100 Best Shows from the Last Five Years

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.

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.

Ripley delivers an atmosphere-driven, intimately engaging suspense story fueled by money and deceit. The exposition moves slowly, albeit with gorgeous transitions and deliberate, cinematic shots to gush over. But the rich narrative possibilities open up by the second episode, where captivating acting and tense storylines anchor the show simultaneously. Tom Ripley (Andrew Scott), Dickie Greenleaf (Johnny Flynn), and Marge Sherwood (Dakota Fanning) each contribute to an uncomfortable three-way dynamic that you can’t look away from, each a piece of an equation you inexplicably want to root for. This mini-series is a thoroughly compelling, quietly funny work of art already dressed for the awards shows.

This series’ illustration style and colors are so soothing—a blend and pop of color to make a calming universe, where fantasy elements are introduced with no prior context but fit in snugly with the warm vibes. Hilda and other characters approach things with softness and trust in their communication, which gives both the show and the viewer a feeling of safety and self-assuredness. If you love a good overall gentleness to your shows, you’re in for a treat with Hilda: the writing is excellent and friendly, the humor is on-point when it comes in, and the beautiful lore develops at a welcome, inviting pace.