Once you get past its kiddy dialogue and somewhat overenthusiastic voice performances, Maya and the Three delivers one of the most thrilling action spectacles for children’s television. Taking its cue from Mesoamerican folklore, this nine-episode miniseries is draped from head to toe in lavish, intricate visuals and is directed with a surplus of stylistic choices, with characters frequently breaking out of the frame itself. And once the action starts, it almost never lets up. It never becomes too frightening for kids, and it’s mounted on a seriously impressive scale that any adult should appreciate. The fights are dynamic, intense, and beautifully constructed almost like dances—giving kids and kids-at-heart lots to marvel at together.

It’s hard not to roll your eyes at what looks like yet another white-centered story set in a foreign land. But Tokyo Vice, thankfully, is hardly that. Co-produced by crime drama auteur Michael Mann (Heat, Collateral, Miami Vice), the HBO series is a stylishly thrilling and comprehensive look at the yakuza crime ring running Tokyo from the underground.

Ansel Elgort’s Jake, an investigative journalist, may be our way in, but it’s the rest of the characters who grip our interest. They’re gangster tropes fleshed out with rich and complicated backstories. Ken Watanabe’s Katagiri is a hardboiled detective—so effectively cool and scary—who you’d like to believe is good, but also has his own secrets lurking in the shadows. Rachel Keller’s Samantha is a sultry hostess who, unlike in mob films past, actually has character, motivation, and specific problems she figures out on her own. Sato (Sho Kasamatsu) and Emi (Rinko Kikuchi), Jake’s yakuza friend and newspaper editor respectively, are also given stories that genuinely intrigue and compel on their own.

Lit by Tokyo’s neon glow and set to Mann’s signature fast pace, this is a series not to be missed by action-crime fans.

At Home School, the parents take the entrance exam before signing away their children’s freedom to the staff of this prestigious boarding school. But the promise of an elite education becomes a nightmare when the students have to endure the school’s unorthodox curriculum. Unlike her schoolmates, Maki enrolls through a scholarship, purposely applying to find her missing brother. 

Joining the growing number of dark school dramas examining harsh societal norms in Thailand, Home School delivers mystery and suspense through the isolated, remote grounds of the school. In the first four episodes alone, the Headmaster’s abstract rules, devious staff, and sinister punishments set up a promising series

Yasemin Derin is one of Turkey’s most famous actresses. But when she’s not onscreen or walking the red carpet, she’s murdering evil influential people, which garners her the nickname “Hunter.” Her double life is put in jeopardy, however, when a stalker sends her a series of cryptic texts.

Actress plays into the “unlikeable main character”; a sarcastic anti-hero on the verge of having more weaknesses as she takes in a young actress and falls in love with a mysterious man. The series has a nice cinematic finish, and Pinar Deniz as Yasemin delivers a nonchalant charisma that’s easy to follow.

Glossy and intense, Celebrity strips away the glamour of influencer life by taking the allure of fame and weaving an entrancing mystery into it at the end of every episode. A-ri’s climb to the top is paralleled by the secret of her supposed death and return, which she reveals through a live stream. With a large cast, the intrigue never fully wanes as these influencers grate the nerves while contributing to their own demise. The promise of learning about everyone’s secrets and finally understanding how A-ri dies keeps you at the edge of your seat, even if the influencer angle feels cliche. 

Bright, breezy, and refreshingly unburdened by the seriousness of so many live-action Superman shows and movies, this new animated series wipes the slate clean and boils down the titular hero to his most endearing qualities. Here, Clark Kent is still learning to be more in touch with his identity and emotions—most evident in his enigmatic flashbacks to his childhood, and in his absolute nervousness around the energetic and spontaneous Lois Lane. So while the action and the intrigue in My Adventures with Superman are still somewhat ordinary for an animated series, the undeniable, bashful chemistry between its two leads is what keeps these adventures worth going on. It’s a romcom and a coming-of-age story wrapped in a classic superhero adventure, where selflessness and courage are firmly at the heart of everything.

After much anticipation, The Worst of Evil has finally been released, starting off the season with a rumble between gangs underneath Gangnam. Through neon-lit streets, grimy green-tinged windows, and dimly-lit corridors, the series brings its viewers back to the 90s criminal underworld, though with modernized choreography and fairly realistic CGI blood. This set is the arena where undercover cop Park Joon-mo has to fight, in order to gain the trust of crime boss Jung Gi-cheul. As each fight gains some goodwill from each other, and as Park’s wife enters the fray, the series promises dangerous stakes, dramatic betrayals, and thrilling fight scenes. It’s a fresh take on the undercover cop, infiltrating the gritty underworld through sheer persistence, with an added emotional twist.

The real-life Tapie may be more or less interesting than the Tapie Laurent Lafitte brings to life in Class Act, but that doesn’t really matter. The series introduces the French tycoon as if he were a completely new character, which is helpful to those of us going in the series blind. There is drama, there is scandal, and since Tapie is so tied to French life, there is also history. But more than anything else, there is business. Tapie is by no means perfect, but he is a smart businessman, and Class Act’s sharp and strong writing brilliantly conveys the addictive highs and soul-crushing lows of commerce. Narrative cliches are inevitable, but that doesn’t make this well-crafted series any less enjoyable.

Genuinely exciting but with more than enough heart to keep its genre trappings from overwhelming the story, The Kidnapping Day wastes no time setting the stakes and its plot into motion. Several crimes occur seemingly at the same time, which not only keeps the show’s various mysteries equally interesting, but emphasizes how our protagonist (the kidnapper Myeong-joon) is ultimately just a naive person caught in the crosshairs of something larger. But because of his poverty and desperation, he becomes a natural target of suspicion by the  people who don’t know his full story.

And accompanying Myeong-joon from the beginning of the series is 11-year-old Ro-hee, who wakes from a dazed state with no recollection of who she is, but with knowledge beyond her years. The somewhat antagonistic but tender bond she gradually forms with her reluctant kidnapper is the furthest thing from Stockholm syndrome. Instead, their relationship becomes a window into a particular class dynamic that runs throughout The Kidnapping Day (as well as a host of other South Korean films and shows). In these first two episodes watched for this review, the series already presents a world characterized by a deep yet normalized divide between the rich and the poor.

Mazher Mahmood’s true story is so rich, improbable, and dramatic, that it almost seems like a movie. It’s certainly edited like one. The Fake Sheikh is filled with quotable one-liners and thrilling reenactments, and at the center of it all is the compelling anti-hero, Mahmood. Director Ceri Isfryn does a commendable job of balancing the facts about her controversial subject, interviewing both Mahmood’s champions and critics, colleagues and victims, while also interweaving narratives of race and class into his story. After all, this is a man who was initially denied the chance to cover anything other than race and immigration, and so he carved his own (warped) path as a celebrity journalist. There are times when it seems like Isfryn tips the scales a bit to favor Mahmood, but it all falls in line with her movie narrative. The Fake Sheikh is just as enthralling as any good fictional thriller out there.