In this article, we’ve rounded up the best shows on Netflix right now, so you can binge-watch without having to hunt for the right title.
Netflix has a treasure trove of terrific movies that you can stream right now, but if you’re looking for more than just a two-hour commitment, it’s also got a boatload of great TV shows you can delve into to keep yourself occupied for days — or even weeks — on end.Wondering if your taste in binging matches the rest of the country? Below, we’ve rounded up the best shows on Netflix right now, so you can binge-watch without having to hunt for the right title.
Sugar, honey honey, you are my candy girl. And you got me wanting you... Are probably words never spoken on this modern, darkened revamp of Archie and his pals.
The longest running show ever on The CW (it started when the network was still The WB; sorry, Smallville !) is ending with its 15th season, currently airing, but hardcore Supernatural fans—who kept it on the air this long—can catch the first 14 seasons entirely on Netflix.
NBC's popular show about a master criminal played by James "Ultron" Spader going to work for the FBI just kicked off its seventh season. That timing means season 6 is now up on Netflix—go watch all 133 episodes right now.
Grey's Anatomy is the longest running medical drama on TV. It recently launched its 16th season on ABC, so that means it was time to add the 15th season to Netflix, which obviously paid off in viewers.
Nick Kroll's Emmy-nominated animated series about kids coming of age while haunted by actual hormone monsters is not for kids. The third season is here, but the show is already renewed for three more, so there won't be a lack of awkward horribleness for these kids in the future.
In the late 1970s, the FBI began to investigate serial killers—interviewing these deranged individuals to see how they think in order to catch other murderers. Mindhunter is the fictionalized retelling of that work, which eventually led to the founding of the agency's Behavioral Science Unit. Two seasons are available; season two probes David "Son of Sam" Berkowitz, Charles Manson, and the Atlanta child murders.
Producer Ryan Murphy goes back to doing serious comedy (or funny drama?) with The Politician, which follows overly ambitious student Payton Hobart's attempts to become student body president. By any means necessary. It stars Ben Platt, who came to fame on Broadway in Dear Evan Hansen, Gwyneth Paltrow as his mother, and Jessica Lange as a mother with ambitions of her own.
The closest thing Netflix has to a Game of Thrones blockbuster show is this tale of the kids of Hawkins, Indiana, as they fight the extra-dimensional creatures trying to cross over from The Upsidedown in the mid-1980s. Think Stephen King meets Steven Spielberg but wackier, and you've only scratched the surface. All three current seasons await your binge.
If you have yet to dive into the tale of Walter White and Jesse Pinkman, all five seasons of AMC's show about The One Who Knocks are streaming on Netflix. (Watch Better Call Saul when you're done.) A Breaking Bad movie that focuses on Pinkman's post-Breaking Bad life, El Camino, debuted on Oct. 11 to great reviews.
FX's anthology horror series has seven seasons currently on Netflix. The eighth—entitled Apocalypse—arrives on the streaming service on Sept. 24 and mixes up things with [SPOILERS!] witches from previous seasons. The ninth season—American Horror Story: 1984, which takes on sleepaway camp slasher flicks—debuted on FX on Sept. 18.
One dark and ominous night, Hugh Crain (Henry Thomas) gathers his children and flees their vast, gothic mansion, leaving his wife, Olivia (Carla Gugino), behind. Olivia dies that night, her death ruled a suicide, and the tabloids run wild with stories of the haunted Hill House. The five Crain children — Steven, Shirley, Theo, Nell, and Luke — all grow up dealing with their trauma in varying ways, whether writing a successful memoir about the haunting of Hill House (Steven), or abusing drugs to numb the pain (Luke). As adults, the Crain siblings are barely on speaking terms, until a tragedy forces them all back together, and back to Hill House. Mike Flanagan’s The Haunting of Hill House is a character-driven story, delving into the psychological problems of its many protagonists. It’s no mere family drama, though. In addition to their personal demons, there are some very real ghosts haunting the Crains, and Flanagan orchestrates some intense scares in the first episode alone, building tension but also knowing when to bust out a jump scare.
Breaking Bad might not have needed a sequel — the finale provided excellent closure — but it got a great one anyway. El Camino follows Jesse Pinkman (Aaron Paul), former disciple of meth kingpin Walter White (Bryan Cranston), picking up where the show left him: Speeding away from the compound where he’d been held prisoner, toward what then seemed an uncertain future. Now, Jesse is on the run from the law, trying to stay one step ahead with nothing but his wits and a gun. El Camino has the frantic pace that Breaking Bad was so good at, as Jesse stumbles from one setback to the next. It also maintains the crisp cinematography that made the show look so good.
Based on the novel by Bret Easton Ellis, Mary Harron’s American Psycho examines the decadence of modern consumer culture through the lens of Patrick Bateman (Christian Bale), a New York investment banker whose lifestyle and, indeed, his very identity are constructed to project superiority. Bateman and his colleagues, all similar in appearance and attitude, are constantly trying to one-up each other through their suits, the restaurants they can get into, and even the aesthetics of their business cards. The vapid gamesmanship takes its toll on Bateman, who periodically erupts into murderous rages. Although it may sound like a horror movie (and in many ways it is), American Psycho is a comedy more than anything else, satirizing the soulless preening of its affluent subjects. Bale delivers one of the greatest performances of his career, alternating frequently between psychopathic emptiness and childlike glee.
Opening with a suicide attempt and a childhood montage set to The Who’s My Generation, it’s clear that A Silent Voice isn’t an ordinary anime film. The movie follows Shoya, a young man haunted by guilt. In elementary school, he was one of a number of kids who bullied a deaf student named Shoko Nishiyima until she changed schools. When the other kids point to Shoya as the sole culprit, he ends up an outcast, the target of bullying himself. Years later, Shoya is consumed by self-loathing and a desire to make things right, so he learns sign language and reaches out to Shoko in hope of atoning. In the process, the two of them, as well as the circle of friends that forms around them, confront the pains of honest communication. A Silent Voice is a beautiful film, with lush animation, some striking visual flourishes, and a story that delves into its characters’ complicated, occasionally repulsive personalities.
Although it came out in 1976, Sidney Lumet’s pointed satire Network feels prescient even today. The film begins with a news anchor, Howard Beale (Peter Finch), having a mental breakdown on air after he learns his show will be canceled due to bad ratings. His ranting ends up causing a surge in ratings, and so the higher-ups at the network decide to give him a new show in which he tears into society. Things get weird from there. With a screenplay by legendary screenwriter Paddy Chayefsky, Network is a satire with sharp teeth, and the film’s insights into the nature of the media still cut in the 21st century.
Working odd jobs while struggling to come up with an idea for a novel, jaded writing major Lee Jong-su (Yoo Ah-in) runs into a woman he grew up with, Shin Hae-mi (Jeon Jong-seo). She’s also working a dead-end job to stay afloat, but she’s excited to see Jong-su again, and the two start a fling. When Hae-mi returns from a trip to Africa, however, she has a friend in tow: A wealthy businessman named Ben (Steven Yeun). Jong-su feels an immediate resentment toward Ben, who has charmed Hae-mi. As the three spend time together, Ben reveals himself, little by little, to Jong-su, who begins to understand that behind Ben’s affable veil lurks something dangerous. Burning is an intense psychological thriller, one that touches on issues of masculinity, economic decline, and even international politics; it’s a film that leaves viewers thinking long after it ends.
Now in their 40s, married couple Richard (Paul Giamatti) and Rachel (Kathryn Hahn) have both found success as writers living in New York City, but despite their fulfilling careers, there’s one thing they want but don’t have: A child. Between their attempts at artificial insemination and adoption, Rachel and Richard are chasing whatever chance they can find. Although they’re both reaching for the same thing, the stress of failing to conceive often pits them against each other. Private Life is a beautiful, honest drama, one that explores how relationships, even long-lasting ones, have their ups and downs, and that those peaks and valleys are simply part of life.
Derek Cianfrance’s Blue Valentine is the story of a relationship, its joyous beginning, and bitter end, told through a narrative that jumps back and forth in time. When they first meet, Dean (Ryan Gosling) is a high-school dropout working for a moving company, while Cindy (Michelle Williams) is a med student, but despite their different backgrounds, they end up dating, with Cindy drawn to Dean’s effervescent, romantic personality. After Cindy discovers she is pregnant (though likely with her ex’s child), they start a life together. The film examines them throughout their years together as the two, once so passionate, grow increasingly irritated and somewhat disinterested in each other. It’s a brutal look at the arc of love, and an honest one.
From director Francis Lee, God’s Own Country is a gorgeous tale of romance set amid the rough beauty of the Yorkshire moors. The film begins with Johnny (Josh O’Connor) living on a farm with his father, Martin (Ian Hart), and grandmother, Deirdre (Gemma Jones). As his father and grandmother are in no shape to handle the physical labor of the farm, Johnny takes care of it, stumbling each evening into drinking and loveless flings with other men. After the family hires a Romanian immigrant, Gheorghe (Alec Secareanu), to help out with the farm work, he and Johnny grow close. It’s an intimate film, built around subtle performances and Lee’s appreciation for the vast, beautiful countryside.
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