100 Best Shows from the Last Five Years

Wild Wild Country follows the relocation of a hippie cult from India to Oregon in 1981. You haven’t heard of Wasco Country? Nor had anybody else back then. This ghost town with a handful of god-fearing inhabitants, soon became Rajneeshpuram, the cult’s new homestead, home to a thousand disciples, and the subject of nationwide media attention. Spoiler: the town’s old residents did not think much of it.

Will there be debaucherous orgies, long-haired drop-outs, preaching and chanting? Yes. But, through historical footage and interviews with contemporaries, including Ma Anand Sheela, the power-hungry secretary of the orange-clad guru, you will also be absorbed by chemical weapons and attempted murder, one of the biggest immigration fraud case in US history, and, of course, the mysterious and not-so-mysterious ways that a charismatic cult attracts and manipulates its followers. Across six one-hour episodes, this Netflix miniseries by brothers Maclain and Chapman Way gives a captivating, exhaustive, and powerful account of one of the stranger moments in American media history.

American “dramedy” Atlanta is the work of mastermind Donald Glover, who you may already know without knowing – as a stand-up comedian, Troy Barnes from Community, or two-time Grammy nominated rapper Childish Gambino. It’s easy to tell from this list that Glover is a man of many talents. And Atlanta indeed feels like a complete use of his multifarious arsenal, he directs, writes, and plays the lead character.

Earnest “Earn” Marks Earn (Glover) is a 30-something, a highly intelligent, de facto homeless Princeton dropout striving to redeem himself in the eyes of his ex-girlfriend and mother of his baby. He reconnects with his cousin after learning that he is finding fame as the up-and-coming rapper “Paper Boi”.

The show is full of moments of absurdity and hilarious characters (look out for Darius, played by LaKeith Stanfield), but also offers a genuine look at modern life. A fun, sharp and unique show that can digress at any moment.

Why unlikely? Because, despite all the romance, its plot is fully based on a sexual transmitted infection. Hopelessly romantic twenty-something Dylan (Johnny Flynn) suddenly discovers he has chlamydia and is advised to contact all his (read: many) sexual encounters. Pair this plot summary with the fact that the show was originally called “Scrotal Recall” when it aired on British TV and you can be forgiven for looking the other way.

Underneath its awkward previous moniker, Lovesick is actually very funny, charming, and heavily romantic. Dylan is chaperoned by Luke (Daniel Ings, who you may know from Sex Education and The Crown), a seemingly confident but insecure business-school type, and Evie, Dylan’s smart and cynical best friend, played by Antonia Thomas from Misfits. It soon becomes apparent that Evie and Dylan could be much more than just friends if only their timelines were to align.

Lovesick is a charming little series that homes in on the heart-breaking romance of failed relationships. Something you can easily find yourself watching many episodes in one take.

The story is so jaw-dropping that it almost had to be put to film: steadily sawing through pipes and cutting through walls, two convicted murderers managed to break out of a maximum-security prison in upstate New York in 2015. The elegant and realistic dramatization was released by Showtime in 2018 and directed by none other than Ben Stiller in what marks his TV directorial debut.

The protagonists of this unlikely feat included the shrewd, boss-type felon Richard Matt (Benicio del Toro) and the much younger, excitable David Sweat (Paul Dano). You will hardly recognize Patricia Arquette in her role as Joyce ‘Tilly’ Mitchell, a married prison employee overseeing the sewing workshop, who supported and had sexual relations with both men. She rightly received a slew of awards, including a Golden Globe in 2019, for her stunning transformation and brilliant performance.

While the pacing of this somber thriller might be a bit too slow for some, the stellar performances of the main cast are enough to keep you on the edge of your chair. It’s a cinematic TV rendition of an unbelievable story and an engrossing view inside the life and minds of disenfranchised Americans.

Succession centers in on a global mega-corporation called Waystar RoyCo (based loosely on Disney) and the Roy family that runs it, who might also evoke parallels to other well-known real-world dynasties. Following the declining health of Logan Roy, the pater familias played by Brian Cox, the company’s heir apparent Kendall Roy (Jeremy Strong) sees himself challenged for succession by his siblings Roman (Kieran Culkin, yes, he’s Macaulay’s younger brother), Connor (Alan Ruck), and sister Shivy (Sarah Snook).

The writing of this HBO-produced series is sharp, the humor biting, and anarchy abundant, but watching Succession feels like a vice: it’s a guilty sneak-peek into the privileged but scary world of the mega-rich, making you a spectator of family dysfunction. Guilty also because you constantly find yourself rooting for people and causes, that are actually pretty awful. In addition to writing and wit, the cast and characters are all amazing, but watch out for Cousin Greg!

Viewers of American Gangster might have wondered about the fate of heroine kingpin Ellsworth “Bumpy” Johnson, who dies in the movie’s opening scene (of natural causes, mind you). On par with Al Capone or Billy the Kid, Bumpy Johnson was, in fact, a cult criminal and an underworld legend, but known almost exclusively to the people of Harlem, where he ran the drug trade for thirty odd years until the 1960s.

After receiving many nods in films like Hoodlum, Escape from Alcatraz, and Shaft, the story of Bumpy Johnson (played by Forest Whitaker, who also acts as producer) takes center stage in Godfather of Harlem. Co-created by the people behind Narcos, the series opens when Johnson is released from Alcatraz after a long sentence in 1963, when he returns to Harlem to find that much has changed. With the aid of civil-rights activist Malcom X (played, of course, by Nigél Thatch), an out-of-touch Johnson strives to reclaim his old neighborhood from the Italians in an all-out war.

Part deep-diving gangster epic, part 60s period piece with a modern sensibility, Godfather of Harlem has it all: gritty drama, great writing, swanky 60s style, and an awesome soundtrack.

If you’re looking for a funny yet original sitcom, look no further than Derry Girls. 

It takes place in 1990s Northern Ireland where civil unrest reigns. News of bombings is regular. This is a cause for concern for a lot of people, but for one group of teenage girls life continues as usual. Making fun of the first boy at their all girls school and being embarrassed by crushes are unshakable priorities. 

Derry Girls might have been a good show with just the 90s nostalgia and the political undertone, but the sharp and hilarious writing elevate it to greatness. It is truly one of the best sitcoms ever made. If you liked The End of the F***ing World, you will enjoy Derry Girls. They differ in plot but they both carry similar elements of dark and dry humour. 

Watch out for Sister Michael, she is hilarious. 

This Golden Globe-winning series is a comedy about, well, Ramy, an Egyptian-American who navigates an archetypal early-20s millennial life crisis, while being torn between what it means to be Muslim and to be American. With weird encounters at the mosque, overbearing, antisemitic uncles, kinky dates, and rampant drug use, it shines the spotlight on all the nooks and crannies of dual identities in 21st century America.

Both the show and its protagonist are named after its multi-award-winning creator Ramy Youssef, who was offered a show based on his own life after a successful career as a stand-up comedian. The soundtrack is also outstanding, combining tunes from well-known indie greats with obscure Middle Eastern funk. In addition to being hilarious, relatable, and deftly written, Ramy is a reminder of why diversity in storytelling matters. Not for PC points, but because it brings about original stories that make you walk in other people’s shoes while reflecting on universally human problems.

This excellent legal drama starts with a successful partner losing her retirement savings to a Ponzi scheme. The person accused of running the scheme is the father of her newest junior associate. They both find themselves out of options and join a black-run firm that specializes in police brutality cases. 

From legal questions that start on Reddit and 4Chan to trying to find a Trump supporter in the firm, The Good Fight is relatable without being cringy. Everything is believable, including the characters and the arcs.  The Good Fight feels like Suits or The Good Wife, but it also feels much better. It’s sharper.

The author of the much-loved New York Times bestseller, Sally Rooney, is among the writers of this TV dramatisation, directed by Irish compatriot and indie director Lenny Abrahamson. Abrahamson, who also gave us Frank and the film adaptation of Emma Donoghue’s Room, builds on Rooney’s fantastic source material and an evocative soundtrack to create an intense, atmospheric drama about the vitality and violence of young love.

Initially set in rural Ireland, Normal People follows Marianne Sheridan (Daisy Edgar-Jones) and Connell Waldron (Paul Mescal) as they are figuring out themselves, their connection, and impending adulthood. And that is all I am going to say at this point, because I feel that it is best to know as little as possible going in.

Every detail of every scene feels studied, laying bare the raw emotion of the two main characters. The dialogue is sharp and funny. The acting is flawless. One thing is certain, if you like modern drama that is as much about how and what is said as about what is actually happening, you will have to watch Normal People!

If you liked Netflix’ Stranger Things gloomy suspense, sit tight because there is a lot more of where that came from in Dark. Here is what they have in common: the aesthetic, great music, and they’re both about the disappearance of a child. Other than that, it is very difficult to compare Dark to anything else I’ve seen before.

This German show is about a town with a long and dark history, which is brought to the forefront of the collective conscious when a child goes missing. The plot twists and turns through decades of history – and that’s as much as I will share without ruining the show for you. 

Dark uses beautiful aesthetic, both visually and musically, to be compelling and painfully tension-ridden. 

Season two has more bouncing between timelines and more dark and inexplicable events, as now six people are missing. 

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!

Julia Roberts first small-screen role is that of Heidi Bergman, a woman working as a caseworker at the Homecoming Transitional Support Center, a facility that helps war veterans return to civilian life. Her boss Colin Belfast, superbly played by Bobby Cannavale, is a busy and eager man with questionable motives. Four years on, Bergman no longer works for the mysterious facility, when a visitor forces her to confront what she has been telling herself about her past.

Created by Sam Esmail, who also brought you Mr. Robot, this is mysterious sci-fi at its best. A haunting vibe, heart-stopping cinematography, and a slew of stellar supporting actors like Shea Whigham and Stephan Janes make Homecoming a gripping and breathtaking experience. With each episode clocking in at about 30 minutes, you will frequently be left hungry for more.

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.

While the BBC is famous for making some great understated drama series about the dark side of detective work (Luther, Line of Duty, Broadchurch), it has raised the bar with Happy Valley. It’s so good, it successfully breathes new life into the middle-aged but strong-willed small-town police officer trope, taking it to some uncomfortable and difficult places with exceptional writing.

Said small-town police officer is Catherine Cawood from West Yorkshire, impressively portrayed by Sarah Lancashire. Cawood has a hard time coming to terms with the release of a man from prison, who she is connected to in a fateful way and whose comeback coincides with a kidnapping attempt by a local drug kingpin. These events reveal the criminal underbelly of a seemingly quaint small town. Hidden behind its ironic title, Happy Valley will keep you on your toes with understated suspense, dry humor, and a quietly devastating storyline.

Patriot is about a secret agent meddling with the Iranian elections to stop Iran from developing a nuclear weapon. Ok, so like Homeland? Yes, and also very much no. Its protagonist is not a hardened, larger-than-life secret operative but a singer-songwriter stoner with PTSD.

As far as spy dramas go, Patriot certainly takes a lot of risks. Professional assassin John Tavener (played by Michael Dorman), whose dad (played by the amazing Terry O’Quinn from Lost) is the intelligence chief, is on an undercover mission in Iran. But, he’s not sure he wants to be. On top of that, he faces an incompetent federal bureaucracy, challenges to maintaining his cover, and bouts of mental illness.

Tavener is no hero. Patriot is more a mix between offbeat spy thriller and workplace comedy with a lot of dark humor in between.

Have you finished Wild Wild Country and are up for another binge-worthy documentary? If so, 1994 might be a compelling option for you to consider. Released on Netflix for the 25th anniversary of the events in 2019, most of the story would be hard to believe if it wasn’t… you know… based on facts and backed up by archival footage and interviews. As it often goes with documentaries, truth is stranger than fiction.

In 1994, the Ejército Zapatista de Liberación Nacional, also known as the EZLN or the Zapatistas, declared war on the Mexican government. This happened after the North American Free Trade Agreement, or NAFTA, was signed into law. Incumbent Mexican president Salinas (pictured above) selected prominent reformist presidential candidate Luis Donaldo Colosio to become his heir. Just three months later, Colosio was shot in Tijuana on live television.

1994 is a rich, informative, and fascinating account of this violent and tumultuous year in Mexican history, featuring in-depth interviews with many of those pulling the strings at the time, including former president Salinas. As the people being interviewed point out, understanding the relevance of 1994 in Mexican politics will help you understand the country’s political and economic landscape today.

Olivia Colman and Hugh Laurie (House) star in this espionage mini-series based on a John le Carré novel.

A quick mini-series that spans six episodes, it’s about a former soldier (Tom Hiddleston) who, while working as a night manager for a hotel in Cairo, Egypt, ends up getting hold of very sensitive information. He is then recruited by an intelligence officer (Olivia Colman) to bring down a corrupt businessman (Hugh Laurie.)

A highly-acclaimed TV show not to be missed by lovers of spy stories, John Le Carré films (A Most Wanted Man, Tinker Tailor Soldier Spy), or just anyone who appreciates excellent acting.

Pressured by the feeling that everyone is having sex except him, Otis (Asa Butterfield), like most teenagers, is very uncomfortable with sex, masturbation, and intimacy in general. In addition to the standard-issue teenage awkwardness, to make things worse, he grows up in a sex-positive household under the watchful eyes of his mother Jean, played by Gillian Anderson, who is a sex therapist. Obviously, the subject is omnipresent as are erotic art, oversized dildos, and coitus-craving couples all over the house. The twist comes when he transforms his tribulations into a business model by teaming up with bad girl Maeve Wiley (Emma Mackey) to counsel his teenage peers on sexual issues of all kinds. As you can imagine, uninitiated teenagers have a lot to offer in that department. Apart from its raunchy premise and explicit images, this is a hilarious, diverse, and warm teen comedy thanks, in particular, to the writing of playwright Laurie Nunn. Lauded by critics for its honesty, this future comedy classic will surely teach you a thing or two about sexuality yourself.

A Swedish production that went global on Netflix, Caliphate is an addictive thriller about two groups of young people in the Scandinavian country: one already radicalized and fighting in Syria, and the other still in high-school and on the path to radicalization. An anti-terrorism officer with a questionable past is put in contact with a woman who traveled to Syria and wants to return to Sweden. In exchange, this woman offers information about an impending attack in Europe. Caliphate is a fascinating watch! Thrilling, well-acted, and nuanced, it looks past cheap stereotypes to offer genuine insight into the psychology and seduction used for turning young people into terrorists.

Michaela Watkins is truly the star of the show, delivering a major performance almost every time she appears on screen. The former SNL cast member plays a recently divorced psychologist, who moves in with her brother Alex (Tommy Dewey) and her sexually confident teenage daughter Laura (Tara Lynne Barr). Casual is not only the name of her sibling’s successful online dating site, but also the name of the game of every character’s sexual relationships.

Directed by Jason Reitman, the amazing director who gave us Thank You for Smoking, Juno, and Up in the Air, Casual features sharp dialogue and great performances, the writing being as profane as it is profound. Above all, you will have no choice than to take a good look at yourself, while rolling over the floor laughing at the show’s sexual shenanigans. That’s how smart it is!

Based on the 2015 Pulitzer-Prize-winning article “An Unbelievable Story of Rape”, here is one of the best Netflix productions in a while and definitely the best detective-centric show since the first season of True Detective. The eight-part drama examines the case of a 16-year-old from Washington, who claims she has been raped in her bedroom before rescinding her statement after fierce questioning of the police. Later, her initial story is substantiated by a similar incident surfacing elsewhere.

Two detectives, played masterfully by Toni Collette and Merritt Wever, refuse to assume the young girl’s guilt and embark on a relentless journey to catch the perpetrator. In addition to being a thrilling watch and insanely bingeable, Unbelievable was highly praised for shifting the attention from the abusers to the victims and making their stories heard in a true crime format. Everybody should listen closely!

Like Charlie Brooker’s Black Mirror, the premise of the extremely bingeable and thrilling Norwegian TV show is a bit too close for comfort. Amidst a global fuel crisis, Europe has become dependent on energy from oil-rich Norway. Despite this fact, the Norwegian electorate votes the charismatic Green Party prime minister Jesper Berg (Henrik Mestad) into office, who halts the country’s oil production in an effort to combat climate change. With the European energy emergency escalating, Russia proceeds to occupy Norway with the EU’s support.

When best-selling crime author Jo Nesbø pitched this show in the early 2010s, this seemed like an unlikely, dystopian premise. However, since the annexation of Crimea and similar incidents in the mid-2010s, this is not quite as counterfactual as one would hope. Russian diplomats were not amused. But don’t be mistaken, this is not an academic experiment or a political provocation but a veritable, big-budget thrill ride, featuring amazing shots of the Norwegian wilderness, great writing, and stirring suspense.

This historical fantasy show is based on the best-selling novel The Saxon Stories, a story set during the Viking / Dane invasion of Britain.

Uhtred was a small boy when he was kidnapped and then raised by the Danes. When he unexpectedly gets caught up in the conflict, his half-Saxon half-Dane mix makes at the same time valuable and untrustworthy for both sides.

There has never been a better alternative to Game of Thrones. The great writing and great performances from a cast of newcomers inevitably induce the same sense of addiction.

Something happens in Forever episode three that I can’t tell you about. If I did it, I would spoil the show up for you. I don’t want to do this. So I will try very hard to sell you on the first two episodes, just remember, the show gets very different afterward. Both in premise, general vibe, and humor.

Here’s my best pitch: Fred Armisen. That face, that tone, that voice. How can you resist a TV show that doesn’t have many characters and yet he’s the main one.

Pitch No. 2: Maya Rudolph. She is funny, expressive, and whenever she looks at something, that thing instantly gains a lot of interest. This is the best performance of her career so far, I would wager.

The Guardian’s lead critic said of Trapped: Seductive, involving, gripping…I am already, thoroughly, trapped. I’m quoting a publication to give some grounding to my overly excited claim: Trapped (or Ófærð) is one of the best TV shows ever made. I am obsessed with it. The plot is simple: a cop tries to solve a murder before a storm arrives, but the way it gets stretched is exceptional, and can only be compared to Scandinavian classics like The Hunt, The Guilty or Headhunters. And the fact that Trapped is from Iceland (not Norway or Denmark) adds a more chilling twist to the Scandinavian thriller genre. I don’t want to say more and ruin the show for you, but this is an amazing binge.

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.

We call it a Netflix true crime documentary, but, in fact, this compelling four-parter is much more than that. It homes in on the fate of an immensely empathetic, soft-spoken, and likable family man, who loses his teenage son to drug-related violence in New Orleans’ notorious Lower 9th Ward in 1999. With corruption rampant in the city’s police department, he takes matters into his own hands and investigates his son’s murder by himself.

In doing so, main protagonist Dan Schneider notices a rise in opioid prescriptions from one doctor in particular. Fueled by a relentless determination to protect other children from addiction, he quits his job and begins gathering evidence against this doctor and, by extension, the company responsible for the sale of the notorious opioid-based painkiller Oxycodone: Purdue Pharma. In the course of his investigation, Schneider records all his findings, evidence, and intimate thoughts on audio and video. This sense of immediacy and the pretty breathtaking twists of his story make this Netflix production rise above other true crime formats. It uses the power and charisma of one individual to come to grips with a crisis of global proportions.

While the dual lead performance concept can easily be a recipe for disaster at times (cf. Gemini Man), the always amazing J.K. Simmons (Whiplash) shows everybody how it’s done in this tense sci-fi thriller. When the risk pays off, it pays off big time! Set in a counterfactual 1980s East Berlin, Counterpart unfolds in two parallel worlds that were bridged by East German scientists. When a flu pandemic kills millions in the first world, the two worlds enter a Cold War-like state.

Both Simmons’ characters (Simmonses?) work in the institution (“interface”) that oversee this bridge between earths: Howard Silk, a low-level employee who transmits messages he doesn’t understand, and Howard Silk Prime, a clandestine agent working for the parallel world’s interface institution. While this may seem like an overly complicated plot, don’t fret. To be sure, Counterpart is complex, twisted, and raises some big questions, but it’s also a gripping political thriller where everyone tries to kill somebody somewhere, like Bourne. It’s the best of both worlds – pun intended. But if you’re into the philosophical aspects of sci-fi, screenwriter Justin Marks does not disappoint, offering some new answers to the age-old question of what makes us who we are: nature or nurture.

There is footage and coverage to prove that the pizza bomber story actually happened but watching Evil Genius: The True Story of America’s Most Diabolical Bank Heist everything is so intriguing it is almost impossible to believe. A pizza-delivery guy shows up to rob a bank with what he says is a bomb secured around his neck, something that he claims is part of a treasure hunt. By robbing the bank, he will unlock the next set of clues that will allow him to defuse the bomb. Bank tellers comply but on the way out he is suddenly arrested by the police, who doubt his claims, handcuff him and keep him at a distance. The device he has around his neck then starts beeping. What follows is one of the most unusual investigations ever led by security forces, brilliantly framed by executive producers Duplass brothers. A perfect follow-up to their other amazing True-crime Netflix collaboration, Wild Wild Country, it’s a tight 4-episodes that is equally terrifying and intriguing.

This is the type of show where you will laugh your ass off in one scene, and then find yourself moved to tears in the next. It’s so heartfelt, so smart, and so, so well-written. The premise of the show is the revelation of a Nobel laureate that he used his own semen in his trailblazing research on fertilization. This prompts his daughter to search for her unknown siblings. She is stuck with two particularly interesting sisters, one of whom is a lawyer who tries to sue their father. One additional plus for me personally is the Australian accent. I love it in a comedy/drama, ever since I watched The Let Down on Netflix.

I can’t think of a good reason why this review shouldn’t just be two words: David Attenborough. With a voice that makes you wish every other voice in your life was the same, the star of Planet Earth teamed up with Netflix to make this new nature show. It took four years to film, and it bounces countless times between continents in every episode. It’s rich, vivid, and oh so beautiful. So they just made another Planet Earth? Not exactly. Our Planet has a much stronger environmental message. It’s not a line here and there about the negative impact we’ve had on the planet – it’s the theme behind the whole show. It’s frank, sad, but always, always, stunning.

This is one of those reviews where it’s probably enough to say: watch the pilot. There is no better proof of how good Modern Love is than its first episode. The show is based on true stories that were shared in The New York Times column by the same name. That first episode is about the relationship between a doorman and a New Yorker. But, plot twist, Modern Love isn’t just about romantic relationships. It’s also about friendships, family links, and all displays of love and affection. The second episode is with Dev Patel and Catherine Keener, which I found to be also excellent. There are other ones with Tina Fey, Anne Hathaway, and many other big names, but the first two episodes are still my favorites. The power of Modern Love is in the riveting true stories it tells. It might as well have been called “you can’t make this stuff up.”

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.

This excellent new miniseries is a drama that takes place in an ultra-Orthodox Jewish family. Esty, a nineteen-year-old girl who is unhappy in her arranged marriage, escapes this community and travels from New York to Berlin in hopes of starting a new life.

Like all good realistic dramas, there are no truly bad people in Unorthodox. Everyone is trying to do what they think is right, which still makes for very complicated situations. Esty is played by Israeli actor Shira Haas and I know this word is overused but she really is a revelation.

Produced by Ezra Klein’s Vox Media, an explanatory news site with liberal leanings, this may well be Netflix’s first successful attempt at a traditional weekly television show. And a news show at that. But as the title suggests, Explained doesn’t aim at updating you on current events, but takes short but in-depth looks at topics that tend to get overlooked in news cycles such as the racial wealth gap, monogamy, and the rise of cryptocurrencies. The idea is not unique. The only thing YouTube might have more of than make-up advice videos are explanatory monologues by self-declared Illuminati. However, those familiar with Vox Media’s previous outings on YouTube know to expect high production value, serious research, and digestible visual journalism at its best. Don’t watch it with your special uncle, though because he will start yelling at the television.

Some of the best novels of all time will probably take a few pages to introduce their premise, backstory, and key characters, and might demand some patience until the plot fully unfolds. This might be a hard sell in today’s world of short attention-spans, but some stories just need the time. Rectify is one of those stories. We meet Daniel Holden, played by Aden Young, after he is released from death-row prison after 19 years. While smart and thoughtful, Holden is obviously a damaged man, slightly out of synch with the world outside. His release affects his family very differently – some, like his sister, Agatha, had been fighting for his release since the day he was arrested. Others, like his brother-in-law, suspect he’s guilty of the crime he was accused of. Still others, like the fictional town’s sheriff, are bent on finding new evidence to lock him away again. So, in addition to awe-striking Southern landscapes, thought-provoking themes, subtle writing, you get a deep and detailed character-driven plot played by amazing actors. It might be too slow for some. This is not a who-dunnit or true-crime voyeurism. But you will be hard-pressed to find someone who isn’t enveloped by torrent of emotion when Daniel meets his mother and sister outside of a prison cell for the first time in nearly twenty years in the very first episode. And it really gets better and better with every season.

While this perspective on competitive sports is obviously unconventional, it makes perfect sense. Winners are boring. If you win, you win. The losers, however, have defeat to deal with. As the proverb goes, you learn little from victory, but a great deal from defeat. Director and creator of the show’s amazing animation, Mickey Duzyj, was inspired by a personal experience during a tennis tournament as a teenager. Each episode of this 2019 Netflix show tells a different story from a different sport. For starters, episode one looks at Michael Bentt, a world champion boxer who was forced into the sport by his abusive father. So, things do get dark, as could be expected, the storytelling is complex, but the message of Losers is as simple as it is wholesome. Like the characters and life stories it portrays, this show will pick you up when you are down!

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.

Each episode of Abstract is a look into an art discipline through the lens of a selected contemporary pioneer. From illustration to footwear design, the show follows how the artists create and live, how they got started, etc. The documentary itself is really aesthetically pleasing, which kind of taps into your own creativity. The designers in the series are unknowingly well-known. Does that make sense? You will instantly recognise their work even though you’ve never heard of them before. A light, easy-going and inspirational documentary.

An amazing binge-worthy show that is a mix between a coming-of-age story, a romance, and a crime thriller. It tells the story of James, a 17-year-old who believes he is a psychopath (for some very convincing reasons). James decides he wants the victim of his first murder to be a new schoolmate, Alyssa.  He befriends her and keeps waiting for the perfect moment to kill Alyssa until he finds himself on a journey with her to escape her home. Somewhere near the middle of the show, and without you fully realizing it, it transforms from an original coming-of-age story or odd-boy-meets-odd-girl story to an intriguing view on adolescent insecurities and the role of parents into shaping them. It transforms from a mysterious, almost charming story to an interesting character study.  This is when the show will blow your mind.  It’s a fresh, smart, funny yet disturbing emotional thrill ride.

Sneaky Pete is probably the Amazon Prime Original that suffers the most from the platform’s awkward branding. Had it been on Netflix, your co-workers wouldn’t stop talking about it. Four years after the finale of the mighty Breaking Bad aired, Bryan Cranston is back with some thrilling, far-fetched, but furiously entertaining TV. A con man just released from prison, Marius Josipovic (Giovanni Ribisi) seeks to reconnect with his brother Eddie (Michael Drayer), who tells him that gangster Vince Lonigan (Cranston) wants payment for the $100,000 Marius owes him. Being a con man, Marius does what he does best, assuming his cellmate Pete Murphy’s identity and duping his family. This is where things get roaringly fun and a little absurd, while gangsters, the police, his brother, and Pete’s family do everything they can to make his life difficult. Suspend your disbelief, though, and you will be thoroughly entertained.

Nadia is a game developer and proud aging hipster living in New York. Her story starts at her thirty-sixth birthday party looking at herself in the bathroom mirror. On her way out, she finds a friend who hands her a joint laced with cocaine, “that’s how the Israelis do it” her friend says.

Nadia hooks up with a guy and they stop at a bodega on the way back to her place. So far everything seems normal (in a New York-hipster kind of way). But on her way out of the bodega, she is hit by a car and dies. The story restarts, at the same birthday party, staring at herself in the mirror.

Russian Doll can be summarized in what Nadia screams later that night: “the universe is trying to f*ck with me, and I refuse to engage”. Her strong personality and the events that happen to her allow the show to explore themes of vulnerability, trauma, and even life and death. Russian Doll repeats almost every episode, but its originality and plot twists make it more refreshing with every repeat.

This rhythm takes some quick getting used to, but the moment you do you will not be able to look away. Natasha Lyonne from Orange is the New Black is masterful at playing Nadia. She co-created the show with Amy Poehler and Sleeping With Other People director, Leslye Headland. She packs a lot of the originality and character that possibly makes Russian Doll the most fun and original show you will watch in 2019.

It starts off with a man failing at hanging himself from a fruit tree in a bleak-looking garden. Something this grotesque isn’t usually the stuff of sitcoms. This is unsurprising because Will Sharpe’s Flowers, produced for the British Channel 4, is not your usual sitcom. With a unique visual style, an extraordinary cast, and a dark, satirical script, it carves out a genre of its own. The always amazing Olivia Colman plays Deborah Flowers, the eccentric family’s matriarch, and a music teacher. The man trying to hang himself is her depressed and unfaithful husband Maurice (Julian Barratt), who is a children’s book author. They live in a ramshackle house with a Japanese butler, who barely speaks English, and their dysfunctional adult twins. Amidst all this glorious mess, Flowers is ultimately about mental illness and depression and is apt in pairing this disturbing reality with hilarity. Obviously, it is very dark. A bit too dark for comedy, and too mad for drama: truly original stuff.

Maron, the character, and in many ways, a past version of himself, is a recovering alcoholic who abuses coffee in the constant state of chase after a buzz. He is divorced, bitter, yet weirdly kind – and always trying to be a better version of himself and failing. He does so in a type of Curb-your-Enthusiasm-style. Based on his trademark monologues, the series is about his attempt at human relationships, both romantic and other, after a bad history that spans from a negligent, self-centered mother to bad eating habits and self-shame. Saying Maron features a slew of guest stars may almost be an understatement. In addition to some consummate actors like Ron Perlman or Elliot Gould, Maron’s list of guests is like a who’s who of contemporary American comedy: Pete Holmes, Johnny Knoxville, Bill Burr, David Cross, Whitney Cummings, Adam Scott, Sarah Silverman Joey Diaz, Conan O’Brien, Anthony Jeselnik. Note that this is only a fraction of the full list. For anyone who enjoys Marc Maron’s comedy, this is a special treat. Casual viewers will also enjoy the sophisticated humor, sharp script, and Maron’s cranky delivery.

Since the 1960s, Flint, Michigan, has experienced a series of shocks. When General Motors downsized their workforce by several 10.000, the town’s population nearly halved. Unsurprisingly, it later became known for being one of the most dangerous cities in the US and for off-the-charts crime statistics. Since 2014, Flint again rose to tragic fame for a public health emergency due to contamination of its local water supply. Flint Town homes in on this perpetual state of crisis through the eyes of the local police department, who had to grapple with this dire scenario, while losing more funding year over year due to the city’s deteriorating financial situation. The few officers that are left for policing are at breaking point. The result is a gripping and rich docuseries with a host of strong characters. But it is also a brutal and sobering account of the extent to which an American city is being allowed to fail.

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.

Produced by David E. Kelley, one of the most prolific TV writer-producers and the mastermind behind Boston Legal, Picket Fences, and, more recently, the amazing HBO show Big Little Lies, Goliath follows Billy McBride, a formerly brilliant but washed-up lawyer, who becomes an alcoholic after having acquitted somebody who went on to kill an entire family. McBride is played by Billy Bob Thornton in one of the best performances of his career. (A big claim with a career like that.) A big case randomly comes his way that allows him to go against the big law firm he once co-founded – David against Goliath. With a sex worker as his paralegal (Brittany Gold played by Tania Raymonde), he embarks on a journey to find justice for the victims and redemption for himself. The colorful supporting cast is as good as the main actors, playing an array of unconventional characters and some badass women, including Molly Parker from House of Cards. Goliath is the perfect binge.

There are only 20 seats in Formula 1 each year, meaning that drivers are not only racing to win but to be kept on the roster. With the big stars, Ferrari and Mercedes, habitually shrouded in secrecy, Formula 1: Drive to Survive focuses more on the back of the grid. Lewis Hamilton, the five-time world champion, is rarely seen, for example, giving more room for other stories to unfold, including that of Günther Steiner, the Italian team principal of the Haas Formula One Team. That is not to say there are no big reveals. Even if you think Formula 1 is a decadent, testosterone-driven sports for rich Europeans, Drive to Survive might be welcome crash course into what makes this sport so appealing for many and might also have the potential to change your mind. If not, it is still a very well-made, slick, and engaging docuseries that will have enthusiasts and newcomers thoroughly entertained.

Meet Rilakkuma, a relaxed teddy bear (which is indeed what his name translates to in Japanese), and Kaoru, a Japanese office worker in her mid-thirties, who lives with said bear as well as a smaller white bear named Korilakkuma and a yellow chick by the name of Kiiroitori. As whimsical as all this may sound, the show offers up endearing and humane life lessons to go with all the heart-warming cuteness as Kaoru navigates being single, her apartment building being demolished, and her job stressing her out. It combines charming stop-motion characters with great writing, adorable animation, and a beautifully quiet tone. You might be surprised at the profundity of a show that, at the surface, is about a Japanese girl with cuddly toy roommates. It’s hard to compare it to anything else!

From the producers of Superbad and Pineapple Express, stoner filmmakers Seth Rogen and Evan Goldberg, comes a deft deconstruction of the ubiquitous superhero genre on Amazon Prime. Based on the comic book of the same name by Garth Ennis and Darick Robertson, it is set in a world where god-like superheroes, or Supes, are recognized as heroes but are increasingly self-absorbed, arrogant, and corrupt underneath their flying capes. The best of them are called The Seven, aggressively marketed and monetized by the Vought Corporation, complete with Instagram likes, energy drink advertisements, and TV appearances. It all starts to slowly deteriorate when the girlfriend of Hughie Campbell (Jack Quaid) gets obliterated by A-Train (Jessie Usher), a super-fast hero modelled on Flash, galvanizing The Boys, a crazy normal-human vigilante group led by Butcher (Karl Urban, pictured above), who are sick and tired of the Supes and their corruption. This show packs a multitude of wacky characters, including Frenchie, our favorite, a hilarious and romantic French bomb expert. Don’t forget to fasten your seatbelts because this is a fast-paced, mean-spirited bloodbath that is as wild as it is entertaining.

At first glance, those who enjoyed Hulu’s Ramy might be tempted to view this as the UK version of it. However, Man like Mobeen is a bit more street than Ramy and a lot more British. It’s also not so much about being a good Muslim. Mobeen (Guz Khan), Eight (Tez Ilyas), and Nate (Tolu Ogunmefun) are three mates from Birmingham. Two of them happen to be Muslim but it’s not a big deal. Except it is because of the way Western society sees them. Mobeen, the head of the group, takes care of his sister, Aks (Dúaa Karim), in the absence of his parents, trying to be a good guy, while also trying to escape his past as a drug dealer. In the first episode, a transaction to buy a laptop results in three SWAT teams closing in on them for no reason. (When Nate runs off, the police officer asks the others why he ran, and Mobeen says: “If I had to guess, I’d say it’s because he’s black.”) Much of Man like Mobeen is laugh-out-loud comedy, but there’s a healthy dose of wokeness to be found here, too. Teenage knife crime (in the second season), the rise of right-wing sentiment, and the police’s history of violence towards immigrants are effortlessly woven into gags. Very funny!

Leo Tolstoy’s most famous book, on which this was based, defies summarization but this powerful, sumptuous, and head-spinning BBC production might have done just that.

In 1805 St. Petersburg, the illegitimate son of the richest man in Russia (played by Paul Dano) finds himself at the center of his country’s downfall as it faces another Napoleonic invasion. As it follows several interconnected characters, romance intertwines with war, tragedy, and greed.

Directed by Tom Harper (Peaky Blinders), this series has it all: great acting, beautiful locations, and breath-taking action. It also stays true to the philosophical nature of the written material, capturing the glamour, deceit, and insanity of its time – as well as the sweeping scope of the original Tolstoy tome. This is TV of cinematic proportions!

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.

Unlike Lovesick, which rightfully changed its name from Scrotal Recall, Schitt’s Creek is still called Schitt’s Creek many seasons in. After flying under the radar for a while, the sitcom about a wealthy, Arrested-Development-style family coping with the sudden loss of their fortune is starting to get the attention it deserves. Warm and witty writing, very gif-able catchprases, and a great main cast have turned this slightly slim-sounding premise into a long-running cult classic. The great Catherine O’Hara plays Moira Rose, the cynical matriarch, while many of you 00s kids will immediately recognize the male lead, Eugene Levy, as “Jim’s dad” from American Pie aka them most embarrassing dad ever to grace a screen. In all its simplicity, the steadily fleshed out riches-to-rags plot is hilarious, undemanding, and witty, exactly what you want a sitcom to be.

Co-created and co-produced by an amazing duo, Maya Erskine and Anna Konkle, who play fictional versions of their 13-year-old selves among a bunch of actual adolescents, Hulu’s PEN15 is a painfully funny teen sitcom about two friends going through middle-school together. With meticulous detail, it is set in the 2000s, including the discmen, the khakis, and the AOL dial-up sounds, but you certainly don’t have to be 30+ to enjoy the masturbation, boys, overall awkwardness, and other superbly spun teen comedy tropes. Erskine and Konkle’s middle-school experience was obviously all about being the lesser cool kids and they embody this to the fullest. It’s hilarious and cringey, sometimes gross, but also insightful. A lot of fun!

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.

Based on Gillian Flynn’s 2006 debut novel, the two actors are showcased by director Jean-Marc Vallée (Dallas Buyers Club). Amy Adams stars as the troubled crime reporter Camille Preaker, who investigates a serial murder in her hometown after a stint at a psychiatric hospital. The second female lead is Patricia Clarkson, who stars as Camille’s oppressive mother, a small-town socialite. Uncovering the mystery of the city of Wind Gap, anti-hero Camille must delve into the town’s gruesome history well as that of her own family, while also confronting her trauma and self-harming behavior. This three-pronged plot and great acting makes for a tense thriller drama. A slow-burner without being slow—grim and disturbing—and one that also packs a lot of insight into the ramifications of abuse.

Two incredibly funny women are the stars of this authentic and heart-felt British comedy: writer, stand-up comedian, and main actress Aisling Bea, and the amazing Sharon Horgan (Catastrophe), who also co-produced the show. Irish teacher Áine (Bea) lives in London, yes, like Sharon Horgan’s character in Catastrophe, and works as an English-as-a-foreign-language teacher, but instead of getting knocked up by an American, she suffers a nervous breakdown and goes to rehab. When Áine checks out, she has to re-navigate all the aspects of real life that brought her to rehab in the first place. She does so with her sister Shona (Horgan) at her side. This is very clever and honest comedy about mental health, recovery, and loneliness, and about creating meaningful connections with the people around you. In true Bea and Horgan style, though, the humor is dark and will make you flinch and laugh at the same time. The chemistry between them is incredible!

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.

Man, don’t watch this show hungry. Each episode traces the traditions, the history, and the lore surrounding much-loved types of food. It’s a food show, to be sure, and it will surely whet your appetite, but award-winning rebel chef and creator of the New-York-based restaurant Momofuku, David Chang, also has a mission: to challenge notions of authenticity, to call out snobbism, and to break down cultural barriers. While exploring pizza, for example, he travels to Japan to check out a new pizza in a Michelin-star restaurant, but also hits up a Domino’s. He talks about why microwaves are good for you and why MSG isn’t bad for you—and why demonizing MSG has a racist history. Despite being an important proponent of the food industry, Chang has a fuck-it attitude towards it. There is a reason the name of his high-brow brand sounds like “m*therf*cker”. Part mouth-watering food TV, part op-ed on foodie culture, this is one of the best cooking shows you can watch today.

Long Strange Trip was originally a four-hour movie before Amazon cut it to a six-part TV show. Produced by Martin Scorcese, it tells the full story of the band The Grateful Dead. It’s an account so detailed that it will satisfy the biggest Deadheads, but it also can be appreciated by anyone. The focus is the band, but it’s also the band’s significant impact on Rock history, and by extension, on American culture. I didn’t know much about the band and I couldn’t stop watching.

Clocking just 15 minutes per episode, Special is like a candy bar. It’s quick to consume but sweet as sugar. This new Netflix Original is set around a gay man with cerebral palsy, a disability that affects his body coordination but not his brain. As Ryan puts it in the first episode, it’s a disability that doesn’t make him normal but also is not severe enough for him to be part of the “cool disabled crew”. Ryan decides to turn his life around by pretending his disability is due to a car accident. People around him, especially at the exploitative millennial magazine “eggwoke” where he is an intern, start treating him differently. The car accident story provides a more accessible framework for them to understand his condition. It’s hard to believe a TV show can come out today and still manage to be so different from the rest, but Special does it. In other words, and I’m sorry to be this cheeky; Special is special.

When I learned about Street Food the first time, I was reluctant to sit through yet another Netflix cooking show. They’ve made so many that when I want to bring up an episode with a friend I forget if I saw it in Ugly Delicious, Chef’s Table, Salt Fat Acid Heat or others. I can’t say that Street Food is a different format. It uses the same slow-motion takes of food, the same close-ups on chefs and the same style of interviews. Here is the thing though. Street Food might be similar to other Netflix cooking shows, but it’s also better than them in almost every way. Much better. It’s only 30 minutes long per episode, so it doesn’t indulge in egos or stray into unrelated stories. It doesn’t showcase kitchens where only the rich eat, like Chef’s Table often does, but stalls that are accessible to everyone. And in the best way, it connects the story of the food makers to the food. The show is mostly about middle-aged to senior women, and people who do not make that much money. It’s not about glamorous young chefs. It’s about food stripped away from any marketing or showbiz. Real cooking, real chefs, real diners. In its unpretentious nature, Street Food feels euphoric.

Bosch returned recently for a fifth season, with a sixth one confirmed. It’s a sleeper hit that you may not have heard of, but with time should get the coverage it deserves. Titus Welliver (Lost, Sons of Anarchy, Argo) plays an L.A.P.D. homicide detective who is on trial for using questionable methods during a fatal shootout. At the same time, he is trying to solve an open murder case. Bosch is carried by almost entirely by Welliver, who delivers such a good multi-layered performance that it’s hard to think anyone else could have played this character.

From the Oscar-nominated cinematographer of City of God, this is a Brazilian Netflix TV show that I can only describe as a smarter Hunger Games. In a dystopian society, the majority of the planet’s population lives in extreme poverty while a select 3% (hence the title) live in a heaven-like world called “The Offshore”. Every year, the 20-year-olds of the planet get a chance to join the 3% in a selection process that for the first time might harbor moles. With an intriguing first episode that shares just enough to keep you informed but engaged, it’s easy to want to binge-watch the whole first season of 3% in one sitting.

This wonderful Italian epic made by HBO was a huge hit in Italy but remains little-known elsewhere. It’s based on four famous books that tell the coming-of-age story of two brilliant girls who grow up in a poor suburb on Naples in the 1950s. It also has scenes from the current time where one of them mysteriously disappears. Amazing production value, acting, and story make this show so easy to get hooked to.

In 1845, two huge and aptly named ships, the HMS Terror and Erebus, were sent on an expedition to the Arctic to find the Northwest Passage, a century-old dream of connecting Asia and Europe through North America. Now, even when all went well, an Arctic expedition in the mid-19th-century was a pretty horrific affair by today’s standards, and, as you can imagine, all does not go well. In addition to the bitter cold, the cannibalism, and the malnutrition, The Terror throws in some hideous creatures from Inuit folk tales into the mix that hunt and maim the poor sailors. At its core, however, this is not fantasy horror. Co-produced by Ridley Scott and starring Jared Harris from Chernobyl, The Terror is unrelenting in the depiction of the hopelessness on board the two ships. Great timing and a pervasive sense of dread make this a must-watch for every fan of period-piece horror movies.

This mini-series by Alex Garland (28 Days Later writer and Ex Machina director) is about a tech company like Google that has a building that only select developers (devs) work in. Sergei is one of the lucky ones that get the call but he disappears after his first day. His girlfriend, who works for the same company, tries to find out what happened to him, first by uncovering well-kept dark secrets about that building. If you liked Mr. Robot or Ex Machina, you will love this. And a surprise bonus: Nick Offerman plays the CEO of the company, in a great serious role.

This documentary from Ken Burns is a selection of stories from prisoners enrolled in a competitive college program. Many of the prisoners are in maximum-security facilities, some for serious crimes.

Seeing their difficult imprisonment conditions, the struggles they come from, and yet their incredible determination to excel in their education – it’s all such a humbling and emotional affair.

Keir Gilchrist who you may know from the movie It’s Kind of a Funny Story plays Sam, an 18-year-old on the autistic spectrum trying to navigate the “typical” aspects of a teenager’s life: dating, independence, friendships, etc. Perhaps people dealing with autism can better attest to this, but the show feels genuine and realistic. Don’t get me wrong, it’s a comedy, but it’s a really heartfelt approach to the funny sitcom format. In a lot of ways, Atypical is the perfect 2017 Netflix-age coming-of-age sitcom: it’s funny and smart, but also keen to be realistic. And Atypical is about Sam’s family almost as much as it is about him, and how they adjust to his new quest for self-discovery. Look out for newcomer Brigette Lundy-Paine, who does an amazing job playing Sam’s siter Casey!

Three unassuming housewives team up with a violent street gang to make a little extra cash. What better TV show premise could you ask for?

Good Girls is the often hilarious, always thrilling show dubbed “Breaking Bad meets Thelma And Louise.” The three lead actresses are fun and have great chemistry together as they navigate a sometimes fast-paced show, and other times a family drama. 

And that may be the only issue with this show, it doesn’t exactly pick a lane. However, if, like me, you don’t mind a little Detroit housewive drama mixed in with your thrilling scenes, you’ll have a great time. 

Paul Giamatti and Damian Lewis (Homeland) star opposite each other as a prosecutor and a billionaire suspect in this well-crafted drama. Axe is a venture-capitalist who lost his business partners in 9/11 and who is widely appreciated in the public eye for his charity work. He comes under scrutiny from a ruthless and unusual public prosecutor (Giamatti) after allegations of insider-trading. The two alpha-male types go head-to-head which makes for an immensely watchable fight.

This is Breaking Bad meets The Social Network. Based on a true story that took place in Leipzig, Germany in 2015, this show is about Moritz, a high-schooler who starts Europe’s biggest drug market online. He initially does this to impress his ex-girlfriend, who had just come back from the States with new drug experiences.

The transformation of a nerd into a drug kingpin is fascinating. But because it is based on a true story, there is an important nuance to that transformation. Moritz is rarely portrayed as a hero, and his creepy side is always present. This makes for an interesting and exciting plot-heavy show.  

This is an easy and funny Canadian TV show about a Korean store owner in Toronto.

He completely lacks awareness of modern gender, sexual orientation, and race issues – yet his good nature redeems him. In the first episode he is confronted for saying something homophobic, but replies by pretending he has an ongoing 15% “gay discount” (except he decides who’s gay or not by looking at them).

There are many other interesting themes, such as his daughter being pressured to find a “cool Christian Korean boyfriend” and her insisting that those words don’t go together.

Kim’s Convenience is about the Korean-Canadian experience, but it also feels geared towards a Korean-Canadian audience. It’s authentic, refreshing, and most importantly, funny.

This visually stunning thriller is about a young man called Raza who is hired by a counter-terrorism officer as his informer. If you liked Netflix’s Bodyguard, you will love this, which in my opinion is has much more substance.

Originally a photographer with no link to the world of crime or terrorism, the color of Raza’s skin and his accent make the authorities believe he would be a valuable asset. And quickly, he falls into a web of crime, giving this show the appeal of the fantastic HBO series The Night Of.

The first Norwegian series made by HBO is a crazy and fun detective thriller. People from three different centuries start washing up at our time in the Oslo bay: from the Stone Age, the Viking Age, and the 19th century. Before you know it, downtown Oslo is full of people drying up hunted animals and camping in the gardens of official buildings. And seven years later, one woman, from the Viking Age, becomes the first modern-day “multi-temporal” cop. Together with a modern-day detective, they try to solve new crimes which involve people from different time periods.

If all of this sounds silly, don’t worry: Beforeigners pulls it all off. All the multi-century premise does is bring originality to the otherwise over-exploited buddy-cop show genre. It hits the perfect balance between familiar and different.

Hailey (Lola Kirke) is a struggling musician that has dedicated her life to the oboe. As the New York Symphony Orchestra reluctantly welcomes its new conductor, the controversial Rodrigo de Souza (Gael García Bernal), Hailey gives her all and tries to join the orchestra. But getting to play with some of the world’s best musicians isn’t only a difficult goal to attain, it is also a life-consuming struggle. Inspired by the accounts of oboist Blair Tindall in her book Mozart in the Jungle: Sex, Drugs and Classical Music, the show follows the orchestra through its ups and downs , portraying the current state of classical music with all its power struggles, insane competitiveness , and reluctance to change. While Mozart in the Jungle has a strong cast (Malcolm McDowell, Saffron Burrows, Bernadette Peters), Gael García Bernal steals the show with a golden globe-winning performance that perfectly fits the charming, lighthearted nature of the series.

This colossal-budget show ($90 million for the first season alone) never caught a break. Somehow it didn’t make it to the big audience it deserved. It tells the grand story of Marco Polo the explorer, and the years he spent with the Mongols, going back forth in their ranks between prisoner and leader. It was during this crucial time for the empire that Kublai Khan had extended the reach of his empire even further than his more famous grandfather Genghis Khan. As you’d expect with a show featuring this many characters and such a new world, the first season is not as entertaining as could be, but the show becomes its full-self as a true epic in season 2.

Watch out for Ezekiel in this show, he will steal your heart. And also please sit through the first episode. Yes, it’s long, but if you get The Get Down, it is one of the best shows on Netflix. Created by Baz Luhrmann and Pulitzer Prize winning playwright Stephen Adly Guirgis, it narrates the rise of hip-hop in a broken 1970’s New York. The impressive credentials don’t stop there, as the series is narrated by Nas, features work by four-time Academy Award winner Catherine Martin as well as hip-hop historian Nelson George. It is perhaps for this reason that the word “narration” takes its full meaning here. Every episode, every scene, every character are made with extreme care, resulting in sometimes longer than necessary sequences. A sacrifice that will make some viewers very happy, but which many might have a hard time adjusting to.

Dark and almost too realistic, Wentworth is the women’s prison drama that I’ve been waiting for.

This Australian show might have the same set-up as Orange is the New Black — following a recently incarcerated woman as she discovers a new world — but the two series couldn’t be more different. Wentworth is more Breaking Bad than Orange is the New Black.

The difference: It doesn’t follow people who are wronged by the system or who are misunderstood, but women that have actually done violent things, and continue being violent in prison.

It appeals to everyone’s dark side: It seems impossible for any character to achieve redemption. The show’s biggest selling-point is that it never goes the violence for the sake of violence route. Its immaculate character development guarantees reason and authenticity behind every act.

This a true hidden gem.

The first episode is directed by the maker of Warrior, Gavin O’Connor, and shares its emotional, yet suspenseful and action-packed flow.

A white police officer and his squad are involved in an attempt to cover up the hit-and-run murder of a black teenager. You’ll see the officers weigh guilt and remorse against their fears of exposure and a backlash. You’ll also meet the teenager’s heartbroken family and a disorganized prosecutor.

Its tales of race and institutional bias are compelling, but its greatest strength is the script. Add strong acting, especially by Regina King and Russell Hornsby, and you get one of the best police dramas Netflix has ever had.

An eccentric billionaire. A freakishly strong character who is ashamed of his strength. A Captain America-esque leader. An old mentor in the form of a wise talking monkey. You guessed it; The Umbrella Academy is about superheroes.

One fateful day in 1989 many women across the globe give birth at the same time, but at the start of that day, none of them were pregnant. The eccentric billionaire adopts a number of these children to form The Umbrella Academy, a collective similar to X-Men or The Avengers. Except, because they are all kind of related, this show is about their family dynamic as much as it is about their superpowers.

The Umbrella Academy is an entertaining story of superheroes that is rarely original but always enjoyable. Ellen Page plays one of the kids (the black sheep of the family who has no superpowers), and she’s a joy to watch.

And substantial bonus: Mary J. Blige (!) plays a hitman.

Hanna the movie was the perfect mix between a coming-of-age story and a Bourne-Trilogy-type thriller. It was suspenseful, edgy, and so original.

How to make these attributes stick when the movie is stretched to a TV show? As it turns out, more of the same does the trick.

The majority of events have been imagined especially for the show, and it doesn’t stop there. The series is packed with great new talent who bring their uniqueness to the story. Hanna herself is played masterfully by British actress Esme Creed-Miles. Her father – much more present in the show than the movie – is also amazingly played by Swedish actor Joel Kinnaman (you may recognize him from House of Cards or The Killing).

High production value and incredible suspense make Hanna an enjoyable and prolonged thrill ride. It’s even more fun if you’ve never watched the movie, as all plot developments will be new to you. 

This is an thrilling BBC/Netflix show and a Yakuza drama that takes place between Tokyo and London. About half of the dialogue is in Japanese and the other half is in English.

Yakuza families are no longer at peace when a boss’s nephew is assassinated in London. Trying to bring the culprit in without interference from the British police, a Tokyo detective is sent to the UK to try to find him. 

There is an undeniable appeal to seeing the world of yakuza unfold, but the show’s title, which translates to Duty/Shame is a reference to the detective’s own personal conflict: the suspected murderer he’s looking for is his brother. Ouu.

This creepy miniseries stars Jason Bateman, Bill Camp, and Ben Mendelsohn. Based on the Stephen King novel of the same name, it follows an investigation into the horrific murder of a child where all evidence leads to the local baseball coach, Terry Maitland (Bateman). However, Terry’s demeanor and his shock when the police come to arrest him raise questions about whether he actually committed the crime. It’s a grim and slow-burning story with immaculate acting although it suffers from the thing it aspires the most to: the (not entirely satisfying) book. Created by The Wire writer Richard Price.

This comedy-drama is about a British family that moves from England to Corfu, Greece, in hopes of a better life.

At first the cultural shocks and mishaps are hilarious, but The Durells quickly becomes a heartfelt drama centered around the mother, who has to push through a lack of money, new responsibilities and a sense of loneliness on top of the cultural adjustment.

This comedy is about a girl whose family moves to the U.S. on September 2001. She grows up to excel academically but, as she asks from the shrine in her room on her first day of sophomore year, she has yet to be cool. “I want to be invited to a party with hard drugs,” she prays, “not to do them, but just to say: no cocaine for me, thanks. I’m good.”

The show is narrated by tennis legend John McEnroe who was known for his explosive temper (played recently by Shia Laboeuf in Borg vs McEnroe). It’s a genius arc because Devi is a “hothead”, exactly like McEnroe. Instead of recoiling, Devi keeps boiling over, making for a fresh and original high-school comedy.

In one scene, the main character’s husband looks at her with disdain after she makes an inappropriate joke –  “you are somebody’s mother!” She looks back with the same disdain – “I’m sorry, I forgot, moms aren’t supposed to be funny.”

Funny is a good word to use here, because this show is hilarious. Comedian Andrea Savage makes a TV show based on her life, or rather, that is her life (it’s a thin line). The show’s easy going tone is only interrupted by Andrea’s lack of consideration of what is appropriate.

Her jokes are heavy and offensive, and if you don’t mind either, so funny. They range from teaching her mom about unexpected sexual slang to trying a by-all-means approach to comfort her daughter’s fear of Nazis. 

Funny, natural and entertaining – I’m Sorry is a joy to watch.

Phoebe Waller-Bridge became famous for her hit show Fleabag, but few people know about Crashing which she has also created and stars in, and which deserves just as much attention. She plays a girl who moves to London to be with her childhood friend, who’s already in a relationship and living with his partner and four others in an abandoned hospital. Waller-Bridge settles into the hospital as well, and the six twenty-somethings become property guardians of the hospital building.

Funny characters and excellent performances make this show dangerously bingeable.

A hilarious British sitcom about 24-year-old Tracey Gorden, a shop assistant living in a housing estate in London with unusual friends and an even more unusual family.

A bit messed up by a very religious upbringing, she navigates adulthood and trying to untangle herself from the unexciting life her neighbourhood offers (mainly by trying to lose her virginity).

Michaela Coel wrote and created the show and plays Tracey. Her expressive facial expressions and fantastic ability to convey her character make for an incredibly original show. Taking originality as a factor, this is possibly the best sitcom on Netflix right now.

The Good Place is about a girl who dies and finds herself in the better side of the afterlife: The Good Place (as opposed to The Bad Place). Only problem? Someone made a mistake and she really doesn’t belong there. While The Good Place is filled with people who went on humanitarian missions and saved the world – her last days were spent scamming old sick people as a drug sales rep. Starring Kristen Bell in a truly hilarious role, The Good Place is about her character’s attempt to become a better person and stay away from The Bad Place. It’s a very entertaining, weird, and clever show. Just watch the first episode and you will be hooked forever.

In After Life, Ricky Gervais plays a kind-hearted journalist who turns dark after his wife passes away. Her parting gift to him is a video manual on how to deal with life. But his pessimism and annoyance with people keep delaying him from watching it. Worst of all, a new recruit at the newspaper is assigned to work with him. Her determined personality not only further delays him from dealing with his sadness, but gives him the platform to be even darker and more pessimistic. After Life is a mix of dark humor, straightforward drama, and tragedy. It’s a difficult story packaged in the easiest and most digestible TV form. The episodes are quick, have clear arcs and plot; and yet, you won’t be able to shake the feeling that you’re watching something much deeper than a Ricky Gervais comedy.

TV nerds know that Orange is the New Black, as much as it’s hailed in the U.S. for being ‘crazy’, doesn’t deserve that title. It’s only a mellow take on the women prison genre that was perfected outside the States. The Australian show Wentworth is one example and Vis a Vis (or Locked Up) is another. The show starts with an inmate being boiled alive.

Macarena Ferreiro is set up by her boss/lover and ends up in prison for tax crimes. First naive and used to luxury, she has to adapt to harsh prison conditions, and harsher inmates. On the outside, her parents try to secure a large sum to pay her bail.

The drug trade is international, but it is rarely portrayed as such on TV. Drug thrillers often take place in one country and in one or two languages (usually Spanish and English) – but in reality, there are producers, buyers, and sellers, all based in different parts of the world. So a show depicting the drug business in a realistic way should also move around the world. ZeroZeroZero is that. It’s a fast thriller set in many countries: The U.S., Italy, Mexico, Senegal, and Morocco to name a few. The stunning cinematography bounces between contexts seamlessly, telling a nihilistic yet thrilling story of a conflict that starts within the Italian Mafia.

Based on the Hugo and Nebula award-winning novel by Neil Gaiman, American Gods the show is an ambitious new take on visual storytelling. Set in modern day America, it follows Shadow (Ricky Wittle), a newly released ex-convict shaken by the sudden death of his wife, as he is begrudgingly introduced to a world of warring deities, where  the old gods’ existence is threatened by the rise of new gods. Mr Wednesday (Ian McShane), Shadow’s new employer, travels America as he recruits an army in preparation for this war. The show’s extravagant set pieces and eerie long soundtracks offer a bizarre, otherworldly experience, backed by superb writing and a great cast. If you’re tired of unoriginal, formulaic stories and visuals in tv show, look no further: American gods is ambitious, unique, and definitely deserving of your attention.

From the same showrunner as Happy Valley, the amazing thriller-drama also streaming on Netflix, comes this quiet romance-drama set in the British countryside.

But it’s not a coming-of-age story, the opposite. Last Tango is a later-in-life romance. Alan and Celia were neighbors and were attracted to each other when they were younger but never voiced their feelings. Now, 50 years later thanks to Facebook, they start dating again. And there are many other storylines going on other than this heart-melting romance at the center of the story.