30 Best Shows Of 2023 On Hulu Right Now

Undead Unluck is such a strange anime with such a strange duo. Named after their respective powers, the undead Andy seems familiar with his Deadpool-like regeneration, albeit with such a fast rate that he can shoot out body parts with such gruesome animation. However it’s the unlucky Fuuko that brings them to the most absurd comedic scenarios, including, but not limited to, surviving a giant truck crash, a lightning strike, and a whole meteor. In order to achieve their goal of dying, they have to build up a bond to maximize her unluck. As they learn more about Fuuko’s abilities, as well as the organization hunting them down, it’s likely that they’ll go through wackier situations that will escalate as the show progresses. It’s definitely something uniquely watchable, if you can handle the off-putting gore that’s part and parcel of Andy’s powers.

Stolen Youth is the true account of how bright kids from prestigious colleges were manipulated and abused into joining a cult. In just three episodes, director Zachary Heinzerling efficiently tells the entire story from start to end, complete with compelling talking heads and visual guides. Unlike most true crime documentaries, Stolen Youth doesn’t dial up the sensationalism, nor does it solely rely on the incident’s bizarre arc for drama. Instead, it adds insightful details to the case by diligently following up on the key players. 

Chilling, revolting, and incredibly gripping, this is a docuseries meant to be finished in one sitting.

Growing up in multiple foster homes to an absentee mother and imprisoned father, Paige Alexander (Kerry Washington) has had a tough life, but you wouldn’t know from the way she carries herself. She’s bright, cheerful, and constantly buoyed by her ambitious hopes for upward mobility. But there are cracks to her facade, and all the trauma she’s been keeping in spills over one day when her recently released father decides to move in with Paige and her teenage son.

Trust and abandonment issues start to emerge. Resentment bubbles over. Despite being a relationship therapist, Paige cannot stabilize her love life. A viewer might expect a self-serious dramedy at this point, but Unprisoned refuses to be pigeonholed in this category. Instead, the show extracts unexpected joy from its bleak premise. Paige and her father Edwin (the perfectly cast Delroy Lindo) riff off each other with sparkling dialogue. They deploy endless jokes sometimes to hide their pain, but mostly to connect in that unique father-daughter way. After years of mistrust and negligence, they’re understandably broken but not, as it turns out, irredeemable. Relatable, sympathetic, and big-hearted, Unprisoned is a welcome show about the unexpected ways we heal (and the detours we take along the way). 

Butter Man: The Slickest Mexican Thief has gone under the radar the same way the titular criminal has evaded capture for years. Which is quite a shame, because Él Mantequilla has the charming, slick style of heist films from decades past. Through eight parts, Emiliano Escamilla takes on multiple fake identities, five of which happen to be the main identity Escamilla takes on in each episode. It’s funny to see how Escamilla gets away with some of these disguises, especially when he gets away with pulling millions from oblivious rich people just by dumb luck. However, what makes these scams compelling is how closer these get him to his real goal: reconnecting with his father and finding out the truth. Butter Man turns the caper series into a drama centered on family, mixing fun nostalgia with some heart.

Romantic melodramas are expected in plenty of Korean shows, but Call It Love still feels surprisingly unexpected. The premise feels like a modern day Cinderella story, except the leading lady here, Shim Woo-joo (Lee Sung-kyung), takes nothing from nobody, not without planning corporate revenge. That being said, the show doesn’t unfold into a corporate sitcom, a crime thriller, or romcom. Instead, the series takes on a more melancholy slice-of-life approach, as it turns out the intended target Han Dong-jin (Kim Young-hwang) is just as hurt and lonely as she is. And as they get to know each other despite the cold, empty frames they inhabit, and despite the pain they’ve both been through, it’s amazing how surprising their healing feels, if you can handle the show’s slow pace to get there.

The Artful Dodger’s leads might literally come from a Charles Dickens novel, but there’s something more playful about the way it deals with its historical social issues. Where Oliver Twist would change his fortune with fairytale-like goodness, former pickpocket Jack Dawkins aims to carve it out through quick amputations, which give him some status, though no wealth, and gambling bets, which risks his limbs. While the narrative isn’t as complex as the social criticism Dickens is known for, the series is undeniably entertaining with its novel approach, even if it pokes fun a little too often at the actual horrific hygiene practices of the 1800s.

After titles like Tár (2022) and the Dutch film The Conductor (2018), Western female conductors continue to intrigue audiences as they strive to succeed in the last glass ceiling in music. But classical music isn’t restrained to the West, and South Korea’s orchestral world is now showcased in Maestra: Strings of Truth. A remake of the French television series Philharmonia, the series goes through the trials and tribulations Cha Se-eum goes through to establish her leadership in the conductor role back home, as well as the multiple mysteries that might have caused her to leave in the first place. While the show’s first two episodes slowly portray her backstory, Lee Young-ae holds the show on her shoulders, and grounds the drama with her stoic and charismatic presence. It’s a compelling drama, with such a compelling personality, and it’s scored with some of the best classical pieces in the world.

Romantic relationships can come and go, but sometimes, one partner comes along and irrevocably changes your life forever. Tell Me That You Love Me depicts one such relationship. The Korean adaptation of the trailblazing Japanese deaf romance drama has plenty of the same charms, though this rendition makes certain changes that better reflects this current time period without sacrificing the cathartic portrayal about Mo-eun’s and Jin-woo’s flaws, and the genuine difficulties a relationship like this could have. While the show’s second half falters in certain moments, Tell Me That You Love Me mostly sticks the landing in creating a healing depiction of a deaf romance.

Created by Boyz N’ The Hood director John Singleton, Snowfall is an epic crime drama that tracks the rise of the crack epidemic in the United States, mostly through the lens of Franklin Saint (Damson Idris). Over the seasons, we follow Franklin and a host of characters separately but equally involved in the drug trade. There’s someone from the government, someone from the other side of the border, and someone from a gang. These sectors and more are represented in this large-scale examination of crime and corruption, and though the show initially struggles to tie connections in a cohesive way, it eventually rises to the occasion in compelling ways. 

Snowfall is the type of show that only gets better each turnout, so if you’re not so sure about the first season, you might want to give the next ones a shot to make sure you don’t miss out.

There’s a pretty clever twist that happens early in the pilot that shows how much promise In Limbo has, but it never really builds on that or matches its level of suspense. But the fact that the remaining episodes are still entertaining and enlightening in their own right speaks to the series’ quality. It ambitiously (though not always delicately) handles thorny topics like suicide, depression, interracial relationships, and childhood trauma, all while making you laugh at its dry sense of humor. And moving things along is a genuinely intriguing mystery that leaves you wanting more after each episode. It could be smoother, but In Limbo is another entry into the ever-growing stack of worthwhile dark Aussie comedies.