35 Best TV Shows on Now TV UK

After the only war the Americans have lost, American post-Vietnam war portrayals tend to lean as patriotic revenge fantasies or romanticized disillusionment, but rarely do they portray the people caught in between. HBO’s The Sympathizer is an adaptation of the Pulitzer winning novel of the same name, and while it’s mainly an American production, Park Chan-wook and Robert Downey Jr.’s collaboration sticks to the Captain’s perspective, as the unnamed mole protagonist writes his confession years after from a jail in Vietnam. Chan-wook excellently mirrors his approach to Viet Thanh Nguyen’s agile storytelling, shifting time periods and languages the same way the Captain shifts perspectives, though Nguyen’s dry humor sometimes wavers when translated to the screen. Still, it’s certainly a well-crafted, ambitious depiction coming from a unique perspective.

Anyone tired of the same old cliches found in true crime shows (and there are a lot of them) will feel reinvigorated watching The Jinx. Director Andrew Jarecki goes one step further from the usual fare by interrogating the subject, himself an unnerving character, and unearthing evidence that changes the trajectory of his story. The Jinx is a great true crime documentary in that it’s gripping and well-researched, but it’s also great television, point blank. It’s thought-provoking, unsettling, and strives to always keep the viewer at the edge of their seat.

In Landscapers, what could’ve been a tedious story based on yet another true-crime affair is transformed into a fantastic fable that challenges and reimagines truth in imaginative ways. It’s more like a play than anything, complete with revolving sets, multicolor lights, and the occasional breaking of the fourth wall. But when it’s not staged like a theater show, then it has fun experimenting with form and genre. The series is masterfully edited to blend reality with the cinema Susan and Cristopher love so much, so sometimes they’re in soft-focus black and white, other times they’re in technicolor flair. It’s a technical wonder, but thanks to Colman and Thewlis’ performances, it’s also a twisted love story and an emotional roller coaster.

When talking about pioneers of the mockumentary format, people like Larry David (Curb Your Enthusiasm), Garry Shandling (The Larry Sanders Show), and Ricky Gervais (The Office) come to mind, but rarely do people bring up Lisa Kudrow, whose entry in cringe comedy is just as funny and prickly as the ones mentioned above. The Comeback, which she co-created and stars in, is peak awkward comedy. Kudrow plays Valerie with the same narcissism, desperation, and lack of self-awareness as your usual comedy anti-hero, but she also gives her character vulnerability and depth, making you want to protect and root for her even in the cringiest of moments. The show itself is also a piercing satire that knows, way before anyone else, exactly what to poke fun at. In 2005, when the show first aired, it critiqued the shallowness of reality TV and network sitcoms, as well as the blatant sexism that occurred not just onscreen but behind it as well. In fact, the darkest moment of the show happens in the writers’ room. And when it was resurrected in 2014 (to the shock of everyone) it satirized the bloat of prestige TV and how much it got away with under the guise of being edgy. Who knows if The Comeback will make another comeback, but best believe it will be ahead of its time and probably, unfortunately, fly under the radar once more.

Back when narratives about gay men were almost always stereotypical, Looking broke the mold by featuring gay life as relaxed, relatable, and riddled with as many problems as any other community. The series delves into the lives of Patrick (Jonathan Groff), Agustín (Frankie J. Alvarez), and Dom (Murray Bartlett) with great depth and sensitivity. Patrick is stuck between two loves, Agustín is finding his artistic voice, and Dom is having quite the mid-life crisis. Their problems are at once specific and universal, and they always feel real thanks to the humanistic approach of the show. The intimate tenderness of director Andrew Haigh’s films—an impressive list that includes Weekend and All of Us Strangers—is thankfully and joyously present here.