50 Most Underrated TV Shows on Netflix Right Now

Fans of sketch comedy, documentaries, and the always-hilarious duo of Bill Hader and Fred Armisen are in for a treat with Documentary Now!, a delightful miniseries that both satirizes and pays tribute to the non-fiction format. Each episode parodies a particular documentary and tone, bringing the comedians and their ever-revolving roster of guest stars to different eras, regions, costumes, accents, and more. 

With SNL veterans Hader and Armisen at the helm, this mockumentary is sure to amuse and impress even the most stoic among us, if not for the show’s humor, then for its sharp attention to detail and endlessly creative references.

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.

With true crime hitting an all-time high, and Making a Murderer making millions, here comes Netflix’s The Keepers. However, while the two shows share a common genre and general tone of voice, The Keepers is a much more interesting show. For one, it focuses on the victims and their stories, instead of the grisly perpetrators. Second, it trades cliffhangers for substance without compromising on breathtaking twists and revelations. Across seven taut episodes, it meticulously examines the unsolved murder of Catherine Cesnik, a Baltimore nun in 1969, who is suspected of being murdered to cover up sexual abuse at the Catholic high school she taught at. Adroitly edited, beautifully shot, and featuring great music by Blake Neely, The Keepers unfolds a horrific tale and emphatically captures the pain still lingering on five decades later.

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.

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.

In an age where every show gets called “original” the minute after it comes out, this amazing series from the creators of Orange is the New Black will actually make you go “no, that show is different!”. Starring an almost all-women cast (except for the coach, played masterfully by podcast icon Marc Maron), it’s the story of how a crazy wrestling show was put together in the 1980s called Gorgeous Ladies of Wrestling. Alison Brie (Community) plays the girl at the center of the effort to make this show happen, having had a terribly failed career thus far. Perfectly acted and featuring funny as well as absurd moments, GLOW is a great show that you can binge on Netflix without noticing the episodes fly by.

The first season of this abrasive crime drama has four episodes, expect to watch them all in one take. The second season became even bigger than the first after being endorsed by none other than Drake, who pushed for it to go on after it was cancelled. Set amidst the drug-dealing, cut-throat gangs of Hackney, East London, and Jamaica, Top Boy revolves around the two drug lords Sully and Dushane, played by Kane Robinson aka grime rapper Kano and Ashley Walters. This is not a cliched, poorly acted gangster flick though, but a vividly shot, intricately written, and authentic drama with amazing characters. Striving for a certain realism and authenticity, it is also unsettingly violent. But in its realism, it trusts mature viewers to see things like they are and to live through the tough decisions people in underserved communities have to make every day. Think The Wire with a gritty UK vibe. If that appeals to you, Top Boy is for you!