The OVW are practically nobodies outside the pro-wrestling scene, and they know it. They describe themselves as a “third tier” that trails behind more well-known companies like WWE and AEW, with one manager even likening their team to an indie film. If the WWE and AEW are Michael Bay movies, he says, then the OVW is like the highly-rated but little-seen movie The Squid and the Whale. But though their underdog status is bad news for their dipping financials and fanbase, it makes for a compelling story in Wrestlers. The docuseries pulls the curtains on the OVW and acquaints us with the owners, managers, accountants, and of course, the wrestlers, who are all struggling to keep afloat this act they love so much. “Wrestling is the art of physical storytelling,” CEO Al Snow says, and it’s clear that director Greg Whiteley believes him. He captures the OVW lovingly, intimately, making us privy to their highs and lows, celebrations and disagreements, and everything in between. He never forces us, either, but rather invites us to this world as naturally as possible. You may start watching this knowing very little about the OVW, but you’ll leave knowing and caring about them a little more. 

Set in a fictionalized version of Japan’s Edo period, where a deadly disease affecting only men has led to women taking traditionally-male roles, Ōoku is steeped in social commentary on gender and sexuality. The concept is well-established in its 70+ minute first episode, allowing the story to set a foundation for a fascinating progression in this world. By centering the powerful warlord figure, the Shogun, it illuminates the shadows women occupy to support a country with little to no recognition. With a political throughline and an inherently feminist lens, Ooku: The Inner Chambers offers a beautifully-animated series with few gimmicks and lots of depth.

Michelle Buteau is the hilarious and charismatic lead of this amazingly diverse and body-positive comedy. In her post-breakup glow-up, Buteau’s character Mavis takes no prisoners as she prioritizes herself and her career with the help of her equally funny and wholesomely supportive friends. As with any comedy, there are some cheesy punchlines, but the humor and story still feel authentic (a given since the show is based on Buteau’s collection of essays). Without resorting to self-deprecation or below-the-belt jokes, Survival of the Thickest boasts a refreshingly inclusive, queer, diverse cast that isn’t afraid to take up space. This series is a great comfort watch with fun and laughs guaranteed. 

Netflix India has been dominating the police procedural and mystery market, and Kohrra, its latest addition, is one of its better entries. Officer Balbir (Suvinder Vicky) is under pressure to resolve the case of a dead Non-Resident Indian and his missing white friend, but the fear of local backlash and global attention raises the stakes as the show weaves internal and external politics in India. Drugs, lies, and old grudges eventually surface, complicating the quiet pursuit of truth with public spectacle. This makes for a thrilling mystery, but Kohrra also excels as a family drama as we watch Balbir mend his relationship with his daughter, while his partner Garundi (Barun Sobti) deals with the pressure to get married. 

Mask Girl is a dark comedic thriller that follows people on the fringes of beauty norms trying to live with their pain and shame. Low self-esteem and a desire for attention are at the center of the drama, making it relatable and easy to empathize with even when everything goes awry. Although Mo-mi, the titular Mask Girl, is at the forefront of the narrative, subsequent episodes switch to new perspectives, allowing us to interact with Mo-mi in different ways. And with each new character’s POV, we witness how other ostracized people find comfort in and hurt each other when there’s no one else to turn to. The first three episodes are intense and surprisingly violent, but ultimately seeing the extremes of the discrimination that beauty standards perpetuate makes the story worthwhile.

When the psychometric powers of the main character are only activated when she touches a butt, you know that Behind Your Touch will be as silly and hilarious as the show’s powers. The K-drama gets into ridiculous moments, oftentimes inspired by other dramas from the action, horror, and romance genres, but done in exaggeration for comedic effect. And the cast really gets into the action, with Han Ji-min and Lee Min-ki’s excellent chemistry and timing able to deliver the jokes written by the team. As the first season will end soon, it’s hard to say if the ending will be as good as its start, but so far, Behind Your Touch takes interesting comedic twists of the K-Drama tropes we all know and love.

Bollywood is the biggest film industry in the world, in terms of output. After all, the Indian film industry churns out 700-800 films per year. Because of sheer output, there are plenty of excellent hidden gems from the South Asian country, some of which we try to cover here in A Good Movie to Watch. However, for a fairly comprehensive introduction to the industry, the English-language miniseries The Romantics is a great place to start. There’s no better filmmaker to take notes from other than Yash Raj Chopra, whose media conglomerate shifted the industry for the past 50 years, so the show tackles his legacy through archival footage and interviews from India’s current roster of film stars. Footage of his films alone are already a compelling watch, but director Smriti Mundra keeps an excellent balance between these films’ personal impact, as well as the corresponding political and film history in which his works were released to. It’s an excellent introduction to the colorful and rich film history of India.

Tour de France: Unchained is an intense sports docuseries depicting the ins and outs of the prominent cycling race. While cycling is an individual activity, Tour de France is structured to be a team sport — usually comprising around 20 teams with eight riders each. The first season depicts the 2022 run from Copenhagen to Champs-Élysées, the comeback after the pandemic, with players looking to defeat two-time defending champion Tadej Pogačar (UAE Team Emirates). If you’re up to date with cycling news, you’ll know how this one ends. However, it’s still a worthwhile watch, as the show goes behind the scenes to witness the team dynamics, the severe falls, and the steep challenges. With this in mind, Tour de France is very watchable, especially for fans of the sport.

Crass, violent, and deeply unserious, this adult animated series gets around its rough edges by acknowledging its title character’s reputation. Often seen only in the context of her twisted romance with a much more recognizable villain, Harley Quinn tends to be viewed as merely victim or vixen. But this show has her break free and claim her own story, taking shots not just at her emotionally abusive ex, the Joker, but at the entire DC Comics brand and at any other moving target it can find. The result is a series that has the tendency to feel scattershot, but whose anarchic energy still leads to the catharsis of untethering oneself from an unhealthy addiction and learning to be rebuild.

And though the show’s writing and animation can get too stiff or stilted (especially in later seasons), much of it still works thanks to its bonkers sense of humor, as well as an excellent voice cast. Kaley Cuoco is exactly as brash and expressive as Harley needs to be, and supporting turns from an extensive range of actors (including Lake Bell, whose Poison Ivy eventually becomes Harley’s most important relationship) ensure that every corner of this world has something hilarious to offer.

Like the biopics of other musicians, Love After Music tracks the life of Argentine rock-and-roll musician Fito Páez. From his beginnings as a band keyboardist in 1977 to his 1993 solo concert for UNICEF, the mini-series delves into the themes and inspiration that drive his work through eight episodes. As Páez performs, the series flips between the song being sung and related flashbacks from Páez’s life, implying how Páez feels through images instead of dialogue. This approach can feel confusing at times, but it makes this account of his life a more personal and experiential biopic. Fans of the Latin Grammy Lifetime Awardee would most likely enjoy this series, however, for audiences unfamiliar with the singer, like myself, it’s still an interesting series to watch.