Streaming services are known for having award-worthy series but also plenty of duds. Our guide to the best TV shows on Netflix is updated weekly to help you know which series you need to move to the top of your queue. They aren’t all sure-fire winners—we love a good less-than-obvious gem—but they’re all worth your time, trust us.
Feel like you’ve already watched everything on this list you want to see? Try our guide to the best movies on Netflix for more options. And if you’ve already completed Netflix and are in need of a new challenge, check out our picks for the best shows on Hulu and the best shows on Disney+. Don’t like our picks, or want to offer suggestions of your own? Head to the comments below.
Charting the life of infamous drug lord Griselda Blanco, who rose from a desperate life in Colombia to become a major player in the Miami drug wars, this dramatization shines largely thanks to a phenomenal performance from Sofía Vergara in the title role, channeling a chilling persona that makes her turn on Modern Family seem a lifetime away. While not entirely historically accurate, this limited series (co-created by Narcos’ Doug Miro) weaves a mesmerizing tale of Blanco’s efficiency in dominating the cocaine trade—and her brutality in enforcing that control. A tight six episodes makes for a compelling, if shockingly violent, binge watch.
Star Trek: Prodigy
Paramount+’s loss is Netflix’s gain with the license rescue of this great Star Trek spin-off. Kicking off on a distant prison planet, a group of young escapees are forced to become a crew when they commandeer a lost—and highly experimental—Starfleet vessel. Guided by a hologram version of Star Trek: Voyager’s iconic Captain Janeway (voiced by the venerable Kate Mulgrew), the untested cadets face a crash course in Federation ethics as they try to escape their former captor. While aimed at younger audiences and intended as an intro to the wider Trek universe, Prodigy packs in plenty for older Trekkies to appreciate—and with the complete first season available now and another 20-episode season expected later in 2024, there’s a lot to enjoy.
The Fab Five are back for another round of life-changing makeovers in New Orleans. With heroes including a deaf football coach who needs to step up to support his students, a Kiss superfan committed to caring for his brother, and a former nun looking for love, there’s plenty to tug at the heart strings. With this season marking the last for design guru Bobby Berk, Queer Eye will doubtlessly be evolving when it returns for its already-confirmed ninth season, but for now, grab the tissues and prepare to ugly-happy-cry again.
Based on David Nicholls’ 2009 novel of the same name, this limited series charts the lives of Emma (Ambika Mod) and Dexter (Leo Woodall) over the course of 20 years. Starting with their graduation from Edinburgh University in 1988, each episode jumps forward one year at a time, revisiting them for a single day and exploring how their existences swirl around each other, even as fate seems to drag them apart. It’s all gorgeously shot and produced, each half-hour episode a time capsule of its period, while the sizzling chemistry between the leads keeps you rooting for them even when you begin to suspect they’re not meant for each other. An unexpectedly beautiful romcom.
Ever been cut off in traffic? Ever had it happen when you’re having a really bad day? Ever just wanted to take the low road, chase the person down and make them pay?! Then—after a few deep breaths—Beef is the show for you. It’s a pressure valve for every petty grievance you’ve ever suffered, following rich Amy (Ali Wong) and struggling Danny (Steven Yeun) as they escalate a road rage encounter into a vengeance-fueled quest to destroy the other. Yet Beef is more than a city-wide revenge thriller—it’s a biting look at how crushing modern life can be, particularly in its LA setting, where extravagant wealth brushes up against inescapable poverty and seemingly no one is truly happy. Part dramedy, part therapy, Beef is a bad example of conflict resolution but a cathartic binge watch that clearly resonates—as evidenced by its growing clutch of awards, including the Golden Globe for Best Limited Series.
No, wait, come back! We’re serious—Pokémon Concierge is one of the most delightful and inventive offerings to hit Netflix in ages. Unlike the decades-long anime series charting Ash Ketchum and Pikachu’s quest to be the very best like no one ever was, this delicate stop-motion series follows Haru (voiced by The Boys’ Karen Fukuhara), a new concierge at an island resort catering to Pokémon. Each of the four episodes offers whimsical encounters with the titular creatures, as Haru learns to take care of her guests, and herself, in the process. It’s effortlessly adorable and strangely relaxing to watch, but manages to avoid feeling gimmicky or twee. It even carries a warning for “emotionally intense scenes,” so prepare for your heart strings to be tugged at.
The Brothers Sun
When Eileen Sun immigrated to California with her young son Bruce, she thought she’d left her violent life as part of a Taiwanese crime family behind—along with her eldest son, Charles. Years later, her old life collides with her new one when an attempted hit on the boys’ father brings Charles to LA to protect the extended family from a host of assassins, drawing unsuspecting Bruce into the family business in the process. Blending bone-crunching, lightning-fast action with culture-clash comedy, The Brothers Sun sees Michelle Yeoh (Everything Everywhere All at Once) in phenomenal form as the unflappable matriarch of the family, while Justin Chien and Sam Song Li have fantastic chemistry as mismatched siblings Charles and Bruce.
Something of a sleeper hit for years—its first two seasons debuted on AT&T’s now-defunct pay TV channel Audience in 2017, before its third season appeared over on Amazon—all three seasons of this bleak comedy are now available on Netflix. Ron Livingston stars as Sam Loudermilk, a vitriolic former music critic and recovering alcoholic who proves almost pathologically incapable of holding his tongue when faced with life’s small frustrations—a personality type possibly ill-suited to leading others through addiction support groups. It’s dark in places, and its central character is deliberately unlikeable, but smart writing and smarter performances shape this into something of an acerbic anti-Frasier.
Scott Pilgrim Takes Off
Adapted from the beloved graphic novel series by Bryan Lee O’Malley, animated by one of the most exciting and dynamic studios in Japan, and voiced by the entire returning cast of director Edgar Wright’s 2010 live-action adaption, Scott Pilgrim Takes Off would have been cult gold even if it was a straight retelling of its eponymous slacker’s battles against lover Ramona Flowers’ seven evil exes. Yet somehow, in a world devoid of surprises, this packs in killer twists from the very first episode, making for a show that’s as fresh and exciting as ever. Saying anything else would ruin it—just watch.
Yu Yu Hakusho
Everyone thought Yusuke Urameshi was a trouble-making jerk—so when he died saving a child from being hit by a car, that last-minute act of heroism was so uncharacteristic that it even throws off his final judgement. Spared from hell but not quite earning a spot in heaven, Yusuke is instead revived on Earth as a “spirit detective.” charged with hunting down ghosts and demons that have escaped to the living plane. Based on the manga by Yoshihiro Togashi, Yu Yu Hakusho doesn’t quite reach the lofty heights scaled by One Piece, but it is definitely in the upper echelons of Netflix’s live-action adaptations of anime and manga—a fun supernatural action-thriller that offers a unique vision of the spirit world and packs in some fantastic action sequences as the reluctant hero comes to grips with his new responsibilities. At a tight five episodes, it’s an easily binged blast.
Based on the Korean webcomic by Kim Carnby and Hwang Young-chan, Sweet Home offers a very different vision of apocalyptic end times—rather than pandemics, disasters, or even zombies, this posits an end of the world brought about by people’s transformation into grotesque monsters, each unique and seemingly based on their deepest desires when they were human. The first season was a masterclass in claustrophobic horror, as the residents of an isolated, run-down apartment building—chiefly suicidal teen Cha Hyun-soo (Song Kang), former firefighter Seo Yi-kyung (Lee Si-young), and Pyeon Sang-wook (Lee Jin-wook), who may be a brutal gangster—battled for survival, while the long-awaited second season explores what remains of the wider world, delving into the true nature of both monster and man. With phenomenal effects work blending prosthetics, CGI, and even stop-motion animation for some disturbingly juddering creatures, this stands apart from the horror crowd.
France, 1792: as the French Revolution rages, citizens rise up against a parasitic ruling class—but vampire hunter Richter Belmont and his magic-wielding ally Maria Renard are more concerned with what’s literally bleeding the people dry. Yet conventional bloodsuckers turn out to be the least of their worries when the pair meets Annette and Edouard, who have travelled halfway around the world to warn of a coming “Vampire Messiah” prophesized to devour the sun—let’s just say the stakes have never been higher (sorry). Set centuries after the previous Castlevania animated series, this proves a perfect jumping on point while maintaining the high quality animation, tight plotting, and brilliant action that made the original such a hit.
Four detectives. Four time periods. Four murders? Maybe—but only one body. This time-twisting thriller—adapted from the comic of the same name by writer Si Spencer and artists Tula Lotay, Meghan Hetrick, Dean Ormston, and Phil Winslade—hops from Victorian London to a dystopian future and back again, as the same corpse is found in the same spot in each era. The only thing stranger than the impossible crime itself is the conspiracy behind it, one that spans decades, impacting and linking every figure investigating the body. A brilliantly high-concept sci-fi crime drama, Bodies is one of the best one-and-done limited series to hit Netflix in years.
Think you know Astro Boy? Think again. In 2003, Naoki Urasawa (Monster, 20th Century Boys) updated original creator Osamu Tezuka’s hugely influential “The Greatest Robot on Earth” story arc for his manga Pluto, opting for a more adult approach. The focus shifts from the heroic boy robot to grizzled cybernetic detective Gesicht as he investigates a series of murders of both humans and robots, each victim left with makeshift horns crammed into their heads. Meanwhile, Atom (Astro’s Japanese name) is recast as a former peace ambassador, effectively a propaganda tool rolled out at the end of the 39th Central Asian War, still dealing with trauma from the experience. This adaptation is not only a faithful recreation of Urasawa’s retelling, but is stunningly animated to a standard rarely seen in Netflix’s original anime productions. With eight episodes, each around an hour long, this is as prestigious as any live-action thriller the streamer has produced, and a testament to both Tezuka and Urasawa’s respective geniuses.
Blue Eye Samurai
In the 17th Century, Japan enforced its “sakoku” isolationist foreign policy, effectively closing itself off from the world. Foreigners were few and far between—so when Mizu (voiced by Maya Erskine) is born with blue eyes, nine months after her mother was assaulted by one of the four white men in the country, it marks her as an outsider, regarded as less than human. Years later, after being trained by a blind sword master and now masquerading as a man, Mizu hunts down those four men, knowing that killing them all is the only way to guarantee her vengeance. Exquisitely animated—which makes its unabashed violence all the more graphic—and with a phenomenal voice cast bolstered by the likes of George Takei, Brenda Song, Cary-Hiroyuki Tagawa, and Kenneth Branagh, Blue Eye Samurai is one of the best adults-only animated series on Netflix.
Talking about sex with your parents is always awkward, but for teenager Otis (Asa Butterfield) it’s even worse: His mother Jean (a captivating Gillian Anderson) is a renowned sex therapist who won’t stop talking about sex, leaving Otis himself ambivalent toward it. Still, something must have sunk in, and after helping a fellow student navigate a sexual conundrum, Otis finds himself almost accidentally running his own sex therapy clinic on campus. While the situations are often played for laughs, over its four seasons Sex Education thoughtfully explores intimacy, sexuality, and relationships in tender and even profound ways. With a fantastic ensemble cast including incoming Doctor Who star Ncuti Gatwa as Otis’ best friend Eric and Emma Mackey as love interest Maeve, this UK-set and Welsh-filmed coming-of-age dramedy has proven itself one of Netflix’s best series.
Netflix screwed up the pitch on Disenchantment. Coming from The Simpsons creator Matt Groening, it was presented in opposition to his later Futurama, lazily swapping sci-fi for fantasy. Go in with that expectation and you’ll be disappointed—this is a far more structured and arc-based show. Over the course of five seasons, it charts the journey of Princess Bean, who yearns to be free from her royal obligations to Dreamland, taking her from drunken troublemaker to reluctant hero. Incredibly reluctant. “Would rather stay a drunken troublemaker” reluctant. With the aid of her personal demon, Luci, and a besotted elf bestie named Elfo, Bean flips the kingdom on its head, unearths ancient secrets, and battles her greatest enemy: her mom. A far cry from the gag-a-minute approach of its creator’s earlier work, Disenchantment can be a bit of a slow burn at times, but with its drier comedy and rejection of an episodic status quo, it’s one of the most interesting adult animated comedies to come out of the US in years.
Gamera has never enjoyed the same respect that fellow kaiju Godzilla has. While the latter has earned the epithet “King of the Monsters” and movie franchises in both its native Japan and the US, Gamera is perhaps best known as the subject of loving ridicule on Mystery Science Theater 3000. Here’s a secret though: Gamera is rad. He’s a giant, fire-breathing turtle with an impenetrable shell, one who can fly and become a flame-spewing, razor-edged, aerial spinning top of doom. Oh, and he’s also, canonically, “friend to all children.” It’s this latter point that serves as the basis for Gamera Rebirth, the first new project for the turtle titan in 17 years. Set in 1989 Tokyo, this CG anime series follows youngsters Boco, Joe, and Junichi—and their bully Brody, an American whose parents work on a military base—as the world is besieged by hordes of monsters, with the barely understood force of nature that is Gamera the only thing that can stop them. Rebirth’s format is unusual—45 minutes per episode, a rarity in anime—but it allows each episode to spotlight one of the signature enemy kaiju from the classic films in greater depth and pack in enough city-smashing action that you’ll be left asking “Godzilla who?”
In a triumph of on-the-nose conceptualizing, La Révolution spins an alt-history romp in on-the-cusp-of-revolt France, where the cruel aristocracy become literal “blue-bloods,” thanks to a contagion that turns them into inky-veined, dandyish fiends ravenous for human flesh. A plucky reformist contessa who sympathizes with the commoners’ plight—first being exploited by the ruling class, and then being eaten by them—allies with forces both rebel and supernatural as she tries to prevent the undead disease spreading from the elite of Versaille to the whole of France’s upper crust. The melding of surprisingly great production values and a cast that’s clearly enjoying themselves elevates this above your standard zombie nonsense—and it’s subtitled, which definitely means it’s art house, right?
Netflix: License one of Japan’s best SF dramas in years. Also Netflix: Do nothing, literally nothing, to promote it, not even create an English subbed trailer. Which is where WIRED comes in—Pending Train is a show you (and Netflix) shouldn’t sleep on. When a train carriage is mysteriously transported into a post-apocalyptic future, the disparate passengers’ first concern is simply survival. Between exploring their new surroundings and clashing with people from another stranded train car over scarce resources, one group—including hairdresser Naoya, firefighter Yuto, and teacher Sae—begins to realize that there may be a reason they’ve been catapulted through time: a chance to go back and avert the disaster that ruined the world. A tense, 10-episode journey, Pending Train offers a Japanese twist on Lost, but one with tighter pacing and showrunners who actually have a clue where they want the story to go.
Mark one up for persistence: After numerous anime adaptations ranging from “awful” to “not too bad,” Netflix finally strikes gold with its live-action take on the global phenomenon One Piece. Despite fans’ fears, this spectacularly captures the charm, optimism, and glorious weirdness of Eiichiro Oda’s beloved manga, manifesting a fantasy world where people brandish outlandish powers and hunt for a legendary treasure in an Age of Piracy almost verbatim from the page. The perfectly cast Iñaki Godoy stars as Monkey D. Luffy, would-be King of the Pirates, bringing an almost elastic innate physicality to the role that brilliantly matches the characters rubber-based stretching powers, while the crew Luffy gathers over this first season—including swordsmaster Roronoa Zoro (Mackenyu), navigator and skilled thief Nami (Emily Rudd), sharpshooter Usopp (Jacob Romero Gibson), and martial artist chef Sanji (Taz Skylar)—all brilliantly embody their characters. A lot could have gone wrong bringing One Piece to life, but this is a voyage well worth taking.
If you’re a fan of Norse mythology but Marvel’s Thor got too goofy for you with Love and Thunder, this Norwegian fantasy drama may be more to your liking. Set in the present day, young Magne Seier (David Stakston) finds he is the reincarnation of the god of thunder just in time to take a stand against the sinister Jutul family, whose polluting factories blight his hometown of Edda. No, the show is not subtle with its references, nor its environmental message, but it’s a fun reimagining of myth, especially as more members of the Norse pantheon start cropping up. Best of all, with only three six-episode seasons and an actual ending—no surprise cancellations here!—it’s a nicely digestible binge-watch.
The Chosen One
Based on the comic American Jesus by writer Mark Millar (Kick-Ass, Kingsman) and artist Peter Gross (Lucifer), The Chosen One follows 12-year-old Jodie (Bobby Luhnow), raised in Mexico by his mother Sarah (Dianna Agron). While the young boy would rather hang out with his friends, his life—and potentially the world—changes forever when he starts exhibiting miraculous powers, attracting dangerous attention from sinister forces. While this could have been yet another formulaic entry in Netflix’s expansive library of supernatural teen dramas (the Stranger Things vibe is particularly strong), the decision to shoot on film and in a 4:3 aspect ratio make this a visual delight, unlike almost anything else on the streamer at present. There’s an English dub, but stick to the original Spanish with English subs for a better viewing experience. (Confusingly, there’s another show with the exact same title on Netflix, a 2019 Brazilian series following a trio of relief doctors in a village dominated by a cult leader—also worth a watch, but don’t get them confused!)
Arguably the most joyful show on Netflix is back for another school year of teen drama and heartfelt romance. With Charlie (Joe Locke) and Nick (Kit Connor) now officially dating, this long-awaited second season starts off with Nick struggling to come out as bisexual—but it’s openly-gay Charlie’s parents who seem to struggle the most with their relationship. Meanwhile, Elle (Yasmin Finney) and Tao’s (William Gao) will-they-won’t-they saga continues to sizzle, and a school trip to Paris turns into a crucible for everyone’s emotions. Although it steps into slightly darker terrain this season, the brilliant adaptation of Alice Oseman’s graphic novels continues to be an utter delight—the show younger LGBTQ+ viewers need now, older ones needed years ago, and that everyone needs to watch whatever your sexuality.
While this latter day sequel to The Karate Kid films of the 1980s started life on YouTube Red (remember that?), it’s really come into its own since moving to Netflix. Picking up decades after Daniel LaRusso and Johnny Lawrence’s iconic fight at the end of the first movie, the debut season of Cobra Kai finds the tables turned, with Daniel living the charmed life while Johnny is washed up. Yet after defending his young neighbor Miguel (Xolo Maridueña) in a fight, Johnny finds new meaning by re-opening the eponymous karate dojo and guiding a new generation of students. As the series progresses, the stakes get higher—and frankly, increasingly, gloriously, ludicrous—as rival martial arts schools start cropping up all over California and alliances are forged and broken with alarming regularity. It’s all presented a little bit tongue-in-cheek, and with Ralph Macchio and William Zabka reprising their 1980s roles, the show is an unabashed love letter to the classic action flicks, but thanks to some seriously impressive fights and stunt work, and with a younger cast you can’t help but root for, it’s a retro-styled delight. With a sixth and final season in the works, now is the perfect time to binge the first five.
Cunk on Earth
British comedy alert: This might not be for you. If, however, you appreciate drier-than-a-desert humor and cringe-inducingly awkward interviews, this is a must-watch. A perfectly framed lampoon of globe-trotting documentaries, Cunk on Earth sees host Philomena Cunk (in reality, comedian Diane Morgan) exploring world history, from the development of agriculture through to the space race, offering deranged insights and skewering real-world experts with incredibly stupid questions along the way. Morgan’s relentlessly deadpan delivery alone makes this five-episode series worth a watch, but it’s those interviews that make this comedy gold.
To those in the northern hemisphere, this Australian supernatural drama might be one of the best kept secrets of the last decade. Centred on a small town in Victoria, an entire community is shaken when seven people rise from their graves, seemingly in perfect health but with no memory of who they are or how they died. As police sergeant James Hayes (Patrick Brammall) and local doctor Elishia McKellar (Genevieve O’Reilly) try to contain and examine “The Risen,” Hayes’ world is rocked when he learns his own late wife Kate is among them. Over the course of three seasons and 18 episodes, the reasons for the dead’s return is teased out, starting with simply “how” and “why,” but building up to something that questions the rules of reality. A fantastic ensemble cast and brilliant pacing make this a must-see.
As creator Charlie Brooker recently told WIRED, “Black Mirror wasn’t meant to be ‘this is what’s going on in technology this week.’ It was always designed to be a more paranoid and weird and hopefully unique show.” And that it is, but rather than displaying what’s going on in technology as it’s happening, the show has a way of beating its viewers to the paranoid punch, addressing dystopian anxieties before they even happen. (Black Mirror was talking about AI long before your mom ever heard of ChatGPT.) Netflix just released the sixth season of Brooker’s show, and if you haven’t watched, now may be the time. How else will you know what you’ll be worried about five years from now?
She-Ra and the Princesses of Power
On the planet Etheria, Adora loyally serves the Horde, rising through its ranks with her close friend Catra by her side, until the discovery of a strange sword transforms her into the legendary warrior She-Ra. Learning the truth about the oppressive forces she’s served her whole life, Adora joins the Rebellion against the Horde—but can she really turn her back on everything she’s ever known? And will Catra ever forgive the betrayal? Developed by ND Stevenson—whose own Nimona delighted viewers as an animated movie on Netflix—the modern She-Ra reimagines the 1980s classic, eschewing the original’s connection to He-Man and episodic structure in favor of its own unique mythology and long-form storytelling, packed with complex characters, high stakes, and some powerfully emotional moments. Perfect for fans of Avatar: The Last Airbender or The Legend of Korra, this dazzlingly animated five-season action-fantasy is as compelling for older fans as it is younger viewers—and some of the best LGBTQ+ representation to be found in any medium doesn’t hurt either.
Queen Charlotte: A Bridgerton Story
A prequel spin-off to Bridgerton—the Shondaland-produced Regency era historical romance that continues to break Netflix viewership records—Queen Charlotte takes viewers back to 1761, exploring how a young Charlotte (India Amarteifio) meets and marries George III (Corey Mylchreest). In typical Bridgerton fashion though, there’s far more going on than a period love story, with the spirited Charlotte initially trying to escape the arranged marriage before learning to navigate the corridors of power—and manage George’s deteriorating mental health. Interspersed with scenes in Bridgerton’s “present day” 1817, where the now-formidable stateswoman Queen Charlotte (a returning Golda Rosheuvel) deals with a succession crisis to the throne, this limited series is compulsory viewing for fans of the series, and a great entry point for anyone yet to be wooed by its charms.
Jefferson Grieff (Stanley Tucci) is a former criminology professor on death row for killing his wife, telling his story to a journalist named Beth (Lydia West). Harry Watling (David Tennant) is an unassuming English vicar, tending to his parishioners. The two men are a world apart—until a horrific misunderstanding leads to Watling trapping a friend of Beth’s in his basement. As Watling’s situation and mental state deteriorate, Beth turns to the killer for help finding her friend. Created and written by Stephen Moffat, this tense transatlantic thriller has just a dash of The Silence of the Lambs, and with a cast at the top of their game, it’s gripping viewing. Best of all, its tight four episodes mean you can binge it in one go.
If there’s a West Wing-shaped hole in your life, look no further than The Diplomat—a tense geopolitical thriller elevated beyond the norms of the genre by a superb central performance by The Americans’ Keri Russell as Kate Wyler, newly appointed US ambassador to the UK. Far from being an easy assignment in a friendly country, Kate’s role coincides with an attack on a British aircraft carrier, leaving her to defuse an international crisis before it escalates into full-blown war. It’s a job that might go easier if her own special relationship with husband Hal (Rufus Sewell) weren’t fraying, as his resentment at being demoted leads him to interfere in her efforts. One of Netflix’s biggest hits of 2023, The Diplomat has already been renewed for season two.
Based on the comic book by Jeff Lemire, Sweet Tooth is set 10 years after “The Sick,” a viral pandemic that killed most of the population and led—somehow—to babies being born with part-human, part-animal characteristics. The first season follows Gus, a half-deer hybrid boy who leaves the wilderness in search of his mother, and “Big Man” Tommy Jeppard, a grizzled traveler who becomes his reluctant guide, protecting him from surviving humans who hate and fear the hybrids. The newly dropped second season takes things into darker territory, merging Gus and Jeppard’s path with the once-disparate storyline of Aditya Singh (Adeel Akhtar), a scientist researching the origins of The Sick—and its connections to Gus. Part sci-fi, part fantasy, part mystery, Sweet Tooth offers viewers a postapocalyptic dystopia unlike any other.
Lost in Space
It’s a few years old at this point, but Netflix’s update of the classic 1960s sci-fi show is one of the rarest entries on the service now—a genre show that the streamer can’t cancel after one season, because it’s already completed its three-season run. That means you can settle in to this glossier take on the Robinson family and their desperate attempt to survive on an alien planet without fear of a permanent cliffhanger or a never-coming conclusion. The stakes are far higher in this reboot though, with the Robinsons trapped on a dangerous alien world after an attempt to evacuate a doomed Earth goes disastrously wrong. Stranded, with no way to reunite with the colony mission they were once part of, the family’s fate may rest with a strange robot befriended by youngest son Will—but unlike in the original show, this robot caused the disaster that stranded them. With less saccharine family dynamics than the original, less camp (with the arguable exception of Parker Posey, stealing scenes as the nefarious Dr. Smith), and a more ambitious long-form story stretching across its three seasons, Lost in Space is a strong update for modern viewers.
Alice in Borderland
When slacker Ryohei Arisu (Kento Yamazaki) is mysteriously transported to a deserted Tokyo, his keen gaming skills give him an edge navigating a series of lethal games that test intellect as much as physical prowess. Yet after barely scraping through several rounds, Arisu is no closer to uncovering the secrets of this strange borderland, or to finding a way home—and the stakes are about to get even higher. Not only are Arisu and his allies Usagi (Tao Tsuchiya), Kuina (Aya Asahina), and Chishiya (Nijiro Murakami) faced with another gauntlet of sadistic games, but they find themselves caught between rival card suit “courts” vying for power—and not everyone can be trusted.
With its willingness to kill off main characters at a moment’s notice, the first season of this gripping adaptation of Haro Aso’s manga kept viewers on tenterhooks throughout. As the long-awaited second season leans further into its twisted Alice in Wonderland imagery, expect more shocking developments in this taut thriller.
After a minor indiscretion at her “normie” school—releasing flesh-eating piranhas into a pool of swim-team bullies—the dismal doyenne of the Addams Family is sent to the imposing monster boarding school of the Nevermore Academy. Initially desperate to escape the horror high school cliques—goths are vampires, jocks are werewolves, and stoners are gorgons—and her alarmingly peppy roommate, Wednesday is soon drawn into a prophecy dating back decades, and a murder mystery that incriminates her own family.