It’s the Bank Holiday weekend, which means two things: no work and more Netflix. But sometimes, it’s easy to think you’ve binged on everything worth watching. You’ve done Breaking Bad. Hung up House of Cards. You’re over Orange Is the New Black. What next?
There are loads of top TV series that will spring out at you, from Mad Men and 13 Reasons Why to Marvel’s group of Hell’s Kitchen heroes and, of course, Riverdale. But what about the stuff you haven’t seen? We rummaged through the streaming catalogue to find the programmes you might scroll past without a second glance.
Here are the most underrated TV shows on Netflix UK:
You’ve seen period dramas. You’ve seen zombie thrillers. You’ve seen Korean action and horror movies. But have you ever seen a period zombie Korean action horror? That’s what Kingdom brings to Netflix, as it whisks us back to 15th century Korea, as the country finds itself on the brink collapse into undead chaos. Why? Because a calculating politician is trying to take control of the throne by keeping the weak king alive as long as possible. The only problem? He winds up a zombie, and a plague of flesh-chomping undead soon start to run amuck, leaving the crown prince the only one to stop the infection spreading. It’s a cracking premise, one that fuses hunger for power with appetite for internal organs, and doesn’t spare either, with blood splashing and body parts flying whenever a set piece ensues. The sumptuous costumes, gorgeously shot locations and sets are a bonus, leaving you with a six-part first season that only makes you want to devour another season straight away. The good news? Netflix has commissioned it and filming’s already underway.
Love Island is one of the UK’s most watched TV shows, with its blend of rude contestants, naughty action and soapy drama combining to keep viewers hooked. But Japan’s answer to Love Island is the ideal antidote, putting a group of strangers in a house with cameras, but then leaving us to observe just how different the culture is: the house is beautifully minimal and understated, the contestants are undramatic and resolve everything through constructive, positive communication and the food looks mouth-wateringly good. (Read our full review)
If you were too traumatised by Martin Rosen’s 1978 animation, based on Richard Adams’ seminal novel, rest assured: that’s not a reason to avoid Netflix’s new adaptation. The four-part series still charts the journey of a group of rabbits, as they flee the destruction of their warren and try to find a new home. Hazel (James McAvoy) is the de facto leader of the band, who believes the apocalyptic visions of Fiver (Nicholas Hoult) enough to take a small gang away from the apparent safety of Sandleford and into the wild. Sad, scary yet surprisingly fun, the result finds hope and light amid the disturbing shade. (Read our full review)
This French comedy about a talent agency is uproariously funny, thanks to its amusing array of characters, sharply written dialogue and rapid pacing. Celebrity cameos by everyone from Juliette Binoche to Isabelle Huppert are a bonus. (Read our full review)
Football, they say, is game of two halves. In the case of Sunderland Association Football Club, it’s a game of two halves, hundreds of disappointments, several managers, multiple fights for survival and a handful of stunning goals. For a town that loves its local team like no other, it’s the very stuff of life. For everyone else, it makes for sublime television. This beautifully edited series captures the gripping despair and heart-wrenching hope of being a sports fan, and that human angle makes for something hugely entertaining, whether you’re a football lover or not.
The name Guillermo del Toro is enough to get anyone’s attention, but did you know that he’s teamed up with Netflix for a kids’ TV series? A whole universe has been created by the Pan’s Labyrinth director, home to a trio of separate, but interconnected, series. First up is Trollhunters, a glorious adventure about a young schoolboy (Anton Yelchin) who finds himself – along with his friends – caught in a underground war among trolls, wizards and other fantastical folk. The follow-up, 3Below, builds on that with the story of three refugees fleeing their planet Akiridion-5, after a military coup, and trying to find home and acceptance in disguise in high school. Imaginative, heartfelt, this is sublime stuff for all ages.
“Do you want to go back?” someone asks Prairie Johnson (Brit Marling) at the start of The OA. They promise her great love, but also great suffering. It’s a moment that requires a big leap, not just from her, but from the audience. We’ll spoil one thing for you now: you will make that leap. The eight-part series, created by Marling and Zal Batmanglij, follows the return of Prairie to her home town, seven years after she disappeared. She’s confused. She’s lost. She has strange marks on her back. And when she’s reunited with her parents, she’s never seen them before. The reason for that is simple: she was blind went she went missing. Now? She can see. It’s a superb hook for a mystery drama and the almost-feature-length first episode alone swiftly establishes this as the new Stranger Things, in terms of curiosity, classy visuals and character depth. But this is something all of its own. Read our review
Final Space, from Internet filmmaker Olan Rogers, is an original sci-fi comedy from TBS and jam packed with silliness, charm, threat, romance and heart. With an impressive voice cast, Netflix’s 10-episode adult animation (contains moderate violence, bloody images and sex references) follows an average space joe and his green blob to a disaster threatening the earth and possibly the universe itself. Dark, silly, full of sci-fi references and surprisingly deep, this adult animation has all the makings of a cult hit. Read our review
The spiritual successor to 30 Rock, from Tracey Wigfield, Great News is a light-hearted sitcom about a young woman dealing with a manic workplace and personal life issues, while trying to produce a TV show. Katie (Briga Heelan) is a segment producer desperately trying to make important, engaging news stories, but ends up being given the slop of stupid, inane, fun pieces. Meanwhile, her mother, Carol (Andrea Martin – the queen of the whole show), finds herself at a life crossroads, and begins interning on the programme. Cue disastrous carnage, as her work and home lives collide in a naturally funny, sweet, silly ensemble comedy. Read our review
While the original Boss Baby animated feature was far from a classic, Netflix and DreamWorks’ spin-off series is ideal family viewing, combining poop, puke and clever jokes to deliver a film’s worth of capers, dialogue zingers and toilet humour in each of its 10 25-minute episodes. Read our review
“Girls today can be anything… CEO, Olympic gold medallist, even a Supreme Court Justice.” Those are the first words we hear in Good Girls, spoken by a lead character’s daughter in a school presentation. The sentiment may be true, but it doesn’t apply to the lives of the three women at the centre of the show, all struggling to make ends meet, while depending on an unreliable husband or a dead-end job. Faced with these urgent financial problems and no quick solutions, the three women come up with a drastic plan and decide to rob the grocery store where Annie works. Things spiral out of control, giving Christina Hendricks, Mae Whitman and Reno Wilson a chance to shine. With a charismatic cast and plenty of twists and turns, this is an easy, breezy watch. Read our review
Netflix’s first Indian original series, brings American budgets and panache to the streets of India’s capital. With water on three sides leaving nowhere for the city to expand, the result is a melting pot of human bodies and a cruel crucible of poverty. Sacred Games dives into the circles of corruption that have fuelled that inequality, with barely a pause for breath. Based on the book by Vikram Chandra, it’s a portrait of a city at its best and worst, a tale of high excess and low deeds. Our window onto this world is Sartaj Singh (Bollywood star Saif Ali Khan), the city’s only honest cop, who finds himself in a cat-and-mouse game with a criminal kingpin long thought to be missing. This stunning, vibrant Mumbai noir is a potentially game-changing piece of cinematic TV. Read our review
Netflix’s second Indian original series, this horror follows a prisoner who arrives at a remote military interrogation centre and turns the tables on his interrogators, exposing their most shameful secrets. The result is a twisting, turning thriller that combines jump scares and spooky visuals with themes of hyper-nationalism, the horror of book burning and the threat of spiritual possession. Accomplished, atmospheric TV – and, best of all, it’s only three episodes, so it’s a simple, but scary, all-nighter.
Known as La Casa de Papel in its home country of Spain, this thriller follows a mysterious man, known as The Professor (Álvaro Morte), who plans to carry out the biggest money heist in history. Not by stealing money, but by making it. The mission is simple: break into the Royal Mint of Spain and print 2.4 billion euros, as eight thieves take 67 hostages to ensure 11 days of privacy and enough time to make their fortune. Originally airing on Antena 3, before Netflix snapped up the international rights, the show has become a smash hit, and is now the most-watched non-English-language series on the streaming service – and that’s no surprise, once you get hooked on its gripping plot twists and slick, stylish visuals. The good news? There’s going to be a third instalment, produced exclusively by Netflix – what better seal of approval do you need?
Meet your new Netflix BFF. She’s 25 years old, a Scorpio, blood type A and an office worker. And she has a ferocious love of death metal. Oh, and she’s a Red Panda. That’s the basis of Netflix’s adorable animated series, which is based on Japan’s beloved Sanrio character. Following her through her day-to-day life, we witness the kind of frustrations and pressure that quietly crush us without us realising, from company politics and the impossibility of a healthy work/life balance to a pig-like boss who makes overbearing demands. Retsuko copes with this by going home at night and pouring her anger into karaoke, screaming death metal into a microphone with a passion that’s borne of both repressed aggression and a hidden internal strength. There’s not much more to the short, 10-episode series, but its accurate observations and cute visuals make for an entertaining, easy watch – and a reassuring reminder that you’re not the only one politely bearing with the mundane annoyances of the world, and that you should probably be considering karaoke too. Did we mention she’s a red panda?
Cold Feet: Season 1 to 6
The idea of watching an ITV drama that first premiered in 1997 might sound odd in 2018, but Cold Feet came back to our screens just in time for its 20th anniversary, and the revival reminded us exactly why it was such a hit to begin with. Written and created by Mike Bullen, the series stars Adam (James Nesbitt), Pete (Robert Bathurst), Jenny (Fay Ripley), David (John Thomson) and Karen (Hermione Norris), a group of friends in Manchester, whose love lives and professional careers inevitably interweave and intersect. Cold Feet’s signature style was rooted in rat-a-tat dialogue and whip-smart editing, and that witty back-and-forth between the quartet (both in episodes new and old) remains as rapid, amusing and heartfelt as ever. With each character given equal screen-time, and the ensemble on fine form, who says reunions are always a bad thing?
Little Boy Blue: Season 1
True crime dramas are like ITV dramas: there are so many of that it’s impossible to keep up. This 2017 drama, about the murder of an innocent child amid a wave of gang violence, is one that stands out. The child in question? 11-year-old Rhys Jones, who was shot in a car park on the way to football practice. We learn about the murder at the same time as mother Melanie (Sinead Keenan), when a knock comes on the door within the opening minute. She rushes to the car outside, and the camera whisks us along with her, not stopping to pause for breath. The drama doesn’t let up from there, gently teasing out the impact of Rhys’ death in an immersive, moving fashion. Stephen Graham is superb as DS Dave Kelly, who leads the police investigation to find out what happened, delivering speeches with the kind of emotion, humour and sympathy that rings with sad truth. Sensitively written and powerfully performed, this is heart-wrenching viewing.
James Acaster: Repertoire
Netflix is swimming in stand-up comedy, but amid the myriad specials is this four-parter mini-series from James Acaster that you might easily scroll past, but shouldn’t be skipped altogether. Unique, unusual, diverse and, most of all, hilarious. Read our full review
Bobby Kennedy for President
“If Lincoln didn’t get us there, if Dr. King didn’t get us there, if Bobby didn’t get us there, what the hell is left to say?” Netflix is known for its documentaries, and this historical slice of US politics is no exception. In the current age of political leaders in both the UK and US, you may well want to steer clear of the subject matter, but this informative, in-depth, inspiring programme is a reminder of the decency of one man who tried to make a nation better. Read our full review
Monty Python’s Flying Circus
Never available to stream so easily before, the whole of this classic British comedy is now on Netflix, and while a sketch show might not seem like the best choice of binge-watching box set, it’s a treat to get lost in the surreal imagination of this iconic comedy troupe. Read: The best Monty Python sketches
Santa Clarita Diet
“Think about all the people I haven’t killed. Literally, everyone in the world except for three people.” Nothing says relationship goals like a wife turning into a flesh-eating monster and her husband sticking by her. That’s the premise of Netflix’s wonderfully twisted comedy horror, which stars Timothy Olyphant and Drew Barrymore as two realtors living a happily married in LA – despite her disturbing, inconvenient, and often deadly condition. The first season was slightly uneven, leading to a mixed reception, but Season 2 sees the show become one of Netflix’s best originals out there. Read our full review.
It feels like only next week that time-travelling series Travelers premiered on Netflix UK. A Canadian sci-fi with Will and Grace’s Eric McCormack in the lead, it impresses from the off with its blend of quick pacing, trashy familiarity and talk of a dystopian future. While its opening episodes are slick enough to intrigue, the maiden run ultimately ropes you in through creator Brad Wright’s sheer commitment to his concept. That concept is simple: a group of time-travelling agents are sent back to the present day from the future to save humanity from destruction. But rather than time-hop themselves, they are transported into host bodies, inheriting lives, relationships, illnesses and other problems. Quantum Leap with guns? Travelers doubles down on that idea – and then some.
The first half of the season sees our team attempting to avoid mankind’s obliteration, by diverting an asteroid (Helios) from its collision path with the planet. But where the show could have based its entire run around that threat, it turns out to be only the warm-up act for a really strong second half. Because while the idea of case-of-the-week challenges are all well and good, Travelers’ real strength lies in the challenge of taking over someone else’s life, and that increasingly becomes the real enemy facing our heroes. Read our full review.
In 1953, a biochemist named Frank Olson plummeted to his death. How and why did he fall from a New York hotel to hit the pavement below? Some said it was an accident. Some said it was foul play. Some said it was suicide. But how does one accidentally jump or fall out of a window? A dizzying deconstruction of memory, facts and documentary filmmaking itself. Read our full review
Stewart Lee is the death of stand-up comedy. His smug tirades and educated, middle-class opinions ruin it for everyone. For those who don’t like his intellectual concerns and patronising tone, he’s impossible to tolerate. For those who do, he makes it impossible to tolerate any other comedian. That’s the brilliance of Stewart Lee’s stand-up: either way, everyone ends up miserable.
Meet Gemma Hoskins and Abbie Schaub, who are investigating the death of Sister Cathy Cesnik, a nun at the Archbishop Keough High School. She was found dead in 1969, weeks after she went missing, but her murderer has never been found. This scorching, shocking true crime documentary puts its victims first – and will move you to righteous fury. Read our full review
“I’m James, I’m 17 and I’m pretty sure I’m a psychopath.”
“Channel 4/Netflix co-production The End of the F***ing World, based on an award-winning graphic novel, sees two angst-ridden teenagers run away from home and embark on a road trip, with the morbid twist that one teen is thinking of murdering the other… The result is a darkly funny coming-of-age comedy quite unlike anything else.” Read our full review
“State your name and who you are,” says Peter (Tyler Alvarez) at the start of his documentary, American Vandal. “That’s a stupid question,” comes the reply. His subject? Dylan (Jimmy Tatro), high school troublemaker and academic non-achiever. So when 27 cars have penises spray-painted all over them, Dylan emerges as the obvious suspect. Not content with the school’s decision to expel him, Peter takes it upon himself to film a documentary about the whole thing. Social media tag: #whodrewthedicks. But this comedy series is less a spoof of true crime and more a satire of teen life. Because in trying to flesh out its world to support such in-depth faux-detective work, American Vandal has to construct a modern on-screen high school that rings with authenticity. The result recalls (the much funnier) Search Party in the way a search for the truth is stumped by the impenetrable nature of teenage existence. Read our full review
From the creator of Misfits, this dark comedy is reassuringly zany, fast-paced and gruesome. Any show that opens with a woman screaming and tied up, only to discover it’s her friend who’s doing it, because they think she’s possessed, is a sure-fire winner. That breakneck warped humour doesn’t let up, as we watch Raquel (Susan Wokoma) attempt to conduct an exorcism based on what she’s reading off the internet on her phone. But there’s a unique streak to this Buffy-esque affair – Raquel’s friend, Amy (Cara Theobold), thinks her ability to “see” demons is less a gift and more a symptom of mental illness. It doesn’t help that Raquel is so blunt that she comes across as crazy herself. The result are two fun, fleshed-out characters, who just happen to be killing evil spirits in their spare time, an inconvenience that makes their lives as young adults even more complicated.
“You guys have been looking for a war,” says Rick (Humphrey Bogart). “That’s right,” comes the reply. That’s the sound of Casablanca, the golden age of Hollywood. But that golden age was also part of another era of the movie business: a time of war, patriotism and propaganda. Netflix unpicks the passion, principles and compromises involved in its engrossing, informative and brilliant documentary series. Borrowing its title from a 1930s melodrama, Five Came Back charts the military service of five key Hollywood players: William Wyler, Frank Capra, George Stevens, John Ford and John Huston. All joining the armed forces and, signing up to make films for the war effort, they put their cinematic skills to work for the country. Each found their own challenges, inspiration and repercussions, as they left the traditional studio system for another, altogether more complex chain of command and responsibility. This is dense, rich material, and writer Mark Harris mines his own non-fiction book for every nugget of gold he can fit into three hour-long episodes. A must-see for cinephiles. Read our full review
Another show about Vikings? After History and Amazon Prime Video’s accomplished series, you’d be forgiven for thinking another swords-and-shields drama is unnecessary, but The Last Kingdom is different – for starters, it’s not about vikings, but about England and King Alfred’s (David Dawson) attempts to get rid of his Norse nemesis and bring the country together. That means we don’t spend our time in Kattegat trying to sympathise with brutal warriors, instead hanging out in Wessex, which gives The Last Kingdom a welcome tone, voice and focus all of its own. And with Alfred already of age, the result is a show with ambitious scope and, once you get past the initial, sprawling wave of people, a surprisingly coherent theme – a study of national identity, unity, and what it means to be English that feels oddly pertinent in 2017.
How does a small screen adaptation of a movie succeed? 12 Monkeys has one answer: by not being the movie. The good news for those that have not seen Gilliam’s film is that you needn’t worry, because previous knowledge is unnecessary – in short, Bruce Willis is hairier, Brad Pitt’s now a woman and Madeleine Stowe is a virologist. The starting points are pretty much identical: in 2043, the earth is desolate. The population have been ravaged by a mutated virulent infection – 7 billion people are dead. The only survivors are underground. Society no longer exists. Most traded their humanity for survival. But a group of scientists have a plan – a reset button – involving a complicated method of time travel. Stop the virus, save the world.
“The result is an adaptation that really comes into its own when it leaves the source material behind. This is currently a fantastic era for sci-fi on TV and 12 Monkeys is at the forefront. Its dystopian vision may be bleak, but with Season 3 having just wrapped, stick with 12 Monkeys and you have a bright future to look forward to.” Read our full review.
Stand-up Maria Bamford may be an unknown name for UK audiences, but she has already appeared in Arrested Development and it’s that show’s creator, Mitch Hurwitz, who works with her to make this superb comedy series. Starring Bamford as herself, the end result is unashamedly self-aware, dizzyingly unpredictable and hilariously surreal. You’ve never seen a sitcom like this. Read our full review.
Reimagining Norman Lear’s 70s sitcom might sound like a terrible, especially after Fuller House, but Netflix’s reboot gives the show’s formula a slight tweak to make it surprisingly modern, as we follow a Cuban-American family. Our heroine is a recently separated, former military mom (Justina Machado), navigating a new single life, while raising her radical teenaged daughter and socially adept tween son, with the help of her old school Cuban-born mom (Rita Moreno) and a friends-without-benefits building manager, named Schneider.
“Full of wit and warmth, Netflix’s One Day at a Time is a joyous, fresh TV comedy that’s the perfect antidote to lazy reboots.” Read our full review.
“‘In the 23rd Century, humans have colonised the solar system. The U.N. controls Earth. Mars is an independent military power. The inner planets depend on the resources of the Asteroid Belt. Belters live and work in space. In the Belt, air and water are more precious than gold. For decades, tensions have been rising. Earth, Mars and The Belt are now on the brink of war. All it will take is a single spark.’ So reads the pre-credit crawl of The Expanse, deftly laying out the show’s basic ground rules, before flinging the viewer head-first into its world(s). Agents unknown are trying to turn the Cold War between earth and Mars hot, and the key to who they are and what their game-changing plan is seems to be rich-girl-turned-revolutionary Julie Mao – now missing. Tasked with tracking her down is grizzled detective Joe Miller (Thomas Jane), who works for corporate law enforcement on dwarf planet Ceres. His investigation is expertly structured, with each episode ending on a stonking cliffhanger that’ll have you clicking onto the next instalment.” (Read our full review.)
“Ever since creepy French drama Les Revenants became a surprise global hit in 2012, producers have been drawn to its basic premise – people return from the dead, but not as zombies. The latest spin on the idea is Glitch, from Australia’s ABC, and the happy news is that it works far better than the po-faced American attempts. The core reason for its success is an elegant simplicity. We have a taut plot, told over six episodes, focusing on a small band of characters, thus avoiding the flailing narrative strands that brought down the other shows. The six episodes cover a lot of ground, but Glitch doesn’t feel rushed or crowded. As many questions are raised as answered – why are they back, for starters? – and the season ends with a fantastic, tantalising twist. Thank the Lord, then, that Netflix has stepped in to co-produce Season 2. Once you’ve watched Season 1, you’ll crawl out of your own grave to find out what happens next.” .
One of the best homegrown British comedies of recent years, this BBC Three series follows the vaguely inept owners of pirate station Kurupt FM. (They’re very big in the Brentford area.) Co-created by and starring Allan Mustafa as MC Grindah and co-starring Hugo Chegwin as DJ Beats, what started as a YouTube series has been nurtured by the Beeb into a comedy staple. There’s a hint of Alan Partridge to the mockumentary – “How far does Kurupt reach?” asks our filmmakers on a balcony overlooking a council estate. “As far as the eye can see,” comes the proud reply. “But not that bit on the left.” – but the setting, characters and knowingly bad music has its own rhythm, which the cast stick to with engaging chemistry. Scenes where we catch Beats out of his hat and in a business suit for a job interview bring a surprising sympathy to his useless existence – and even more sympathy for his girlfriend, Roche, who has to endure the worst birthday party for their daughter ever recorded on screen. Asim Chaudhry as their friend, who runs a string of incompetent and illegal businesses, is always a treat. (Watch out for his “Polish Vodka”, which isn’t from Poland, but is made with window cleaner.)
“Be it the likes of The Hunger Games, ELysium, Divergent on the big screen, or the likes of The 100 on TV, western mainstream viewers have gotten used to the planet’s resources being depleted, and straggly (yet handsome) survivors having to use their wits against (usually) a powerful and shady elite. Netflix dips its toes into the dystopian pool with 3%, a Brazilian series set in the future in which the world has been divided into two camps. Offshore is the little seen, yet idyllic utopia, in which the successful and affluent live out their days. Inland is for those who are less fortunate struggle to survive. 3%’s episodic structure (each episode focuses on one character) feels out of place in a world of grand, over-arching narratives. However, the show’s breezy pace, enjoyable performances and well-used arrangement of Brazil’s political landscape make for a brief but entertaining diversion. When you’re done with the Netflix shows that have been hogging the limelight, watch this.” Read our full review.
“You can’t do a slasher movie as a TV series,” says Noah Foster (John Karna) at the start of MTV’s Scream. It’s par for the course for the franchise, at once undermining its own existence and yet staying faithful to the rules.
That’s the series’ inevitable weakness: Wes Craven’s original film was a smart re-imagining of the slasher genre, subverting expectations and traditions at every turn. But if self-awareness is no longer novel, the series introduces something more surprising to the formula: sincerity. Led by Willa Fitzgerald’s Emma and Bex Taylor-Klaus’s Audrey, the characters actually have time to reflect on the growing pile of corpses, bringing an unexpected depth to the trashy, entertaining scares. The show’s aim throughout is to make you forget it’s a horror story – and then let that fact creep up on you every episode. You might not scream, but for undemanding thrills, this TV series gets you every time.
What do you think of when you hear the word “residue”? The stuff at the bottom of a glass? That mouldy patch on your ceiling? You certainly don’t think of a sci-fi series starring people from Game of Thrones. Well, not until now. The sci-fi mini-series, which was shot mostly in Leeds, has the binge-watching hook of a show with 10 times its budget.
Natalia Tena stars as photo-journalist Jennifer, who is investigating a mysterious explosion that occurred one New Year’s Eve. With people starting to die in increasingly violent ways, and strange, dark material appearing on the death scenes, the centre of the town is cordoned off from the public. Jennifer’s gradual discovery of the weird truth behind events leaves you gripped, while director Alex Garcia (Channel 4’s Utopia) nails the sinister vibe with some eerie, excellent set pieces.
Stephen Mangan and Tamsin Greig play Sean and Beverly, a pair of Brit writers whose award-winning sitcom is snapped up by US executives for an American remake. Gone is boarding school-set Lyman’s Boy and its old-fashioned dry humour. In its place? Pucks, a show about a hockey coach trying to get off with a librarian. Starring Matt LeBlanc. The actor, best known as Joey from FRIENDS, plays himself, a post-modern premise that sounds indulgent but is played with brutal cynicism; undercutting expectations and full of spiky barbs at the TV industry, the situation feels scathingly accurate, which makes the fish-out-of-water comedy even sharper.
Run out of funny shows to stream? You haven’t tried It’s Always Sunny in Philadelphia. Dark, depraved and deliriously hysterical, it features a bunch of thirty-somethings who run a failing bar in the city, all of whom do terrible things to one another. Amazingly, because all of them are so dislikable, the cycle of screwing over doesn’t get awkward or painful to witness – only funnier. The show tackles serious themes, from gun violence to terrorism, but does so through the warped microcosm of heartless, sadistic idiots; a device that shouldn’t work, but rarely fails. Like early Arrested Development, its advert-free form on Netflix makes it zip along at a breathtaking pace. Literally: because once Danny DeVito is introduced in Season 2, you’ll frequently go 20 minutes without breathing. Never shown on UK TV, this just might be the funniest TV series on Netflix UK.
As the months go by, Netflix continues to build its anime line-up, making big strides with this original-branded series, which arrived last year. Based on the popular manga, it follows Nagate, a low-born youth in a society of genetically engineered humans, refugees that escaped the destruction of Earth one thousand years earlier and now occupy the massive ship Sidonia. When Nagate’s talent as a pilot is revealed, he becomes one of Sidonia’s elite defenders against the Gauna, shapeshifting aliens bent on eliminating humans from existence.
“Expect the unexpected” sounds like a corny phrase, but it’s one that’s more than welcome when it comes to that most formulaic of TV programmes: talk shows. Based on Scott Aukerman’s podcast of the same name, this 2012 TV show follows the same format, with guests sitting down to chat – only to digress into silly conversation, improvised comedy and sketches.
“Rob can’t read poetry in his own voice because he lacks conviction.”
That’s Steve Coogan, playing Steve Coogan, talking about Rob Brydon, playing Rob Brydon. It’s par for the course for The Trip, which sees the pair journey around restaurants abroad, eating, drinking and seeing who can do the best Michael Caine impression. But it doesn’t stop there: they do Christian Bale’s Batman and Tom Hardy’s Bane as well.
Two middle-aged actors sitting around getting drunk? Michael Winterbottom’s series sounds so insufferably smug that it’s far from mainstream viewing, but the show plays its hand subtly; Coogan and Brydon send themselves up without mercy, their fictionalised personas cut so close to the bone that you swear they’re not fictional at all. “I’m an affable man, but not as affable as I am on-screen,” explains fictional Rob, dissecting factual Rob with a straight face. Coogan nods. “I’m affable,” Rob insists, aggressively. “I’m affable!”
Undermining and celebrating each other repeatedly, they poke at their co-star’s shortcomings with the kind of familiarity that can only – and, indeed, does – come from a genuine off-screen friendship. The stunning scenery, shot with a relaxed eye by Winterbottom, and mouth-watering cutaways to kitchen staff preparing dinner, are beautiful – but the thing to savour is the relationship between the couple taking it all in.
Impersonations of impersonations of people doing impersonations, that reliance upon pretending to be something they’re not is right at the heart of The Trip to Italy’s unique charm; a conviction as breathtaking as anything the natural landscape has to offer. Of course, that could just be the alcohol talking.
A nice surprise at the start of the month is the unannounced arrival of Season 1 and 2 of iZombie. The CW’s series, based on the Vertigo comic book series, follows Olivia, a medical resident on the fast track to a perfect life… until she’s turned into a zombie. Transferring to the city morgue to get access to human brains, she finds that chomping on them gives her flashes of the corpse’s memories – including, at times, clues as to how they were killed. Her boss, a brilliant but eccentric conspiracy theorist, encourages her to embrace this gift and to work with an eager, unproven homicide detective to help solve these murders.
This Canadian sci-fi series, created by Graeme Manson and John Fawcett and produced by BBC America, has never had a wide enough release to build up a mainstream following – the show was aired on BBC Three in the UK, often buried in late-night slots and premiering on iPlayer without fanfare. Now, though, Netflix has snapped up the rights to the fourth season (premiering exclusively on the site each week) and has the first three runs to boot, which means it’s easier than ever to catch up with the tale of Sarah Manning, a con artist who discovers that she is the product of a cloning programme. Tatiana Maslay is superb in an ever-versatile lead role.
Director David Gelb’s follow-up to Jiro Dreams of Sushi is the streaming service’s first original docu-series – and, alongside Making a Murderer and Marvel’s superhero action, it’s easy to see why a non-fiction programme about food would be overlooked, especially as it’s the kind of show you might find on a traditional TV channel. But that’s precisely what makes this a bold move for the streaming site, as it broadens its horizons. More importantly, it’s really good, as the diverse array of worldwide cooks and their personal stories of inspiration and technique – not to mention the endless shots of food porn – add up to one mouth-watering dish.
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