70 Thrilling TV Shows to Watch Right Now

Watching The Day of the Jackal feels like watching a film; it’s taut, fast-paced, and flashy, featuring incredible dual performances by Redmayne and Lynch. Like many thrillers before it, The Day of the Jackal centers on a cat-and-mouse chase between an official and a transgressor, but the series smartly blurs the line between good and evil. Redmayne’s Jackal is by all accounts the bad guy—he’s a hitman after all—but we’re shown his humane side and the lives he works hard to protect. Meanwhile, Lynch’s Bianca is a government agent, but her hands are dirtied with just as much (if not more) blood than the Jackal. Who’s really at fault here? Part of the fun in watching this is figuring that out, but it’s also just as enjoyable to see what disguise the Jackal whips out, and what moral quandary Bianca finds herself deep in, next.

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.

Vigil is a murder mystery/political thriller set in the depths of British waters, particularly in the nuclear-powered missile submarine HMS Vigil. When a navy officer dies and a fishing trawler disappears at the same time and place, Detective Chief Inspector Amy Silva (Suranne Jones) is sent in to investigate the case.

While Vigil mostly dove under the radar when it first came out last year, the BBC production is drawing in new audiences as it streams on Peacock. Watching it, it’s easy to forget that this isn’t a box-office production, because it looks and sounds every bit like one. It’s got a massive budget, an epic scale, a thrilling political premise, and talented actors across the board—what’s not to love?

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

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.

What if the 1960s space race never ended? For All Mankind imagines such a world; here, Russia’s cosmonauts arrive on the moon first, the galaxy holds resources beyond belief, and global wars have expanded in stakes and scale. More than just the final frontier, outer space is now the focal point of warring nations hungry to capitalize and claim new assets. 

For All Mankind’s out-of-this-world premise alone make it a thrilling watch, but you’ll be glad to know that the show also feels intimate and affecting thanks to its fully fleshed-out characters. If you’re looking for an epic but grounded story to lose yourself in, this is it. 

Set in the Monsterverse—the same shared universe that King Kong, Godzilla, and their respective films inhabit—Skull Island follows a group of shipwrecked travelers who find themselves stranded on the mysterious titular island, which they soon find out is home to a variety of prehistoric creatures, including the mighty Kong.

Skull Island, the series, delivers wholesome relationships and touching character growth in the face of imminent danger, while also offering exciting action scenes, eye-popping visuals, and amusing jokes that are well-served by voice acting. It’s an easy, fun watch that is sure to appeal to fans of the Monsterverse, as well as fans of animated adventure series. 

Centered around a phone with the power to make people disappear, Delete utilizes an intriguing supernatural element to create a steady mystery that thrives on moral dilemmas. With shifting perspectives and a non-linear narrative, it excels at building context and character motivation. What starts as an exposed affair becomes an exploration of the depths of human desires. The series has a strong start, setting a pace that hooks with melodrama and keeps eyes glued with its twists. Whether it’s distrust in relationships or dependency on technology, there isn’t a dull moment as the phones pass from hand to hand, and the stakes are risen by questionable intentions.

The show’s premise is plain, but it’s also endlessly, edge-of-your-seat gripping. It’s steady and unhurried but never boring, and each episode, which represents an hour on the seven-hour flight, gives you a sliver of hope for the passengers, especially since they have pro-negotiator Sam Nelson (Idris Elba) on their side. Or do they? The show has fun playing with Sam as the anti-hero, but his heart is too big and golden to achieve that complexity. It also doesn’t bother to paint the hijackers as anything other than terrorists (at least not in the first few episodes screened for review). Instead, the show narrowly chases that mid-flight suspense, and it works. It successfully builds up to it with small but revealing moments. 

At the back of all the hubbub, there is also a running joke about what happens when you get stuck with the worst people you know. The passengers are characters you may be familiar with—the family with loud babies, the nosy seatmate forcing a chat, the lowkey racist eyeing everyone who doesn’t look like him—and it gets doubly entertaining to see them collaborate when they otherwise won’t.

Dear Child may be tackling difficult themes, including sexual violence and domestic abuse, but it’s not hard to watch at all. As a mystery, it’s well-told and gripping, with clues and cliffhangers appearing at just the right moment, and as a drama it’s expertly paced and brilliantly acted, with child actress Naila Schuberth, who plays Hannah, and Kim Riedle, who plays Jasmin, easily owning their scenes. Unlike other stories that decide to take on these delicate themes, it’s not gratuitous or exploitative either. Instead, it knows when to hold back and when to unleash the horrific details of its crimes. The sympathy it shows the victims is present but restrained, at least until the last few moments of the series. By then, the series, with full force, takes the victim narrative and excellently turns it against its head.