50 Best TV Shows on Netflix UK Right Now

At first glance, those who enjoyed Hulu’s Ramy might be tempted to view this as the UK version of it. However, Man like Mobeen is a bit more street than Ramy and a lot more British. It’s also not so much about being a good Muslim. Mobeen (Guz Khan), Eight (Tez Ilyas), and Nate (Tolu Ogunmefun) are three mates from Birmingham. Two of them happen to be Muslim but it’s not a big deal. Except it is because of the way Western society sees them. Mobeen, the head of the group, takes care of his sister, Aks (Dúaa Karim), in the absence of his parents, trying to be a good guy, while also trying to escape his past as a drug dealer. In the first episode, a transaction to buy a laptop results in three SWAT teams closing in on them for no reason. (When Nate runs off, the police officer asks the others why he ran, and Mobeen says: “If I had to guess, I’d say it’s because he’s black.”) Much of Man like Mobeen is laugh-out-loud comedy, but there’s a healthy dose of wokeness to be found here, too. Teenage knife crime (in the second season), the rise of right-wing sentiment, and the police’s history of violence towards immigrants are effortlessly woven into gags. Very funny!

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.

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.

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.