Netflix has something for everyone, but there are lots of rubbish padding its list of famous TV shows everyone has learned about. Our guide to the best TV on Netflix UK is refreshed weekly to assist you to avoid the common ones and find the best things to see. We work and pick out the less clear gems, too, so we’re sure you’ll find a must-watch drama you don’t already know about. That stated, if nothing catches your imagination, try our bests of the best documentaries on Netflix and the best movies on Netflix for more choices.
The Crown explains the British royal at its best and gravest. It outlines the story of Queen Elizabeth II, with the first season concentrating on the 8 years between 1947 and 1955, where Elizabeth gives the Duke of Edinburgh. Things go faster in the second series, which comprises the Suez Crisis and the withdrawal of British prime minister Harold Macmillan.
A chilling supernatural horror series serves a family as they’re bound to finally face their haunted youth memories. After a catastrophic event takes them back together as grown-ups, flitting between past and present we see each of them having to solve complex personal questions, all whilst dealing with the death of their sister, Nell. Watch this one with the lights off, blinds drawn and bag in hand… as it’s horrifying in places!
Takes influence from The Twilight Zone, Black Mirror is one of the best Netflix original list too date. Charlie Brooker performed this British science fiction treasury series, to examine how modern society responds to the unanticipated moments of innovations and technologies. The series got a positive reception from experts, was chosen for many awards, and saw a big rise in interest in the United States after its addition to Netflix.
Each part of the Rayburn saga unravels family drama and large-scale corruption during hourlong episodes that seem like a mix of old-fashioned parable and up-to-date prestige TV. Kyle Chandler’s great. But it’s a slow burn that demands a decent piece of time to get invested.
The Archie Comics kids are holding quite a run on television these days, thanks to The CW’s Riverdale and now Netflix’s not-quite-crossover Chilling Adventures of Sabrina. Like the edition run that happened before it, Sabrina sets a Satanic revolution on Greendale’s teen witch, now operated by Kiernan Shipka, a.k.a. Sally Draper from Mad Men all grown up. The first season of the series has several unnecessary deviations, but the central dispute over the battle for Sabrina’s part-mortal force is a compelling one charged with scenery-chewing acts that make it all the more fun.
On My Block is a turbulent ride. The Gen-Z dramedy, from Awkward producer Lauren Lungerich and All Eyez On Me authors Eddie Gonzalez and Jeremy Haft, serves four inner-city teens as they start their first year in high school together. Over the route of two seasons, the central characters tackle everything from love and family to group violence. There’s a full range of material covered in an impossibly short amount of time, which indicates the tones of the show don’t always follow, hardly pinballing abruptly between the zaniness of a cartoonish Nickelodeon play and the grittiness of something like Hardball.
Jonah Hill and Emma Stone star in this smart, mind-bending limited series about two messed-up people who volunteer for an experimental drug trial. It’s an ambitious project that parodies the drug industry and tackles themes of passion, family, trauma, and loss, and it honestly doesn’t always tonally work. But with Justin Theroux, Sally Field, and Sonoya Mizuno giving fun, unhinged acts, Maniac hooks you and beats forward with a manic force that’s engaging enough to work. Plus, you get the Hill and Stone’s proven chemistry as they weave their way through the most profound, darkest corners of their minds.
Netflix’s first original Indian series is a wildly watchable, not-to-miss cop thriller that seizes you almost immediately. Based on the 2006 best-seller by Vikram Chandra, this eight-part series serves off of a familiar basis — determined cop tracks down a high-profile drug kingpin and reveals ungainly associations and hushed corruption – set in Mumbai, bestowing Western audiences that there’s way more to Indian entertainment than Bollywood movies.
Netflix’s first original program endures one of its most addictive, though House of Cards’ affinity for over-the-top plot twists makes it hard to take too severely. Modified from the BBC miniseries of the same name, the long-running drama gives a dark glimpse at the power athletes and backstabbers who run DC. Star Kevin Spacey’s evil Jim-facing has taken on a disturbing new real-world context, but this will always be the show that launched a streaming revolution.
Toni Collette and Merritt Weaver lead a skilled cast in this miniseries that accommodates a Pulitzer Prize-winning story about the investigation for a serial rapist and the infuriating police failures that could have overcome the scale of the atrocities. Booksmart breakout Kaitlyn Dever represents Marie Adler, a rape victim who turns up pleading guilty to filing a fake police report after police doubt what happened to her, letting her attacker continue moving in a different state.
It’s an adverse first impression that the title of this show could also be a show license plate. Netflix’s original big sci-fi series, from Matrix-creating stories The Wachowskis, claimed a novel idea: “Eight strangers from cities around the earth begin having adventures that defy explanation.” They’re connected mentally and being followed by a secret group that’s trying to kill them/the world. It was always an energetic show but slow in pace and execution, leading Netflix to temporarily cut the big-budget series after two seasons, though it finally returned with an unabashed 2 1/2-hour finale to encase everything up.
ABC’s local drama never quite got rating success as it always seemed like the kind of thing better fitted to cable TV than the network. The winner of many Emmys for Regina King, American Crime told a complex story in each of its three seasons, using much of the same band in different parts each year. It’s a gripping, conversation-starting drama.
The various seasons of FX’s hit drama have been a rollercoaster in terms of character but just strap in and experience the ride. The latest trip (Apocalypse) isn’t really on here yet but should be before the most modern iteration performances. The other 7 are all here.
Netflix has been braving in its lively programming for adults with hits like BoJack Horseman, and this raunchy drama from co-creators Nick Kroll and John Mulaney is one of its greatest. The sound work in this insightful appearance at teen horniness is quite honestly some of the finest in the story of animation, with great gifts from Kroll, Mulaney, Jenny Slate, Jason Mantzoukas, and the scene-taking Maya Rudolph.
If there’s any possibility you have yet to notice one of the most acclaimed shows of the contemporary age, it’s right here for you to get up for the largest hole in your TV. If you’ve been under a stone, Bryan Cranston delivers one of the best performances in TV records as an ordinary man who becomes an above-average drug don. Even if you’ve seen it, it’s worth seeing again.
One of Netflix’s most underrated and most energetic shows comes to the gift of Justin Simien, who has changed his Sundance comedy into a profound analysis of race relations on modern universities. With a great company and razor-sharp prose, this is the best modern show about what it’s like to be childish in the digital age.
The most cryptic of dark comedies, this BBC import stars Alex Lawther as a teenager who is kind of thinking of becoming a serial killer when he falls into a force of character named Alyssa, unforgettably performed by Jessica Barden. Twisting and turning, this very teen story isn’t quite like any other and shall renew for a second season later this year.
A carry-over and love letter to the early 1980s films of Steven Spielberg and John Carpenter, the Duffer Brothers Stranger Things seems both familiar and fresh. The first season is about a guy named Will who is taken by a The Thing-like animal and trapped in a Poltergeist-like world. His mother hires the local sheriff to examine Will’s disappearance. Meanwhile, Will’s dorky, Goonies-like best friends get to their bikes to do some serious work of their own and ultimately befriend an alien-like girl with telepathic abilities. The research into Will’s disappearance and the appearance of the telepathic girl all appear to lead back to a command plant run by a character acted by Matthew Modine. It’s great PG horror/sci-fi, similar to the blockbusters of the early ’80s, but for those who didn’t grow up in the age or aren’t personally familiar with Amblin Entertainment’s program, the series may not be as much interested.
In Mindhunter, Jonathan Groff acts Holden Ford, a figure based on the real-life John E. Douglas. The series itself is based on the elements of an original behavioural science part in the FBI used to investigate serial killers in the 1970s and 80s. Ford is a modern FBI Agent who holds keen attention in psychology which, in turn, turns into an interest in the psychology of regular killers. It’s a captivating exploration into the foundations of what now seems common, a science that has caused dozens of policemen procedurals. What’s more compelling here, however, is that while Ford is investigating serial killers, Ford reveals his passion with serial-killers which reflects the obsession serial killers have with their victims.
13 Reasons Why has an interesting hook: A teenage girl called Hannah takes her own life and goes behind a death note in the form of 13 tapes, each one aimed at a particular individual at least partly responsible for the decision to kill herself. The tapes are then reached around to the 13 people, who have to deal with the crime they sense for the role they struck in her death, as well as keep their mysteries hidden as the contents of the tape threaten to ruin relationships and cost the school millions in an open-ended lawsuit. The drama got under fire in its first season for its dark subject material, and the speculation it stirred so much discussion is that it is an accurate and constant look at teen suicide. It’s a complex series, especially for one highlighting teen characters, but it is also emotionally hard, especially compelling, heart-breaking and worthy for at least what it’s working to do. 13 Reason Why is an unforgettable and very special series, and whether it works — or backfires — in its plans will depend mostly on the viewer.
The third insertion in Marvel’s Defenders series, Luke Cage supports the title character, launched originally in Jessica Jones, to Harlem, where he serves as a sweeper in a barbershop and as a dishwasher in an eatery. Cage, who has superhero power and lasting skin, gets drawn against his better senses into crime-fighting to protect Harlem from destruction and corruption. Mike Colter is the original draw here – he leads to perfectly balance the line between forcing and kind – and Luke Cage is every bit as thematically confused as Jessica Jones before it. Cage only stumbles in speed and storytelling. It’s thematically strong, but the storylines are traditional and foreseen, and it might serve by decreasing its episode count from 13 down to eight or ten.
Established in New York in the 1960s, Mad Men observes one of the city’s most prestigious ad firms on Madison Avenue. The company is doing well, but as the business grows, the game begins to set. The agency attempts to survive in a moment when everything, including the ad business, is experiencing a radical shake-up. The two heroes are the mysterious Don Draper (Jon Hamm), a self-made businessperson whose childhood appears to always get in the way of his peace, and ultra-terse Peggy Olson (Elisabeth Moss), a retired secretary who fights her way up the corporate steps. From its opening episode through its last season, Mad Men is a great work of art.
A prequel to Jim Henson’s 1982 fiction film “The Dark Crystal,” this visually dazzling series is placed on the planet Thra, where a selfish species known as the Skeksis are abusing the world’s reserves and controlling the other races. In harmony with Henson’s original vision, “Age of Resistance” relies massively on the play to tell a story about what occurs when the symbiotic relationship among living things gets forced out of balance.
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