endearing as ever. On the one hand, The Diplomat is about the delicacy of diplomacy, about how every decision made at this level has ripples of consequences throughout the globe. But it’s also, amusingly, a marriage story. Russell plays a woman who has long been defined by her more renowned if egotistical husband, played perfectly by Rufus Sewell. They have a complex relationship that is as much a career partnership as it is a romantic one, and part of the show’s charm is blending all these story arcs seamlessly. Fans of West Wing, Veep, and Homeland will find much to like in this series, especially because of its informative takes and engaging performances.

Pressured by the feeling that everyone is having sex except him, Otis (Asa Butterfield), like most teenagers, is very uncomfortable with sex, masturbation, and intimacy in general. In addition to the standard-issue teenage awkwardness, to make things worse, he grows up in a sex-positive household under the watchful eyes of his mother Jean, played by Gillian Anderson, who is a sex therapist. Obviously, the subject is omnipresent as are erotic art, oversized dildos, and coitus-craving couples all over the house. The twist comes when he transforms his tribulations into a business model by teaming up with bad girl Maeve Wiley (Emma Mackey) to counsel his teenage peers on sexual issues of all kinds. As you can imagine, uninitiated teenagers have a lot to offer in that department. Apart from its raunchy premise and explicit images, this is a hilarious, diverse, and warm teen comedy thanks, in particular, to the writing of playwright Laurie Nunn. Lauded by critics for its honesty, this future comedy classic will surely teach you a thing or two about sexuality yourself.

All four episodes of Adolescence are shot in a singular, shocking take. The camera takes us along as Jamie Miller (an outstanding Owen Cooper) is arrested for suspected murder. In one episode we follow Jamie and his confused father (co-creator and writer Stephen Graham), in another we follow DI Luke Bascombe (Ashley Walters). And in one particularly head-spinning episode, we follow Jamie and his psychiatrist Briony (Erin Doherty) as they both try to get in each other’s heads. The series may seem like a straightforward murder mystery at first. Like Apple TV+’s Defending Jacob, it asks, did young Jamie do it? Will his parents believe him? Will we? But those questions are almost secondary to what the show really gets at. It takes on violent misogyny, a growing trend among the Andrew Tate-influenced youth. It takes on parental guilt, grief, and moral responsibility. It’s a hefty piece of work, but the naturalism of the script and the intimacy of the single-takes makes it feel terrifyingly close to home.

Sci-fi is already a pretty wild genre. Anything can happen in this fantasy world, so it takes a special kind of skill to make a new entry seem original once more. But Pantheon throughout its eight-episode run manages to be just that thanks to its resonant storytelling, inventive editing, and brilliant, heartfelt premise. 

The scope of the story is as wide as it is wild: it’s about the unregulated rise of “uploaded intelligence,” after all, where human minds are fully uploaded and digitized for corporate use. Global tech companies are in an arms race to transform this discovery into weaponry, as they are wont to do, without giving mind to the human and environmental costs. Challenging them is the unlikely duo of Maddy and Caspian (Katie Chang and Paul Dano, respectively) who, as direct victims of this greed, have more than a few grievances to express. 

It’s exciting to see how far the dystopia of Pantheon goes, but anytime it flies too high, it’s always grounded by the fleshed-out humanity of Maddy and Caspian. The series runs on their self-discovery and existential crises as much as it does on extraordinary circumstances. Expect to shed a tear or two while watching this series. 

We call it a Netflix true crime documentary, but, in fact, this compelling four-parter is much more than that. It homes in on the fate of an immensely empathetic, soft-spoken, and likable family man, who loses his teenage son to drug-related violence in New Orleans’ notorious Lower 9th Ward in 1999. With corruption rampant in the city’s police department, he takes matters into his own hands and investigates his son’s murder by himself.

In doing so, main protagonist Dan Schneider notices a rise in opioid prescriptions from one doctor in particular. Fueled by a relentless determination to protect other children from addiction, he quits his job and begins gathering evidence against this doctor and, by extension, the company responsible for the sale of the notorious opioid-based painkiller Oxycodone: Purdue Pharma. In the course of his investigation, Schneider records all his findings, evidence, and intimate thoughts on audio and video. This sense of immediacy and the pretty breathtaking twists of his story make this Netflix production rise above other true crime formats. It uses the power and charisma of one individual to come to grips with a crisis of global proportions.

In the early 2000s, amid the rapid rise of online piracy and the consequent fall of paid music, tech genius Daniel Ek would find Spotify, a revolutionary streaming platform that served as a middle ground between user accessibility and artist rights. But even now, at its peak, Spotify’s success seems mystifying. How did they get away with providing free music to all? 

Enter The Playlist—an impressive attempt at answering that very question. In this fictionalized account, key players in Spotify’s success are given their own episode-long arc, starting with the visionary himself, Ek (played by Edvin Endre), followed by the artist, the coder, and the industry insider, to name a few. By employing multiple perspectives, each with its own cinematic style (a particular favorite is that of the lawyer’s, the most experimental out of all the episodes), The Playlist manages to spin the technical and complicated story of Spotify’s origins into something fresh, dynamic, and addictive. Despite utilizing the Rashomon effect—risky but rewarding in this case—The Playlist rarely strays from its main point and, the result is a lean, well-rounded story that’s just as credible as it is heightened. 

Starting off the series with slicing off fingers, Blue Eye Samurai is a thrilling action series that brings back samurai sword wielding in such a gorgeous fashion. Reminiscent of the classics, the animated series is centered on its titular warrior, whose blue eyes set them apart from society. She dedicates herself to a lifelong revenge journey, with gruesome sword fights, all to kill the four white men who could have been her father. And while she takes some side quests to her journey, missions that make her question the path she took, these seemingly straightforward fights slowly uncover the woman she became, and the pain inflicted upon those who can’t help but be different. It’s an action-packed spectacle, but it’s also an unflinching examination of trauma, and possibly one of the best animated releases from Netflix this year.

Asura is a very particular period piece about the typical, rule-following Japanese family in the 1970s, and yet it feels universal too in its tales of family, marriage, and above all else sisterhood. Based on a novel by Mukoda Kuniko, Asura captures the frustrating, odd, exhilarating, and reassuring specificity of having a sister. You could be in a severe argument one second but laugh about an accident in the next. You could get mad at your sister for staying in a toxic relationship while offering her a place to stay and promising not to judge her in the same breath. And as we witness the dynamics of these four sisters, we also get to see the relationships they pursue (or run away from) all while trying to stay afloat amid Japan’s rigid societal rules. “Is it happiness for women to not make waves?” their mother asks. The entire series sees the women try and fail and try again to answer that all-important and ever-relevant question.

It can be slow, intense, and a tad too sardonic for some people, but Department Q is a well-crafted detective series that keeps you on the edge of your seat till the end. Like Slow Horses before it, it follows a group of misfit cops eager to prove their skills to eagle-eyed management, here in the form of TV veteran Kate Dickie.

The outcasts are tasked to solve cold cases, reluctantly led by DCI Carl Morck (Matthew Goode), an antisocial and (likely) genius with a heart of gold. His side-kick, a Syrian detective with a dark yet unexplained past, is who truly steals the show. It’s almost tough to watch the show while eagerly waiting for every line and every scene he is involved in. He is brilliantly portrayed by Russian-Swedish actor Alexej Manvelov.

Department Q is as much about the difficult cases as it is about Morck and the characters’ battling their personal demons.

The title of this romantic comedy series refers to the unusual meet-cute between its leads. As wealthy heiress Yoon Se-ri gets into a paragliding accident in the North Korean part of the DMZ, she meets KPA Captain Ri Jeong-hyeok. Considering the tension between the nations, this creates more life-or-death stakes than other non-fantastical romcoms. But rather than play it out in the most dour of ways, the series has fun with it, with a humor that riffs on the sheer awkwardness of the situation and the leads’ shared humanity. Crash Landing on You does take on some of the K-drama formula, but it brilliantly uses it to humanize both sides of a peninsula that once was united.

There is footage and coverage to prove that the pizza bomber story actually happened but watching Evil Genius: The True Story of America’s Most Diabolical Bank Heist everything is so intriguing it is almost impossible to believe. A pizza-delivery guy shows up to rob a bank with what he says is a bomb secured around his neck, something that he claims is part of a treasure hunt. By robbing the bank, he will unlock the next set of clues that will allow him to defuse the bomb. Bank tellers comply but on the way out he is suddenly arrested by the police, who doubt his claims, handcuff him and keep him at a distance. The device he has around his neck then starts beeping. What follows is one of the most unusual investigations ever led by security forces, brilliantly framed by executive producers Duplass brothers. A perfect follow-up to their other amazing True-crime Netflix collaboration, Wild Wild Country, it’s a tight 4-episodes that is equally terrifying and intriguing.

I can’t think of a good reason why this review shouldn’t just be two words: David Attenborough. With a voice that makes you wish every other voice in your life was the same, the star of Planet Earth teamed up with Netflix to make this new nature show. It took four years to film, and it bounces countless times between continents in every episode. It’s rich, vivid, and oh so beautiful. So they just made another Planet Earth? Not exactly. Our Planet has a much stronger environmental message. It’s not a line here and there about the negative impact we’ve had on the planet – it’s the theme behind the whole show. It’s frank, sad, but always, always, stunning.

This excellent new miniseries is a drama that takes place in an ultra-Orthodox Jewish family. Esty, a nineteen-year-old girl who is unhappy in her arranged marriage, escapes this community and travels from New York to Berlin in hopes of starting a new life.

Like all good realistic dramas, there are no truly bad people in Unorthodox. Everyone is trying to do what they think is right, which still makes for very complicated situations. Esty is played by Israeli actor Shira Haas and I know this word is overused but she really is a revelation.

Leya is a businesswoman and single mother in her 20s who is trying to get her struggling startup off the ground while working at a restaurant.

When she finds an investor who’s willing to help her realize her dreams, he requests that she first pays off her outstanding debts to her previous investors. For this, she borrows from her brother-in-law who is in a violent drug gang.

It’s such a stylish and fast-paced thriller, based on Jens Lapidus’s famous Stockholm Noir Trilogy, except the gender of the lead role is reversed.

Netflix’s resurrection of the hit Danish drama Borgen comes in the form of Borgen: Power & Glory, a miniseries that sees Birgitte Nyborg (played by powerhouse Sidse Babett Knudsen) step down as prime minister and take over the foreign minister position while wrangling over power, principle, and family. In this particular revival, Birgitte butts head with the new prime minister, who is all for drilling oil in the autonomous region of Greenland despite Birgitte’s firm stance against climate change. The event turns into a geopolitical crisis that tests Birgitte’s values.

The series is as whipsmart, relevant, and funny as ever, although if you haven’t seen previous seasons of the show yet, don’t fret. Borgen: Power & Glory efficiently catches you up on all you need to know in the first few minutes. It’s a standalone, engaging drama that’s a breeze to go through at just eight episodes.

Sweet Tooth is set in a post-apocalyptic America, where the population has been ravaged by a mysterious virus and the new generation of humans has evolved into animal hybrids. The circumstances are bleak and the things people do to survive even more so. Driven by fear and grief, they both isolate and attack in moves that are eerily reminiscent of the early days of our own pandemic. Sweet Tooth is a robust adventure story then, gritty and reflective and tragic, but it’s also incredibly sweet.

We’re introduced to a myriad of characters, each of them with their own arc, but we mostly follow Gus (Christian Convery), a nine-year-old human-deer hybrid who has yet to be disillusioned by the human race. Gus grounds the story’s many flights of fancy, and along with the other main characters, he gives us timely reminders of the importance of kindness and humaneness without ever being too corny. And to the show’s serious credit, no one plot line overpowers the other; instead, all feel just as vital to the larger story of survival that’s being told. 

The blend of these tales is lovely, the world-building is imaginative, and the technical aspects of it—the color, the costuming, and the cinematography—are all beautiful. Ultimately, Sweet Tooth is a packed a show wrapped in gorgeous layers, sure to delight even the most casual of viewers. 

From the mastermind behind Netflix’s Kingdom, Kim Eun-Hee’s Signal is an exhilarating series that seamlessly weaves together gripping crime thriller elements with an intriguing touch of supernatural. With its unique premise of a mysterious walkie-talkie that connects the past and the present, the show follows a team of detectives from different eras as they collaborate to solve cold cases and unravel the secrets behind unsolved crimes. The superb writing and exceptional performances by the cast, including Lee Je-hoon, Kim Hye-soo, and Cho Jin-Woong, have made Signal a major hit among K-Drama fans. 

Baby Reindeer is a tough watch, starting out with out of kilter comedy that eventually and unrelentingly reveals its darker and darker sides. But not only was this a hard show to watch, this story is genuinely difficult to tell, because of how entangled all the threads of Donny’s trauma gets– it’s not a straightforward story about going through one traumatic incident and then immediately moving to logical forms of healing. It’s about one traumatic incident keeping him stuck and leaving him and his loved ones vulnerable to even more abuse. It’s a terrifying situation. And it’s terribly, terribly honest.

Pernille is the kind of show that makes you feel simultaneously giddy and sad, and the kind that makes you skip the credits as soon as you can to play the next episode. Like a Norwegian Better Things, it follows the titular Pernille (Steenstrup) as she raises two difficult but loving daughters, an emotionally distant nephew, and a father who’s found a new lease in life after finally coming out of the closet. To top it all off, Pernille works in child welfare, earning the ire of many unfit parents as she thanklessly saves children from abuse. Pernille is sometimes fun to watch—the heroine is prickly and plucky as she navigates her duties while carving out time for herself (often sexually). But sometimes it’s also difficult to watch. Between being a social services agent and a mom, Pernille comes to learn she’s not always right. But she is relatable and real, and therefore ultra comforting to watch.

Produced by Ezra Klein’s Vox Media, an explanatory news site with liberal leanings, this may well be Netflix’s first successful attempt at a traditional weekly television show. And a news show at that. But as the title suggests, Explained doesn’t aim at updating you on current events, but takes short but in-depth looks at topics that tend to get overlooked in news cycles such as the racial wealth gap, monogamy, and the rise of cryptocurrencies. The idea is not unique. The only thing YouTube might have more of than make-up advice videos are explanatory monologues by self-declared Illuminati. However, those familiar with Vox Media’s previous outings on YouTube know to expect high production value, serious research, and digestible visual journalism at its best. Don’t watch it with your special uncle, though because he will start yelling at the television.

While this perspective on competitive sports is obviously unconventional, it makes perfect sense. Winners are boring. If you win, you win. The losers, however, have defeat to deal with. As the proverb goes, you learn little from victory, but a great deal from defeat. Director and creator of the show’s amazing animation, Mickey Duzyj, was inspired by a personal experience during a tennis tournament as a teenager. Each episode of this 2019 Netflix show tells a different story from a different sport. For starters, episode one looks at Michael Bentt, a world champion boxer who was forced into the sport by his abusive father. So, things do get dark, as could be expected, the storytelling is complex, but the message of Losers is as simple as it is wholesome. Like the characters and life stories it portrays, this show will pick you up when you are down!

On the surface, The Makanai is a simple, slice-of-life show about food and friendship. While it is that, to be sure, it’s also a substantial drama that tackles questions about art vs. love, and love vs. companionship, and career vs. purpose. Under the gentle guidance of showrunner Hirokazu Kore-eda (Still Walking, Shoplifters, Broker), who generously allows up-and-coming directors to take the helm on certain episodes, The Makanai feels at once light and hefty, comforting and challenging. We’re seeing mundane events unfold before us as if we were bystanders, but we also understand that there is so much more happening than what meets the eye. A prolonged gaze, a lovingly prepped meal, an especially sharp wing-eye, all of these have much to say about the state of mind of these girls.

It’s a supremely gentle and culturally rich show with a tender heart; a truly great watch on all accounts.

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.

Long Story Short follows three siblings throughout their youth and adulthood. It sounds basic enough, except the ten-episode series time-hops every now and then, so we get to drop in on them during certain periods, like the drive back home from a loved one’s funeral, a catastrophic prom night, and even just a good night where everyone gets along. We get glimpses and snippets of their life in non-chronological order, but it all builds up to a resonant and deeply moving whole. Created by Raphael Bob-Waksberg of BoJack Horseman and Tuca & Bertie fame, it’s not surprising how heart-wrenching Long Story Short can get. But as Waksberg leaves behind his animal avatars in this series and focuses instead on human characters, he also crafts something a little less devastating and a little more delightful and closer to home.

Each episode of Abstract is a look into an art discipline through the lens of a selected contemporary pioneer. From illustration to footwear design, the show follows how the artists create and live, how they got started, etc. The documentary itself is really aesthetically pleasing, which kind of taps into your own creativity. The designers in the series are unknowingly well-known. Does that make sense? You will instantly recognise their work even though you’ve never heard of them before. A light, easy-going and inspirational documentary.

An amazing binge-worthy show that is a mix between a coming-of-age story, a romance, and a crime thriller. It tells the story of James, a 17-year-old who believes he is a psychopath (for some very convincing reasons). James decides he wants the victim of his first murder to be a new schoolmate, Alyssa.  He befriends her and keeps waiting for the perfect moment to kill Alyssa until he finds himself on a journey with her to escape her home. Somewhere near the middle of the show, and without you fully realizing it, it transforms from an original coming-of-age story or odd-boy-meets-odd-girl story to an intriguing view on adolescent insecurities and the role of parents into shaping them. It transforms from a mysterious, almost charming story to an interesting character study.  This is when the show will blow your mind.  It’s a fresh, smart, funny yet disturbing emotional thrill ride.

Sneaky Pete is probably the Amazon Prime Original that suffers the most from the platform’s awkward branding. Had it been on Netflix, your co-workers wouldn’t stop talking about it. Four years after the finale of the mighty Breaking Bad aired, Bryan Cranston is back with some thrilling, far-fetched, but furiously entertaining TV. A con man just released from prison, Marius Josipovic (Giovanni Ribisi) seeks to reconnect with his brother Eddie (Michael Drayer), who tells him that gangster Vince Lonigan (Cranston) wants payment for the $100,000 Marius owes him. Being a con man, Marius does what he does best, assuming his cellmate Pete Murphy’s identity and duping his family. This is where things get roaringly fun and a little absurd, while gangsters, the police, his brother, and Pete’s family do everything they can to make his life difficult. Suspend your disbelief, though, and you will be thoroughly entertained.

Nadia is a game developer and proud aging hipster living in New York. Her story starts at her thirty-sixth birthday party looking at herself in the bathroom mirror. On her way out, she finds a friend who hands her a joint laced with cocaine, “that’s how the Israelis do it” her friend says.

Nadia hooks up with a guy and they stop at a bodega on the way back to her place. So far everything seems normal (in a New York-hipster kind of way). But on her way out of the bodega, she is hit by a car and dies. The story restarts, at the same birthday party, staring at herself in the mirror.

Russian Doll can be summarized in what Nadia screams later that night: “the universe is trying to f*ck with me, and I refuse to engage”. Her strong personality and the events that happen to her allow the show to explore themes of vulnerability, trauma, and even life and death. Russian Doll repeats almost every episode, but its originality and plot twists make it more refreshing with every repeat.

This rhythm takes some quick getting used to, but the moment you do you will not be able to look away. Natasha Lyonne from Orange is the New Black is masterful at playing Nadia. She co-created the show with Amy Poehler and Sleeping With Other People director, Leslye Headland. She packs a lot of the originality and character that possibly makes Russian Doll the most fun and original show you will watch in 2019.

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.

Romantic comedies used to be a dime a dozen in the 2000s, but now it seems like a dying genre, filled with mere shadows of what once was. That’s why when a good one comes along, you recognize it immediately: a good romcom revitalizes our ideas of love and life. It’s injected with a freshness that makes old feelings seem brand new. You get that in the British film Rye Lane, the Apple TV+ series Platonic series, and the Aussie gem Colin from Accounts, to name some recent examples. You can also find that same spark in Nobody Wants This, a breezy and effortlessly funny romantic comedy about two star-crossed adults trying to make their relationship work despite family disapproval, work demands, and that nagging fear of being hurt once more. The series is helmed by an impressive roster of writers and directors including Greg Mottola (Adventureland, Superbad), Karen Maine (Obvious Child), and Oz Rodriguez (The Last Man on Earth). It’s reminiscent of the indie romcoms of the last decade while shedding some much-needed spotlight on middle-aged dating. My only gripe is that this would’ve worked so much better as a punchy feature film. Instead, it’s dragged to the typical Netflix length of 10 episodes, but at least each runs only for a breezy 30 minutes.

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.

There are only 20 seats in Formula 1 each year, meaning that drivers are not only racing to win but to be kept on the roster. With the big stars, Ferrari and Mercedes, habitually shrouded in secrecy, Formula 1: Drive to Survive focuses more on the back of the grid. Lewis Hamilton, the five-time world champion, is rarely seen, for example, giving more room for other stories to unfold, including that of Günther Steiner, the Italian team principal of the Haas Formula One Team. That is not to say there are no big reveals. Even if you think Formula 1 is a decadent, testosterone-driven sports for rich Europeans, Drive to Survive might be welcome crash course into what makes this sport so appealing for many and might also have the potential to change your mind. If not, it is still a very well-made, slick, and engaging docuseries that will have enthusiasts and newcomers thoroughly entertained.

Meet Rilakkuma, a relaxed teddy bear (which is indeed what his name translates to in Japanese), and Kaoru, a Japanese office worker in her mid-thirties, who lives with said bear as well as a smaller white bear named Korilakkuma and a yellow chick by the name of Kiiroitori. As whimsical as all this may sound, the show offers up endearing and humane life lessons to go with all the heart-warming cuteness as Kaoru navigates being single, her apartment building being demolished, and her job stressing her out. It combines charming stop-motion characters with great writing, adorable animation, and a beautifully quiet tone. You might be surprised at the profundity of a show that, at the surface, is about a Japanese girl with cuddly toy roommates. It’s hard to compare it to anything else!

Vibrant and quirky in a way that always rings true for its plucky protagonists, this abruptly cancelled children’s series embodies the optimism and empathetic spirit that we should all hope to gain from the younger generations. By starting their own neighborhood business, the core characters of The Baby-Sitters Club (played with undeniable star power and chemistry by its young ensemble) learn how to bring joy and healing to others while facing everything from discrimination and generational trauma to their own imperfect family lives. Behind the club’s humorous, sugarcoated antics is a real sense of helplessness that each character struggles with—forging ahead and doing whatever they can to fix things that they’ve been told are out of their control. It’s an unexpectedly touching gem of a show that proves kids’ entertainment can be truly beautiful.

There’s no point denying it: Michael Jordan is one of, if not the greatest of all time. What he did to place the Chicago Bulls on the map, to inspire his teammates to a three-peat championship, and to constantly reinvent himself and grow his name as a currency—all that continues to be a template for NBA stars across generations. The Last Dance is a fittingly grand docuseries that captures Jordan’s once-in-a-lifetime shine. 

Even if you know little to nothing about basketball, the miniseries does an impressive job of making every detail about Jordan and his game compelling. We follow him from his early days in college basketball up to his nonstop rise in the Bulls to his stint in baseball, and we end at a dramatic high, as the title suggests, during the Bull’s triumphant 1997-1998 series—Jordan’s final season with the team. 

But the series isn’t all Jordan. In clever and comprehensive ways, we get to learn more about his teammates (especially defense rockstar Dennis Rodman and reliable ally Scottie Pippen), his coaches, and his closest friends, all of which makes for a well-rounded and truly riveting watch.

Copycat Killer is a gripping and unsettling crime thriller that takes its time to develop its characters and delve into a disturbing cat-and-mouse game between a relentless prosecutor and a manipulative serial killer. The show’s slow-burn approach keeps you invested in the characters’ journey, while the horrifying events remind you of the potential dangers lurking in the real world. With a mix of tension, manipulation, and grisly acts, Copycat Killer leaves you on edge, keeps you guessing at every turn, and serves as a reminder of the dark realities that exist in society.

Messier than Heartstopper, but tamer than Skins, Everything Now has everything you’d expect from a British teen show. Sexuality, vices, and experimentation is what the series shares with other coming-of-age series, but at its heart is Mia Polanco as she tries to get back to her regular life after anorexia recovery. Cutting between her life now and her seven-month hospital stint, the show feels like a realistic depiction of a non-linear healing journey. It’s a show that makes sense to release right now, as the world’s teens try to get back to normal and try to reach standard teen touchstones.

Reimagining a children’s classic as a mature serial killer mystery, PLUTO already had high expectations for its anime adaptation. The limited series adds an additional challenge, with only hour-long episodes dedicated to each of the series’ eight volumes, which follows not only Gesicht’s own investigation, but also in-depth stories of each of the remaining Great Robots. However, the anime, now showing on Netflix, is able to meet this challenge with its deep understanding of the source material. It’s not just a straightforward police procedural, or just futuristic dream of how AI and humans can co-exist. PLUTO is a robot series that strikes at the heart of what it means to be human.

Watching the trailers, and even the first ten minutes, Scott Pilgrim Takes Off just seems like a rehash of the prominent Edgar Wright film, especially since his cast reprise their roles in this new anime. However, when that episode ends, even the most ardent fans of both the film and the original comic book series would have no idea where this would go. It’s a fearless, daring approach, from the original creator Bryan Lee O’Malley, and it’s met with the wackiest, spectacular animation from Japanese animation studio Science SARU, remixing O’Malley’s designs with 8-bit, fighting video game action.

Inspired by The Pink Marine memoir, Boots expands on Greg Cope White’s story to widen its perspective from one recruit to a whole troop. It makes it a team effort, rather than a solo stint. With the different faces and the protagonist’s sexuality, this show updates the classic military show for this generation, but the change works mostly because of an interest in the whole ensemble, letting its relative newcomers play off each other and show off their strengths. And that’s in spite of the times this show was released in. It’s a shame that Netflix hasn’t greenlit this gem for a second season, considering that these guys prove their mettle in each of their performances. Boots has more ground to stomp on, if only certain companies had the same balls the creators here did.

With true crime hitting an all-time high, and Making a Murderer making millions, here comes Netflix’s The Keepers. However, while the two shows share a common genre and general tone of voice, The Keepers is a much more interesting show. For one, it focuses on the victims and their stories, instead of the grisly perpetrators. Second, it trades cliffhangers for substance without compromising on breathtaking twists and revelations. Across seven taut episodes, it meticulously examines the unsolved murder of Catherine Cesnik, a Baltimore nun in 1969, who is suspected of being murdered to cover up sexual abuse at the Catholic high school she taught at. Adroitly edited, beautifully shot, and featuring great music by Blake Neely, The Keepers unfolds a horrific tale and emphatically captures the pain still lingering on five decades later.

Think of Dix pour cent, or Call My Agent!, as it was so horribly translated, as a smart French version of Mark Wahlberg’s Entourage or, as the director once quipped, Desperate Housewives with actors and their agents. Ten percent (dix pour cent) is the fee that said French agents receive as compensation from the actor’s fee. It chronicles the life of an aspiring talent agent at a French casting agency. New to Paris, she lands her dream job, but now has to deal with a variety of very stressed-out, capricious characters on both sides of the bargain. It is one of those shows that finds hilarity in the fact that nobody actually talks to each other over sometimes simple issues. On the actor’s side, many of the appearing A-listers star as themselves. The countless cameos include the likes of Jean Reno, Monica Belucci, and Charlotte Gainsbourg. It’s basically a soap opera but so well-written and complex, you might refrain from binging it too hard just to make it last longer.

Very violent, very Western, and, in a breath of fresh air: very female. Godless is a grim and visually stunning series about a small New Mexico town populated almost entirely by women, including Alice Fletcher, a reserved and self-reliant widow played by Michelle Dockery. Roy Goode (played by Jeff Daniels, who won an Emmy for it) is an outlaw chased by a much worse outlaw, Frank Griffin, who is taking in by the mysterious, gun-toting widows. Written and directed by Scott Frank and executive-produced by Steven Soderbergh, Godless is an honest and powerful show with amazing performances. So amazing, it’s hard to single one of them out. If you love Westerns but sometimes find them too foreseeable, this show is for you.

If you’re like us, there’s always room for good 20-minute comedy show in your life. But we also live in the “age of the cerebral”, so you’re typically getting some really deep stuff to go with it. Written with a lot of heart by Alison Bell (who you might know from Laid), the female lead, and Sarah Scheller, The Letdown perfectly captures the transition from being a care-free thirty-something to becoming a mother, where everything feels too much and failing feels only a second away. It doesn’t help that new mother Audrey Holloway seeks help at a parenting group with a rather unhelpful maternal health nurse (Noni Hazlehurst). Audrey’s career-focused husband Jeremy (Duncan Fellows) also has a penchant for being unhelpful and so it’s up to her to somehow make things right. Anybody who has had a child or knows somebody that does will be able to confirm the hilarious honesty of The Letdown’s writing and performances. And from that honesty comes a lot of dramatic realness but also a very funny, well-paced show.

Unlike Lovesick, which rightfully changed its name from Scrotal Recall, Schitt’s Creek is still called Schitt’s Creek many seasons in. After flying under the radar for a while, the sitcom about a wealthy, Arrested-Development-style family coping with the sudden loss of their fortune is starting to get the attention it deserves. Warm and witty writing, very gif-able catchprases, and a great main cast have turned this slightly slim-sounding premise into a long-running cult classic. The great Catherine O’Hara plays Moira Rose, the cynical matriarch, while many of you 00s kids will immediately recognize the male lead, Eugene Levy, as “Jim’s dad” from American Pie aka them most embarrassing dad ever to grace a screen. In all its simplicity, the steadily fleshed out riches-to-rags plot is hilarious, undemanding, and witty, exactly what you want a sitcom to be.

You might not have heard of it, but this show was huge in Denmark. I mean, one million people watching in a 5-million-people country huge. Far from being the tasteful Nordic Noir international audiences are used to, Rita revolves around a mid-40s, single mum of three older kids, leather jacket-clad private high school teacher with a big mouth and a heart to go with it. Mille Dinesen plays the titular female lead, who smokes in the school bathrooms and, well, bangs the school principal. But in addition to the rule-bending rebel facing off overprotective parents, know-it-all students, and her growing kids, Rita also deals with serious topics like balancing work and family, being a role model, and abortion, albeit in a hilarious and, well, delightfully Danish way.

I would be okay if Black Doves was just a straightforward spy thriller; Knightley and Whishaw have enough charm, enigma, and kick-ass competence to make it work. But beyond the show’s cool and slick demeanor lies a wealth of other gems. It’s a heartwarming friendship tale for one, and a heartbreaking romance for another. It also manages to be funny at the right times, thanks to Sam’s bumbling accomplices, while evoking Christmas cheer. It sounds like a random mishmash of things, but Black Doves effortlessly blends its many tones and genres. Knightley and Whishaw ground the show’s ambition with their affecting performance as two cold-blooded killers who depend on each other’s trust and friendship. It also helps that there’s a depth to the deaths in Black Doves. There’s a nuance here that’s missing in most crime and action thrillers. Bodies are still dispensable, but you know why and how they’ve reached that point. If you want something smart and gripping that isn’t Die Hard to put on this holiday season, this could be it.

Out of all the presidents in American history, you’ll be hard pressed to remember James A. Garfield. That’s because the man barely made it past six months before he was assassinated. Perhaps it’s because of this that there aren’t many expectations for this historical limited series, other than period sets and costumes, which is done well. But Death by Lightning goes beyond just documenting the guy’s life, as well as the life of his murderer. Instead, the series delves into the ways both men focused on their legacy, for better or worse, pushing the wheel to bring the changes they have fought for, but also prematurely ending their potential impact on the nation. Death by Lightning is fascinating work, one that turns this forgotten president into an important warning for today’s changemakers.

In an age where every show gets called “original” the minute after it comes out, this amazing series from the creators of Orange is the New Black will actually make you go “no, that show is different!”. Starring an almost all-women cast (except for the coach, played masterfully by podcast icon Marc Maron), it’s the story of how a crazy wrestling show was put together in the 1980s called Gorgeous Ladies of Wrestling. Alison Brie (Community) plays the girl at the center of the effort to make this show happen, having had a terribly failed career thus far. Perfectly acted and featuring funny as well as absurd moments, GLOW is a great show that you can binge on Netflix without noticing the episodes fly by.

The first season of this abrasive crime drama has four episodes, expect to watch them all in one take. The second season became even bigger than the first after being endorsed by none other than Drake, who pushed for it to go on after it was cancelled. Set amidst the drug-dealing, cut-throat gangs of Hackney, East London, and Jamaica, Top Boy revolves around the two drug lords Sully and Dushane, played by Kane Robinson aka grime rapper Kano and Ashley Walters. This is not a cliched, poorly acted gangster flick though, but a vividly shot, intricately written, and authentic drama with amazing characters. Striving for a certain realism and authenticity, it is also unsettingly violent. But in its realism, it trusts mature viewers to see things like they are and to live through the tough decisions people in underserved communities have to make every day. Think The Wire with a gritty UK vibe. If that appeals to you, Top Boy is for you!

Man, don’t watch this show hungry. Each episode traces the traditions, the history, and the lore surrounding much-loved types of food. It’s a food show, to be sure, and it will surely whet your appetite, but award-winning rebel chef and creator of the New-York-based restaurant Momofuku, David Chang, also has a mission: to challenge notions of authenticity, to call out snobbism, and to break down cultural barriers. While exploring pizza, for example, he travels to Japan to check out a new pizza in a Michelin-star restaurant, but also hits up a Domino’s. He talks about why microwaves are good for you and why MSG isn’t bad for you—and why demonizing MSG has a racist history. Despite being an important proponent of the food industry, Chang has a fuck-it attitude towards it. There is a reason the name of his high-brow brand sounds like “m*therf*cker”. Part mouth-watering food TV, part op-ed on foodie culture, this is one of the best cooking shows you can watch today.

Clocking just 15 minutes per episode, Special is like a candy bar. It’s quick to consume but sweet as sugar. This new Netflix Original is set around a gay man with cerebral palsy, a disability that affects his body coordination but not his brain. As Ryan puts it in the first episode, it’s a disability that doesn’t make him normal but also is not severe enough for him to be part of the “cool disabled crew”. Ryan decides to turn his life around by pretending his disability is due to a car accident. People around him, especially at the exploitative millennial magazine “eggwoke” where he is an intern, start treating him differently. The car accident story provides a more accessible framework for them to understand his condition. It’s hard to believe a TV show can come out today and still manage to be so different from the rest, but Special does it. In other words, and I’m sorry to be this cheeky; Special is special.

When I learned about Street Food the first time, I was reluctant to sit through yet another Netflix cooking show. They’ve made so many that when I want to bring up an episode with a friend I forget if I saw it in Ugly Delicious, Chef’s Table, Salt Fat Acid Heat or others. I can’t say that Street Food is a different format. It uses the same slow-motion takes of food, the same close-ups on chefs and the same style of interviews. Here is the thing though. Street Food might be similar to other Netflix cooking shows, but it’s also better than them in almost every way. Much better. It’s only 30 minutes long per episode, so it doesn’t indulge in egos or stray into unrelated stories. It doesn’t showcase kitchens where only the rich eat, like Chef’s Table often does, but stalls that are accessible to everyone. And in the best way, it connects the story of the food makers to the food. The show is mostly about middle-aged to senior women, and people who do not make that much money. It’s not about glamorous young chefs. It’s about food stripped away from any marketing or showbiz. Real cooking, real chefs, real diners. In its unpretentious nature, Street Food feels euphoric.

From the Oscar-nominated cinematographer of City of God, this is a Brazilian Netflix TV show that I can only describe as a smarter Hunger Games. In a dystopian society, the majority of the planet’s population lives in extreme poverty while a select 3% (hence the title) live in a heaven-like world called “The Offshore”. Every year, the 20-year-olds of the planet get a chance to join the 3% in a selection process that for the first time might harbor moles. With an intriguing first episode that shares just enough to keep you informed but engaged, it’s easy to want to binge-watch the whole first season of 3% in one sitting.

For three years, the makers of this docuseries gained in-depth access to ICE and other government agencies to document the current state of the U.S. immigration system.

Immigration Nation looks at how ICE functions from within, but it also focuses on the human toll of its methods. When a migrant freezes to death, an officer calls his distraught father to notify him. It quickly becomes apparent that the officer is using the same call to try to establish if the father is in the U.S. legally or if he should be deported.

The show also makes an important point of noting that the harshness of the U.S. immigration system didn’t start with the current administration. “Prevention through deterrence” Clinton-era policies, for example, forced migrants towards desert routes, killing around 10,000 people from dehydration.

This docuseries follows six couples from Japan, the U.S., Spain, Brazil, and India, as they share their stories of a lifelong partnership.

It might sound like any other Netflix Original, but there are no twists or turns, and it never feels forced or aimed at a trend. Instead, it’s a mirror of the peacefulness that the couples have built together: a tender and simple existence that’s impossible not to aspire to.

The first episode follows a couple in Vermont who maintained the last farm in their area until passing it on to their son. Once high-school sweethearts, Ginger and David went on to have six children, and stay married for 60 years.

This life of quiet doesn’t necessarily mean an easy life, especially as the two have to pick between expenses like affording care or getting their grandchildren birthday gifts. Their biggest concern at this point is making it easy for their children after their passing, which carries its own weight.

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. 

The Netflix four-part miniseries Lost Ollie is a bit like if Toy Story was adapted into a live-action dramedy. You’ll recognize the premise immediately: lost toy comes to life and loyally sets out on a journey to find its kid. But stuffed in between those points are poignant moments and reflections about life, family, and being.

The film isn’t also afraid to touch on darker themes, so if you’ve always wished for a slightly more mature but still kid-friendly version of this narrative—and if you’re a fan of the likes of Paddington the Velveteen Rabbit—then you’ll enjoy Lost Ollie.

TV has never been as diverse as it’s been today, but despite the multitude of perspectives, nailing an authentic and enjoyable story that’s outside the realm of the classic white experience continues to be tricky. How do you relay very real dangers like gang violence and poverty without undermining universal teenage concerns like heartbreak and rejection? 

Enter On My Block, a series that manages to stuff many things on its small plate without compromise. It’s funny and charming, but also smart and serious when it needs to be. Unlike a number of teen sitcoms before it, On My Block is in touch with the real world, and it’s unafraid to shove its characters into difficult situations at every and any moment—not just during special episodes. This authentic setup coupled with its very likable and well-drawn leads is sure to draw in viewers of all leanings.

Alice in Borderland is a fast-paced heart-wrenching puzzle of a show that will have you wracking your brain and wiping your tears, often at the same time. It combines the wit of Hunger Games, the ruthlessness of Battle Royal, the goriness of Saw, and the social commentary of Squid Game, though sadly it has yet to receive the same renown as these titles. 

With each game, the characters must solve a given problem before the timer runs out—when it does, they die, often violently and for others to witness. While playing the games, leads Arisu (Kento Yamazaki) and Usagi (Tao Tsuchiya) also try to solve the bigger picture by figuring out once and for all who the gamemaster is. Like the story it names, Alice in Borderland drives its characters into increasingly dark and mad situations the deeper it gets. It’s also built to last like the novel, a classic in the making bound to be rediscovered and re-enjoyed in the years to come.

Fun, wholesome, and relatable, Haikyu!! celebrates the highs and lows of high school volleyball. The show starts off focused on two freshmen volleyball players from opposing middle school teams, who have to learn teamwork in order to be accepted into their high school club. While the team might initially come across as self-conscious, over-the-top, highly dramatic characters, it’s clear that they’re coming from a shared love for the competitive sport (and that they also just happen to be going through puberty). However, the show’s strategic storytelling makes us care about the team: explanations about volleyball tactics are taught just at the right moment in order to heighten the stakes of every player’s move. Simultaneously, every player moves into each new plot point as a natural consequence of their backstory and their perception of each event. Haikyu!!’s agile approach makes the show a compelling watch, and a great place to start if you’re new to anime.

Set in the Monsterverse—the same shared universe that King Kong, Godzilla, and their respective films inhabit—Skull Island follows a group of shipwrecked travelers who find themselves stranded on the mysterious titular island, which they soon find out is home to a variety of prehistoric creatures, including the mighty Kong.

Skull Island, the series, delivers wholesome relationships and touching character growth in the face of imminent danger, while also offering exciting action scenes, eye-popping visuals, and amusing jokes that are well-served by voice acting. It’s an easy, fun watch that is sure to appeal to fans of the Monsterverse, as well as fans of animated adventure series. 

Dear Child may be tackling difficult themes, including sexual violence and domestic abuse, but it’s not hard to watch at all. As a mystery, it’s well-told and gripping, with clues and cliffhangers appearing at just the right moment, and as a drama it’s expertly paced and brilliantly acted, with child actress Naila Schuberth, who plays Hannah, and Kim Riedle, who plays Jasmin, easily owning their scenes. Unlike other stories that decide to take on these delicate themes, it’s not gratuitous or exploitative either. Instead, it knows when to hold back and when to unleash the horrific details of its crimes. The sympathy it shows the victims is present but restrained, at least until the last few moments of the series. By then, the series, with full force, takes the victim narrative and excellently turns it against its head. 

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.

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.

During adolescence, teenagers get to learn and discover themselves and the world, but for most people, this means going through puberty, maybe taking up a sport or hobby, and not the occult vs alien shenanigans of DAN DA DAN. The science fiction-fantasy mix is unhinged and chaotic, throwing Momo and Ken directly into the worlds they didn’t believe in, and with each crazy encounter, they gain insane powers that are rendered into (literally) out-of-this-world, kaleidoscopic animation. But it’s their comedic dynamic that makes the show work, as each absurd situation pushes them to share what makes them vulnerable and challenge each other on their beliefs. DAN DA DAN is spectacularly unpredictable, and is a standout from 2024’s anime fall lineup.

It’s a tall order to depict One Hundred Years of Solitude. Considered to be one of the world’s most important novels to read, expectations were high, the magic realism required a hefty budget, and the sprawling seven-generation plotline felt like it couldn’t fit within a feature film, or around 90-120 minutes. It’s because of this that author Gabriel García Márquez held out on selling the rights, and the family followed suit after his death. Luckily, more than half a century later, streaming television garnered enough prestige and profit to finally adapt the classic. Netflix thankfully stuck to the family’s wishes of having it filmed in Spanish, in Colombia, with Colombian actors, but it also expanded on the layered text in ways video can only do so– like fleshing out the story visually and aurally, having an omniscient narrator, and taking advantage of the medium through editing, direction, and excellent performances from the cast. Cien años de soledad doesn’t just work– it makes it so much easier to understand hype and the themes for people completely new to the text.

The title character of Kotaro Lives Alone is such an unusual child. Sure, he plays pretend as an old feudal lord, has the characteristic precociousness main characters have, and he is drawn in the old school blocky anime style for young kids’ shows. But despite these markers for lighthearted entertainment, there’s something undeniably poignant behind this quirky character that his adult neighbors thankfully notice. As lazy next door neighbor Shin Karino gets to know him, and the residents of the complex band together, this slice-of-life series brings on the laughs, while simultaneously stabbing the heart with each realization. Kotaro Lives Alone works because it examines the actual ramifications of living without parents.

Keir Gilchrist who you may know from the movie It’s Kind of a Funny Story plays Sam, an 18-year-old on the autistic spectrum trying to navigate the “typical” aspects of a teenager’s life: dating, independence, friendships, etc. Perhaps people dealing with autism can better attest to this, but the show feels genuine and realistic. Don’t get me wrong, it’s a comedy, but it’s a really heartfelt approach to the funny sitcom format. In a lot of ways, Atypical is the perfect 2017 Netflix-age coming-of-age sitcom: it’s funny and smart, but also keen to be realistic. And Atypical is about Sam’s family almost as much as it is about him, and how they adjust to his new quest for self-discovery. Look out for newcomer Brigette Lundy-Paine, who does an amazing job playing Sam’s siter Casey!

Three unassuming housewives team up with a violent street gang to make a little extra cash. What better TV show premise could you ask for?

Good Girls is the often hilarious, always thrilling show dubbed “Breaking Bad meets Thelma And Louise.” The three lead actresses are fun and have great chemistry together as they navigate a sometimes fast-paced show, and other times a family drama. 

And that may be the only issue with this show, it doesn’t exactly pick a lane. However, if, like me, you don’t mind a little Detroit housewive drama mixed in with your thrilling scenes, you’ll have a great time. 

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.  

With the deluge of hyper-stylized teen shows everywhere (but especially on Netflix), Teenage Bounty Hunters comes as a refreshing and welcome surprise. Sisters Blair and Sterling, played by Anjelica Bette Fellini and Maddie Phillips respectively, strike the perfect balance between spiky and endearing, creating a chemistry that’s rare to see among TV siblings. There’s friction but also love all around. 

Their interactions alone make the series thoroughly enjoyable, but their coming-of-age hijinks and comedic timing, especially around their reluctant mentor Bowser (Kadeem Hardison), make it an absolute must-watch. If you enjoyed Booksmart but wished it was more action-packed, you’ll surely love this show.  

Despite their rising popularity, K-dramas have sustained a reputation for being, at times, too sentimental for their own good. Extraordinary Attorney Woo is not exempt from that tendency, but when it does shoot for schmaltz, it makes sure to aim right at your heart. Thanks to clever twists and moving performances across the board, Extraordinary Attorney Woo is an excellently emotional series. Every romantic encounter will make you swoon, every courtroom scene will have you cheer, and every ending will leave you in tears.

Moreover, it’s not a show that simply happens to be about lawyers. It is a law procedural that deals with each new case with the utmost care. It’s smart and educational, with the proceedings and resolutions blending seamlessly into the characters’ own arcs.

There’s something for everyone in this series, and it’s sure to be an easy favorite for one reason or another.

A Cuban-American revival of the Norman Lear series from the ’70s and ’80s, this relatively short-lived version of One Day at a Time was once the sweetest show on TV, especially in a landscape populated by prestige dramas and gritty genre fare. In its empathetic approach towards a wide range of subject matter—racism, mental illness, gender identity, unconventional family structures—the series places a premium on communication and acceptance. Which isn’t to say that the show doesn’t have its fair share of amusing misunderstandings and conflicts, mostly between independent single mom Penélope (Justina Machado) and the flamboyant abuela Lydia (Rita Moreno). But perhaps most impressive about One Day at a Time is how it breathes new life into the three-wall sitcom format with a live studio audience—enhancing the show’s most emotional moments either through the live viewers’ bated breath or their eruption of applause.

The OVW are practically nobodies outside the pro-wrestling scene, and they know it. They describe themselves as a “third tier” that trails behind more well-known companies like WWE and AEW, with one manager even likening their team to an indie film. If the WWE and AEW are Michael Bay movies, he says, then the OVW is like the highly-rated but little-seen movie The Squid and the Whale. But though their underdog status is bad news for their dipping financials and fanbase, it makes for a compelling story in Wrestlers. The docuseries pulls the curtains on the OVW and acquaints us with the owners, managers, accountants, and of course, the wrestlers, who are all struggling to keep afloat this act they love so much. “Wrestling is the art of physical storytelling,” CEO Al Snow says, and it’s clear that director Greg Whiteley believes him. He captures the OVW lovingly, intimately, making us privy to their highs and lows, celebrations and disagreements, and everything in between. He never forces us, either, but rather invites us to this world as naturally as possible. You may start watching this knowing very little about the OVW, but you’ll leave knowing and caring about them a little more. 

This colossal-budget show ($90 million for the first season alone) never caught a break. Somehow it didn’t make it to the big audience it deserved. It tells the grand story of Marco Polo the explorer, and the years he spent with the Mongols, going back forth in their ranks between prisoner and leader. It was during this crucial time for the empire that Kublai Khan had extended the reach of his empire even further than his more famous grandfather Genghis Khan. As you’d expect with a show featuring this many characters and such a new world, the first season is not as entertaining as could be, but the show becomes its full-self as a true epic in season 2.

Watch out for Ezekiel in this show, he will steal your heart. And also please sit through the first episode. Yes, it’s long, but if you get The Get Down, it is one of the best shows on Netflix. Created by Baz Luhrmann and Pulitzer Prize winning playwright Stephen Adly Guirgis, it narrates the rise of hip-hop in a broken 1970’s New York. The impressive credentials don’t stop there, as the series is narrated by Nas, features work by four-time Academy Award winner Catherine Martin as well as hip-hop historian Nelson George. It is perhaps for this reason that the word “narration” takes its full meaning here. Every episode, every scene, every character are made with extreme care, resulting in sometimes longer than necessary sequences. A sacrifice that will make some viewers very happy, but which many might have a hard time adjusting to.

The first episode is directed by the maker of Warrior, Gavin O’Connor, and shares its emotional, yet suspenseful and action-packed flow.

A white police officer and his squad are involved in an attempt to cover up the hit-and-run murder of a black teenager. You’ll see the officers weigh guilt and remorse against their fears of exposure and a backlash. You’ll also meet the teenager’s heartbroken family and a disorganized prosecutor.

Its tales of race and institutional bias are compelling, but its greatest strength is the script. Add strong acting, especially by Regina King and Russell Hornsby, and you get one of the best police dramas Netflix has ever had.

An eccentric billionaire. A freakishly strong character who is ashamed of his strength. A Captain America-esque leader. An old mentor in the form of a wise talking monkey. You guessed it; The Umbrella Academy is about superheroes.

One fateful day in 1989 many women across the globe give birth at the same time, but at the start of that day, none of them were pregnant. The eccentric billionaire adopts a number of these children to form The Umbrella Academy, a collective similar to X-Men or The Avengers. Except, because they are all kind of related, this show is about their family dynamic as much as it is about their superpowers.

The Umbrella Academy is an entertaining story of superheroes that is rarely original but always enjoyable. Ellen Page plays one of the kids (the black sheep of the family who has no superpowers), and she’s a joy to watch.

And substantial bonus: Mary J. Blige (!) plays a hitman.

This is an thrilling BBC/Netflix show and a Yakuza drama that takes place between Tokyo and London. About half of the dialogue is in Japanese and the other half is in English.

Yakuza families are no longer at peace when a boss’s nephew is assassinated in London. Trying to bring the culprit in without interference from the British police, a Tokyo detective is sent to the UK to try to find him. 

There is an undeniable appeal to seeing the world of yakuza unfold, but the show’s title, which translates to Duty/Shame is a reference to the detective’s own personal conflict: the suspected murderer he’s looking for is his brother. Ouu.

This comedy is about a girl whose family moves to the U.S. on September 2001. She grows up to excel academically but, as she asks from the shrine in her room on her first day of sophomore year, she has yet to be cool. “I want to be invited to a party with hard drugs,” she prays, “not to do them, but just to say: no cocaine for me, thanks. I’m good.”

The show is narrated by tennis legend John McEnroe who was known for his explosive temper (played recently by Shia Laboeuf in Borg vs McEnroe). It’s a genius arc because Devi is a “hothead”, exactly like McEnroe. Instead of recoiling, Devi keeps boiling over, making for a fresh and original high-school comedy.

Sabi, a genderfluid millennial in their mid-20s, is in a bit of a quarter-life crisis. Between balancing odd jobs, leaving a clingy boyfriend, and coming out to their family, Sabi just doesn’t have enough time to think about their identity, whatever that may be. Sabi is accused of being guarded, and indeed, in the first couple of episodes only we the omnipresent audience are privy to Sabi’s crying spells and panic attacks. To everyone else, Sabi is the calm and collected friend who loves to help everyone but themself. 

Sort Of follows Sabi as they navigate adulthood, family, love, and self-expression in tender and funny ways. It has the slice-of-life vibe of shows like Better Things but with an even more low-key charm. Never in-your-face and always grounded and humane, Sort Of’s twenty-minute episodes make for a delightfully meaningful binge.

Life should be difficult for Charlie Spring, an openly gay student in an all-boys high school. And it is, to be sure—he’s mocked, ridiculed, and at times literally shoved to the sidelines. But Hearstopper doesn’t just dwell on misery; rather, it shows us the many colors, the multifaceted wonders, of Charlie’s life. His friends, family, and newfound crush, Nick, help keep him afloat in the murky waters of teenhood.

Like the show itself, Charlie and Nick are insistently sweet and charming, which can feel bold in a world that is driven by so much cynicism and hate. It’s this glowing sensitivity, coupled with the show’s inclusive characters and levelheaded insight, that make Hearstopper a heartwarmingly good watch. 

After his team loses in the prefectural tournament finals, Yoichi Isagi is invited to join an isolated training program designed to create the best striker in the world in hopes of Japan winning the World Cup. The program’s designer believes that great strikers are selfish and egoistic players. As a more intense sports anime, the stakes of becoming the best striker in Japan (and the world) or never playing football again keeps the suspense high. The series does a great job of balancing the action and taking the time to develop the characters and their motivations. Blue Lock is a solid, high-concept anime for the world’s most beloved sport. 

Set in a fictionalized version of Japan’s Edo period, where a deadly disease affecting only men has led to women taking traditionally-male roles, Ōoku is steeped in social commentary on gender and sexuality. The concept is well-established in its 70+ minute first episode, allowing the story to set a foundation for a fascinating progression in this world. By centering the powerful warlord figure, the Shogun, it illuminates the shadows women occupy to support a country with little to no recognition. With a political throughline and an inherently feminist lens, Ooku: The Inner Chambers offers a beautifully-animated series with few gimmicks and lots of depth.

Michelle Buteau is the hilarious and charismatic lead of this amazingly diverse and body-positive comedy. In her post-breakup glow-up, Buteau’s character Mavis takes no prisoners as she prioritizes herself and her career with the help of her equally funny and wholesomely supportive friends. As with any comedy, there are some cheesy punchlines, but the humor and story still feel authentic (a given since the show is based on Buteau’s collection of essays). Without resorting to self-deprecation or below-the-belt jokes, Survival of the Thickest boasts a refreshingly inclusive, queer, diverse cast that isn’t afraid to take up space. This series is a great comfort watch with fun and laughs guaranteed. 

Netflix India has been dominating the police procedural and mystery market, and Kohrra, its latest addition, is one of its better entries. Officer Balbir (Suvinder Vicky) is under pressure to resolve the case of a dead Non-Resident Indian and his missing white friend, but the fear of local backlash and global attention raises the stakes as the show weaves internal and external politics in India. Drugs, lies, and old grudges eventually surface, complicating the quiet pursuit of truth with public spectacle. This makes for a thrilling mystery, but Kohrra also excels as a family drama as we watch Balbir mend his relationship with his daughter, while his partner Garundi (Barun Sobti) deals with the pressure to get married. 

When the psychometric powers of the main character are only activated when she touches a butt, you know that Behind Your Touch will be as silly and hilarious as the show’s powers. The K-drama gets into ridiculous moments, oftentimes inspired by other dramas from the action, horror, and romance genres, but done in exaggeration for comedic effect. And the cast really gets into the action, with Han Ji-min and Lee Min-ki’s excellent chemistry and timing able to deliver the jokes written by the team. As the first season will end soon, it’s hard to say if the ending will be as good as its start, but so far, Behind Your Touch takes interesting comedic twists of the K-Drama tropes we all know and love.

Bollywood is the biggest film industry in the world, in terms of output. After all, the Indian film industry churns out 700-800 films per year. Because of sheer output, there are plenty of excellent hidden gems from the South Asian country, some of which we try to cover here in A Good Movie to Watch. However, for a fairly comprehensive introduction to the industry, the English-language miniseries The Romantics is a great place to start. There’s no better filmmaker to take notes from other than Yash Raj Chopra, whose media conglomerate shifted the industry for the past 50 years, so the show tackles his legacy through archival footage and interviews from India’s current roster of film stars. Footage of his films alone are already a compelling watch, but director Smriti Mundra keeps an excellent balance between these films’ personal impact, as well as the corresponding political and film history in which his works were released to. It’s an excellent introduction to the colorful and rich film history of India.

The Fall of the House of Usher isn’t an exact one-to-one television adaptation of the titular short story. Instead, the original story from Edgar Allan Poe is used as a frame to introduce a whole Succession-like miniseries, with names and subplots coming from other stories from Poe. Because of this, fans of the author might feel disappointed at the lack of old gothic flair, as the story is set a whole century and a half after, and the tone shifts as the show shifts from character to character. However, Mike Flanagan’s whole ensemble still proves to be entertaining as the Usher family deals with sci-fi mishaps, internal sabotage, and a possible supernatural element haunting the whole brood.

When a comedy is centered around people with disabilities, there’s a worry that the humor would be unfunny or demeaning – there’s a misconception that disabled jokes would surely have to be one or the other. But Nothing to See Here is funny without relying on stereotypes. The humor isn’t based on forced quips or halfhearted improvisations. It’s just part and parcel of a story about chasing dreams, seeking independence, and keeping faith in one’s self despite the limitations imposed by others. And through showrunners Big Drama and Santiago Limon, as well as the well-selected cast, it’s hilarious and heartfelt enough to follow.

Pokémon is one of the world’s most popular franchises, and it’s mainly centered around the idea of cute, colorful creatures with special powers to be caught, trained, and put into battles. Pokémon Concierge is a different side to the franchise, but instead of the high-octane action and world-ending fights, the four-episode series contemplates the idea that maybe these cuddly creatures need to rest too. As anxious newbie Haru adjusts to the laidback, paradisal resort, and acquaints herself with felt-fabric versions of the familiar cartoon creatures, Pokémon Concierge is an excellent reminder to enjoy yourself once in a while.