35 Best TV Shows on Now TV UK

What would you do if 2% of the world’s population disappeared without any apparent reason? This haunting human catastrophe is the premise of the HBO series The Leftovers. Starting three years after the event (dubbed the “Sudden Departure”), it homes in on small town coming to grips with the ramifications of this question, particularly police chief Kevin Garvey, played by Justin Theroux, who inadvertently finds himself at the center of it all.

For some inexplicable reason, it is relatively unknown compared to other HBO shows but this has to change. It is innovative, has an amazing Max Richter soundtrack, as well as a stellar cast, including Liv Tyler and an outstanding Carrie Coon. Created by Damon Lindelof and Tom Perrotta, whose 2011 novel the show is based on, The Leftovers is a must-watch mixture of grim and gripping, but also beautiful, engrossing television!

Former SNL cast member and comedy legend Bill Hader is the writer and main protagonist of the HBO-produced and three-time Emmy-winning series Barry. Part psychological thriller, part dark comedy – one of many new series in the “dramedy” genre – deals with the unlikely premise of a PTSD-ridden low-rent assassin, who, after travelling to LA to execute an actor, decides to dedicate his life to the amateur theatre scene. (Watch out for the always amazing Henry Winkler as the acting class teacher! He was rightly nominated for an Emmy for this performance.)

In typical Bill Hader fashion, this genre-mix is still a lot more comedy than thriller and one cannot help but root for hapless Barry, while he dodges one bullet after the other, as it were, navigating Chechnyan mobsters, the FBI, and his intense acting peers. A lovely, funny, and smart show about a seemingly emotionless guy trying to escape his past.

Though it takes place in New York at the turn of the 20th century, The Knick is not your typical historical drama. Set to a pulsating techno score and with a whizzing pace and kinetic camerawork, director-cinematographer-editor Steven Soderbergh injects the show with a potent sense of immediacy so that it never feels like a dusty history lesson. The two-season show is set in the titular Knickerbocker Hospital and tracks the intertwining personal and professional dramas of its benefactors and staff — led by Clive Owen’s arrogant Dr. John Thackeray, who works tirelessly at the bleeding edge of medicine, fuelled by his addiction to the then-medically-permissible cocaine.

Thack’s brilliant innovations and thorny personality take up a good deal of the show, but The Knick’s complex ensemble — from André Holland as the city’s first Black doctor to Cara Seymour as an Irish nun who secretly conducts out-of-hours abortions — are equally compelling. What’s more, the show is just as committed to lifting the events of its period out of the history books and into crackling life. With an unsparing eye, it weaves its way through modern medicine’s gory past and New York’s history with racism (both institutional and otherwise), corruption, immigration, and epidemics (such as that caused by “Typhoid Mary”). If you’re looking for a quaint, comfort period drama, The Knick isn’t it — but if you want to get your adrenaline pumping with a gripping, raw ride through history, your prescription is right here.

As a mystery-driven crime drama, Mare of Easttown treads pretty familiar territory without necessarily digging too deeply into the sociopolitical context it seems to hint at throughout its seven-episode run. But as the miniseries’ focus shifts from the usual procedural elements to more personal drama among the townspeople of Easttown and certain past events they haven’t moved on from, the series gets to evolve as well. The details of who was responsible for the inciting crime are ultimately less important than the conditions in the town’s history that led to the crime in the first place, whether by consequence or by fate. Some reveals here may come off as anticlimactic to some, but the series ultimately has more on its mind that’s definitely worth paying attention to.

The White Lotus follows a group of vacationing tourists in Hawaii who, in their wealth and entitlement, get into some pretty horrific (but largely entertaining) mishaps. It’s always fun to satirize the rich, but what really gives The White Lotus its edge is a brilliant understanding of the trickle-down dangers of privilege. We’re made to witness the uncomfortable ways in which the service industry twists itself to accommodate the guests, and how time and again these efforts are lost to the upper class. Biting, witty, and relevant, The White Lotus effortlessly stands out in the recent slew of class consciousness content.

An HBO show that’s almost too suspenseful to watch. It stars Riz Ahmed as a kid who steals his father’s cab to go to a party, only to later find himself tangled up in a crime. Everything leading up to his arrest, while not necessarily indicative of anything criminal, boasts cut-throat suspense. And that’s the magic of this show, it’s taking familiar crime story arcs, adding flawless acting and incredible writing, and perfecting the thrills. You’ll want to binge this show but, if your anything like me, your heart might not be able to take it.

From the very start, Poker Face lays out all its cards—it shows us who dies and in the hands of whom. That is how an episode always opens, but in each case, we’re in a different corner of rural America, bumping elbows with different folks. That’s because our unwitting detective, the human lie detector Charlie (Natasha Lyonne) is on the run from a crime syndicate. So with nothing but her trusty car and the clothes on her back, she races through the US while making friends and enemies along the way.

There is a pattern to the story, but the thrill lies not in seeing when Charlie inevitably solves the case but in how she does it, which is full of heart and wry humor. Lyonne is absolutely magnetic, and her performance is only one of the show’s many hit-making elements. With a star-studded cast, beautiful Americana backdrop, and masterful editing (whose camerawork and coloring recall the show it references, Columbo), Poker Face sure is a trip to watch.

A five-part mini-series where the camera rarely leaves Benedict Cumberbatch, enabling him to deliver possibly the best performance of his career. He plays Patrick Melrose, an autobiographical character from renown British writer Edward St Aubyn. A wealthy man who in the first scene of the show hears about his father’s death, Patrick tries to get his act together to go retrieve his father’s ashes. However, a nasty drug habit and a dark past stand in the way of sobriety. This is a fast-paced and impeccably-acted show with a solid supporting cast that includes Jennifer Jason Leigh and Hugo Weaving.

It’s a near-impossible feat to turn something as tragic and devastating as the Chernobyl disaster into a gripping and enlightening tale, but the HBO miniseries does just that. Through insightful storytelling, affecting performances, and sharp dialogue, Chernobyl the show stuns viewers into awareness and, at its best, galvanizes them into action. 

It’s a well-crafted five-hour series that does just enough in the way of humanizing a distorted reality, bringing to light the all-too-relevant consequences of power plays and placing the interests of the political elite and national image over real, human lives.

One of the most original, underseen, and unexpectedly wholesome shows on HBO, High Maintenance spends each episode looking into the everyday lives of various New Yorkers, often with eccentric jobs or alternative lifestyles. The only thing that connects them is that they all happen to be clients of an unnamed weed dealer (played by Ben Sinclair), who becomes a witness to their ordinary joys and struggles. Barely any of the stories we get to see throughout the show’s four seasons have a traditional dramatic arc to them, but the series remains a one-of-a-kind comfort nonetheless—showing us just how colorful and interesting a mundane life can be when we have well-meaning people surrounding us. And it’s a prime example of how television should be allowed to tell stories in any form, making perfect use of the half-hour episodic format to capture these fleeting, beautiful snapshots.