40 Best Series on Hulu Right Now

High Potential isn’t the smartest thing out there, despite Morgan’s impressive 160 IQ. It’s also not the quirkiest of its kind (hello, Elsbeth!). But it’s undeniably enjoyable, thanks in large part to Olson, who injects her character with so much wit, charm, and tenderness. Played wrong, Morgan could’ve been yet another annoying Sherlock-type, but in Olson’s capable hands, she’s anything but. It’s still too early to tell whether the surrounding characters will match her infectious energy, but I am seated and excited for more to come.

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.

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.

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.

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.

Sports is undeniably exciting, but behind the scenes, there’s a whole world constructed just to get the players in the stadium, with sponsors funding expenses, clubs forming teams, and agents getting the players on track, whether that be through tough love or appeasement. Coppola, the Agent is centered on one such agent, the agent that handled the most famous football player in the world. Like the titular agent, the show moves at a frenetic pace, with Juan Minujín bringing to television Coppola’s fast talk and quick witted quips, and director Ariel Winograd mixing video formats and genres similar to 2022’s Winning Time. There may not be amazing goals, or outstanding plays, but Coppola, the Agent is compelling television, especially with Minujín’s fantastic depiction of the agent turned TV personality.

On-screen, we’ve seen downtrodden Cinderella-esque leads, we’ve seen humans transform into animals, and we’ve seen whole families cursed, but Fruits Basket takes all these plot devices and transforms them into something completely different. As Tohru Honda gets to learn about the mysterious Sohma family, and she and friends gets into fun and wacky hijinks with the curse, the series takes the legend of the Chinese zodiac as a unique and effortless means to discuss systemic, generational abuse and resulting trauma that can occur within a family. The classic shoujo manga was first adapted into anime in 2001, but we’re recommending the later 2019 adaptation, which goes more in depth and depicts the complete story.

In real life, most of us are likely to be a background character, but for a select few, they can at least see themselves as heroes in the fictional world, due to a set of circumstances that none of us really get to control. Because of these images, they are encouraged to try to break out of the background and dare to do some good for the world… Or at least their own community. Interior Chinatown plays on the way Hollywood has excluded and stereotyped Asian Americans, by taking the original screenplay-formatted novel’s meta visually. Showrunner (and original novellist) Charles Wu plays with color and light, with genre expectations, and with the humorous ways the lead Willis tries to figure out the fictional world he lives in, a world that satirically uses classic film noir stereotypes to comment on real-life discrimination. INT. CHINATOWN rewrites the stories Asian Americans have been told to, into something completely new.