Disproving the notion that American animation is only for kids, the latest project from Genndy Tartakovsky (most known for Dexter’s Laboratory and Samurai Jack) is an uncompromising action epic that puts most multimillion-dollar live-action blockbusters to shame. Though Tartakovsky has stated that Primal will continue on as an anthology series, the first two seasons tell a surprisingly character-driven story about a caveman and a mother Tyrannosaurus teaming up to survive in the prehistoric wild—with nearly zero dialogue.

It’s a highly entertaining riff on the man vs. nature story that ends up creating a fleshed-out world full of monsters and magic and families destroyed by all this chaos. And this initial set-up only becomes stronger in its second season, as the warmongering nature of man becomes the real threat. It’s all wrapped up in a beautiful technical package that makes a case for traditional (2-D) animation as a vital art form.

You don’t necessarily need a lot of money to make a sci-fi series good, but it doesn’t hurt to have either. In Silo, high production value ballasts a solid script and committed acting to make an impressively detailed and astonishing future world set deep in the underground. 

No one knows why or how they got to where they are, and part of the show’s charm is that it’s able to sustain that mystery and hold off exposition until absolutely necessary. A master class in storytelling (the pilot episode is one of the best I’ve seen in a while), Silo is an exciting and prestigious entry into the sci-fi genre—closer to the gritty likes of Dune and Westworld than to the fizzier Doctor Who and Star Trek.

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. 

In BBC’s The Capture, a young soldier’s murder conviction is overturned thanks to submitted video evidence. But before he can enjoy his newfound freedom, a different video—this time live CCTV footage—places him at the scene of a new crime. The proof seems damning, but the deeper Detective Rachel Carey (Holliday Grainger) digs into the case, the more she learns about the wider conspiracy underneath it.

The Capture is everything you’d expect from a British police procedural: intelligent, lean, and sufficiently dramatic: no extra fat and unnecessary bits to be found here as action and mystery take center stage. And although TV may already be brimming with thrillers like it, what sets The Capture apart is its eerie insight into our so-called “post-truth” era. Instead of hardened criminals, our heroes go up against deepfakes, disinformation, and 24/7 surveillance. The series lets us know that the threat manipulated technology poses isn’t mere science fiction anymore—it’s evolved into an unfortunate and unbeatable reality.