35 Best TV Shows on Now TV UK

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.

It’s often said that history is told by the victors. Thankfully, this isn’t the case in The Good Lord Bird, which tracks the tumultuous events preceding the Civil War, as led by real-life abolitionist John Brown (Ethan Hawke). 

Some viewers might already be familiar with the story of how Brown “saved” slaves, but with Black teenager Henry (Joshua Caleb Johnson) as the narrator, history is repositioned and recounted through a fresh new lens. Nuanced questions about slavery, abolition, and even the revered Brown himself are brought up by Henry and his kin, such as: how much of the movement is driven by justice and how much of it by guilt? Should the white savior be absolved or are his intentions inevitably marred by ego?

Accompanying this thought-provoking tale are richly detailed costumes and backdrops, impressive cameos by historical and celebrity figures, and of course, career-defining performances by Hawke and newcomer Johnson. 

While this show is quite explicitly about problems faced by teenagers, it is hard to imagine a teenager watching it. While it has the coolness credentials from the A24 studio behind it as well as Drake as executive producer, it deals with some hard-hitting stuff: pornography, addiction, sexual assault, body shaming, and self-harm. To name just a few. It is visually stunning and stylish, but you certainly cannot accuse the show of sugar-coating or glossing things over. And while it’s definitely consciously going for edgy, it also offers great acting from an up-and-coming cast, including a female lead played by Zendaya, a substantial script, and a sleek, diverse soundtrack. Euphoria is graphic, well-made, and in-your-face drama.

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.

There is a very good case to be made for Veep being, pound-for-pound, the best American comedy to air on TV. Because while many other workplace sitcoms comment also comment on current events and satirize bureaucratic processes, no other show has committed this deeply to the inherent corruption and stupidity of every single one of its major characters. Selina Meyer and her staff are either so evil or so incompetent that they circle around to being irresistibly fun to watch and hilarious in all their own unique ways—which the series’ writers expertly wrangle together in each script. And with much of the show’s humor being built on creative, devastating insults, Veep also possesses a truly vicious edge that make it more challenging than its contemporaries.

But one shouldn’t forget that the series also tells a compelling story of how soulless a nation’s leaders can be, putting a magnifying class to every little political decision made in the name of saving face or pushing forward some other unrelated agenda. It’s surprisingly insightful for something that seems so crass. And as Selina Meyer herself, Julia Louis-Dreyfus (surrounded by a brilliant, dynamic cast) turns in one of the greatest comedic performances on TV as a pathetic vice president who can’t help but let the monstrous side of herself win every time.

It feels like every comedy show these days is about “the messiness of life and love” but Togetherness has a lowkey approach that makes it comforting to watch, at least in the first few episodes. Eventually, things take a turn for the serious as the foursome grows, regresses, and grows again from the things they learn about their relationships, both with each other and with others. But even during its darker moments, Togetherness never feels too far away. Anyone who’s been in a long-term marriage seeking more avenues for excitement, or who’s long been struggling with work and love, afraid they might not achieve anything by the time they turn 40 or 50, will find a lot to like and relate with in this comfort watch of a show.

Here’s something for all the goth lovers out there. With a title alluding to the cheap sensational fiction that was circulated in mid-Victorian Britain, this show is all about monsters, demons, and some of literature’s most iconic creatures haunting Victorian London, including Dorian Gray, Count Dracula, and Dr. Frankenstein. It utilizes all these characters to tell a captivating, macabre, and bloody story. Season 1 revolves around a series of gruesome deaths being investigated by the police, while Sir Malcolm Murray (played by one-time James Bond Timothy Dalton), a renowned explorer, and medium Vanessa Ives (played by the amazing Eva Green, who, incidentally, is an ex-Bond girl) know that there is much more at play here. Season 1 is entertaining, but Season 2 is even better, making the most of all the gothic, literary characters and, above all, the multitude of great actors playing them.

Writer, actor, and, above all, stand-up comedian extraordinaire, Ricky Gervais, created, wrote, and directed Extras together with Stephan Merchant, who both play the male leads. Deviating from the hallmark The Office mockumentary style towards a more classic format, but staying with the overall awkwardness, Extras follows two aspiring actors desperately trying to make it in showbiz but never quite surpassing the role of, well, extras. Co-produced by the BBC and HBO, each episode is named after the actual film stars the low-rung actors are working with, including Samuel L. Jackson, Stephen Fry, Kate Winslet, and Patrick Stewart. The first episode finds Ben Stiller directing a genocide movie while endlessly bragging about the success of Dodgeball. Ricky Gervais doesn’t mind breaking taboos, as you well know, but he also has a penchant for pathos and a humanist message. If you like that to go with your awkward comedy, you should definitely give Extras a go.

The bizarre case of Kathleen Peterson’s death, which has yet to be fully resolved to this day, has been the subject of many a media article. The press covered it relentlessly when it all started in 2001, then a critically-acclaimed documentary was released in 2004. This was followed up with a sequel in 2018, and now more than 20 years after the deed, a dramatization has come out in the form of a miniseries. You’d be forgiven for thinking the latter couldn’t possibly have anything new to offer, but you would also be wrong. In fact, the series is a masterclass in storytelling. Led by an a-list cast (of which Colin Firth is the absolute standout) and told with such layered depth, The Staircase is a must-watch not just for true crime but for film and TV fans everywhere. 

Utilizing time jumps and crafty transitions, The Staircase isn’t set at one particular time, which is fitting considering the trial lasted for 16 years. It also isn’t centered on just the mystery or the family, but instead is just as interested in the making of the 2004 documentary that introduced (and humanized) the case to an even wider sect of people. If you’re looking for a neat ending or some form of satisfying retribution, you won’t find it here. But you will be getting an engrossing meditation on truth and its elusiveness

A black comedy with an aggressively bleak view of its own protagonist, this story of a celebrity’s life falling apart starts off funny and gradually becomes more and more difficult to watch. As the titular character scrambles to keep each part of her life afloat, her sense of self begins to fracture as well—emphasizing how our lives are defined by the responsibilities we have over others and ourselves. Billie Piper is extraordinary in the lead role, spiraling further down in ways that are truly haunting, and Leila Farzad balances her out perfectly as Suzie’s unapologetic, type A manager.

If the show’s first season is impressive enough with its unpredictable mix of styles and stern drama, season two—which only consists of three episodes—ratchets up the tension even more, playing out like an extended anxiety attack backstage at a reality show. Think Uncut Gems but with lots of dancing. For the boldness of its direction alone, I Hate Suzie doesn’t serve to just fly under the radar.