30 TV Shows with Great Performances to Watch Now

It’s often said that history is told by the victors. Thankfully, this isn’t the case in The Good Lord Bird, which tracks the tumultuous events preceding the Civil War, as led by real-life abolitionist John Brown (Ethan Hawke). 

Some viewers might already be familiar with the story of how Brown “saved” slaves, but with Black teenager Henry (Joshua Caleb Johnson) as the narrator, history is repositioned and recounted through a fresh new lens. Nuanced questions about slavery, abolition, and even the revered Brown himself are brought up by Henry and his kin, such as: how much of the movement is driven by justice and how much of it by guilt? Should the white savior be absolved or are his intentions inevitably marred by ego?

Accompanying this thought-provoking tale are richly detailed costumes and backdrops, impressive cameos by historical and celebrity figures, and of course, career-defining performances by Hawke and newcomer Johnson. 

Five Days at Memorial recalls the real and horrifying events that went on at a New Orleans hospital during the aftermath of Hurricane Katrina. Over the course of five days, the caregivers in charge try their best to evacuate thousands of people from the building, but heavy floods, power outages, intense heat, and a sorry lack of planning result in some heartbreaking decisions about the fate of their patients.

The ongoing series is a gut-wrenching and at times excruciating watch, adeptly directed by John Ridley (American Crime) and absorbingly moored by a cast that includes Vera Farmiga (Conjuring)—by now an expert at exhibiting pure horror—and Cherry Jones (Succession).

Sweet Tooth is set in a post-apocalyptic America, where the population has been ravaged by a mysterious virus and the new generation of humans has evolved into animal hybrids. The circumstances are bleak and the things people do to survive even more so. Driven by fear and grief, they both isolate and attack in moves that are eerily reminiscent of the early days of our own pandemic. Sweet Tooth is a robust adventure story then, gritty and reflective and tragic, but it’s also incredibly sweet.

We’re introduced to a myriad of characters, each of them with their own arc, but we mostly follow Gus (Christian Convery), a nine-year-old human-deer hybrid who has yet to be disillusioned by the human race. Gus grounds the story’s many flights of fancy, and along with the other main characters, he gives us timely reminders of the importance of kindness and humaneness without ever being too corny. And to the show’s serious credit, no one plot line overpowers the other; instead, all feel just as vital to the larger story of survival that’s being told. 

The blend of these tales is lovely, the world-building is imaginative, and the technical aspects of it—the color, the costuming, and the cinematography—are all beautiful. Ultimately, Sweet Tooth is a packed a show wrapped in gorgeous layers, sure to delight even the most casual of viewers. 

Based on the bestselling book of essays by Cheryl Strayed, Tiny Beautiful Things is, well, made of many tiny beautiful things. It’s at once a meditation on grief, a coming-of-age tale, a contemplation of family ties, a sobering look at a midlife crisis, a romance, a comedy, and an absolute tearjerker of a drama. It’s clunky on some fronts and much better on others, but overall the series packs a gut-wrenching punch with the ever-compelling Kathryn Hahn as the lead. 

It’s surprisingly light with each of its eight episodes running at just under 30 minutes, but in all, the show effectively tugs at the heartstrings and provides welcome insight into navigating the highs and lows of living a small but meaningful life.

Hospital Playlist is a heartwarming and engaging South Korean series that follows the lives and friendships of five doctors who work at the same hospital. With its perfect blend of drama, humor, and genuine moments, the show offers an intimate and realistic portrayal of the challenges and joys faced by medical professionals. The characters are beautifully developed, and their personal stories are both relatable and deeply moving. The series strikes a balance between medical cases and the characters’ personal lives, creating a captivating narrative that keeps you invested from beginning to end. A must-watch for its heartfelt storytelling and compelling ensemble cast.

Tragedy can strike at any time, but some instances are preventable, and rare is the instance where people do seek justice for it. After all, after losing so much, it would be awful to fight and lose again. But these instances do still exist, and one such incident is the Uphaar cinema fire. Trial by Fire depicts this tragedy, but rather than focusing on the fire itself, it focuses on the fight the victims’ families took in order to seek justice. The show doesn’t play out as a courtroom drama, it takes an intimate look into their day-to-day actions, faithfully portrayed by the excellent Rajshri Deshpande and Abhay Deol. And while the industrial giants depicted tried to file an injunction against this show’s screening, thankfully, Trial by Fire is still able to make its stand. It’s solemn and grim, but it’s a potent reminder of the power we hold as a collective.

It’s hard not to be swept away by the epicness of Masters of the Air. Produced by Steven Spielberg and Tom Hanks, with the first four episodes directed by Cary Joji Fukunaga (No Time to Die, True Detective), it’s made sure to flex its massive $250-million budget. Everything is accounted for here, from the sweeping and historically accurate production design to the stacked cast of rising male stars (Oscar nominees Austin Butler and Barry Keoghan easily steal the show). Even the rousing score and sound design, while bordering on melodrama at times, build up tension and add a premium air to it. It’s a visual and sonic feast bolstered by upstanding performances and an endearing show of brotherhood. Whenever it risks being propagandistic or misguidedly patriotic, it’s the believable relationship between the boys and their grave understanding of war that ground it and give it heart. And of course, the air combats are edge-of-your-seat thrilling. Like Band of Brothers and The Pacific before it, it’s a visceral entry in the genre of World War II must-sees.

It’s amazing how shows fueled only by fast talk can feel as gripping as any thriller out there. The Diplomat is cerebral and heavy on geopolitical jargon, but somehow, it manages to feel genuinely exciting, each new episode impossible to not play next. Thanks is due in large part to Keri Russell who, fresh out of her incredible stint in The Americans, returns here as messy and intense and endearing as ever. 

On the one hand, The Diplomat is about the delicacy of diplomacy, about how every decision made at this level has ripples of consequences throughout the globe. But it’s also, amusingly, a marriage story. Russell plays a woman who has long been defined by her more renowned if a bit egotistical husband, played perfectly by Rufus Sewell. They have a complex relationship that is as much of a career partnership as it is a romantic one, and part of the show’s charm is blending this story arc with the main one. 

Fans of West Wing, Veep, and Homeland will find much to like in this series, not least of all are the informative takes and worthwhile performances. 

There is a very good case to be made for Veep being, pound-for-pound, the best American comedy to air on TV. Because while many other workplace sitcoms comment also comment on current events and satirize bureaucratic processes, no other show has committed this deeply to the inherent corruption and stupidity of every single one of its major characters. Selina Meyer and her staff are either so evil or so incompetent that they circle around to being irresistibly fun to watch and hilarious in all their own unique ways—which the series’ writers expertly wrangle together in each script. And with much of the show’s humor being built on creative, devastating insults, Veep also possesses a truly vicious edge that make it more challenging than its contemporaries.

But one shouldn’t forget that the series also tells a compelling story of how soulless a nation’s leaders can be, putting a magnifying class to every little political decision made in the name of saving face or pushing forward some other unrelated agenda. It’s surprisingly insightful for something that seems so crass. And as Selina Meyer herself, Julia Louis-Dreyfus (surrounded by a brilliant, dynamic cast) turns in one of the greatest comedic performances on TV as a pathetic vice president who can’t help but let the monstrous side of herself win every time.

Youth of May is exactly what it says on the tin. It’s a straightforward spring-set coming-of-age drama where young adults chase after their dreams, if they have any, and try to figure out what they want otherwise. Like plenty of other K-dramas, this usually involves a romance. But in between the ordinary romance, life strikes. Students fight for democracy, and at the time, the government cracked down on them brutally, but because the show spent time getting to know Myung-hee and Hui-tae, the consequences of these events make it all the more poignant. Youth of May reminds us of the humanity behind the brave students that fought for South Korea’s democracy, and the lives that have been tragically cut short for it.