40 Best Series on Hulu Right Now

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. 

A hilarious British sitcom about 24-year-old Tracey Gorden, a shop assistant living in a housing estate in London with unusual friends and an even more unusual family.

A bit messed up by a very religious upbringing, she navigates adulthood and trying to untangle herself from the unexciting life her neighbourhood offers (mainly by trying to lose her virginity).

Michaela Coel wrote and created the show and plays Tracey. Her expressive facial expressions and fantastic ability to convey her character make for an incredibly original show. Taking originality as a factor, this is possibly the best sitcom on Netflix right now.

Yasemin Derin is one of Turkey’s most famous actresses. But when she’s not onscreen or walking the red carpet, she’s murdering evil influential people, which garners her the nickname “Hunter.” Her double life is put in jeopardy, however, when a stalker sends her a series of cryptic texts.

Actress plays into the “unlikeable main character”; a sarcastic anti-hero on the verge of having more weaknesses as she takes in a young actress and falls in love with a mysterious man. The series has a nice cinematic finish, and Pinar Deniz as Yasemin delivers a nonchalant charisma that’s easy to follow.

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.

To mere observers, a grudge can seem like just that: a grudge. Shallow, inconsequential, and probably fixable. But for those involved, the cut feels deeper and saltier, despite (or because of) its inexplicable nature. This maddening feeling is what Ryan Murphy both explores and honors in Feud, and boy does he go all in: vicious dialoge, prima donna veterans, stylish costumes, and period-accurate sets. But the real cause for celebration is the empathy he affords to both sides of the feud. There is delicious drama of course, which is what makes this as addictive and watchable as any episode of The Real Housewives, but there is also space for difficult feelings and contradictory ideals. Real archenemies can’t get enough of one another, like Crawford and Davis, and Capote and his swans. It’s that obsession that ultimately makes feuds, and Feud, utterly fascinating. 

Fans of Stephen King would likely know how long the fictional town of Castle Rock stood in his novels. Hulu’s Castle Rock weaves two original tales based on what is known about this strange, strange town, with the first season centered on a mysterious inmate and the second centered on a mentally ill nurse. While it does get confusing at times, the series is able to weave in a taste of King’s mystery horror elements, with the terrifying abuses of America’s modern day institutions. While Hulu’s attempt at a multiverse can occasionally get a bit shaky, Castle Rock nonetheless creates an interesting reinterpretation of the King of Horror’s Maine town.

When therapist Alan Strauss (Steve Carell) is kidnapped and imprisoned by Sam (Domhnall Gleeson), a patient with homicidal urges, Alan begins a painful journey that directs his attention to his dangerous surroundings as well as his repressed thoughts.

Both Carell and Gleeson are creepily good in this, with Rotten Tomatoes even dubbing their work here as a “career best.” Carell is almost unrecognizable as the troubled but subdued prisoner, while Gleeson is unnerving as the reform-seeking serial killer. The backstories and the ongoing mystery propel the story with great force, but the show is at its best when it takes time to sit with its two leads and let them go at each other. All this makes for a rewarding mystery and a compelling two-hander.

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). 

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.