The best shows of 2023 so far… and where to watch them

These are the shows we’ve gotten excited about throughout the year – and where you can watch them.

Can’t decide what to watch? Well, look no further—there’s bound to be something on this list of our fave shows so far this year, whether you’re watching for the first time, or revisiting a recent highlight.

This post will be updated each month with new recommendations. And, for the avoidance of any confusion, these are titles we covered in 2023—as opposed to what a formal release year might say—and there’s a chance not all of them will be available where you are.

Look, we just want you to watch some good stuff, OK? So you can add these to your watchlist, or whatever.

(You can also check out The best movies of 2023 (so far), The best shows still to come in 2023 and The best movies still to come in 2023.)

LAST UPDATED NOV 24, 2023

Having gotten her groundbreaking cooking show on air in the first season, the first season two episodes of this 1960s-set gently comedic biopic see Julia Child travel to the culinary wonderlands of the French Riviera and Paris. Back home, there are still pots brewing on the home front—network machinations, sexual liberation, and civil rights among them… “If you haven’t taken a bite of Julia yet, what are you waiting for?” wrote Steve Newall: “Bon appétit!”

Minnesota and North Dakota of 2019 provide the backdrop for season five’s fresh tale, centred on a seemingly typical Midwestern housewife (Juno Temple), who proves resourceful when a shady past threatens to catch up with her. Jon Hamm’s the sheriff on her tail, while the rest of this season’s superb cast includes the likes of Jennifer Jason Leigh, Joe Keery, and Dave Foley. Season five of Fargo feels like its most mature, wrote Tony Stamp: “There are thrills, and comedy, but the ironic detachment is dialled down a bit, and the results are all the more satisfying.”

Spanning half a century, this new series set in the MonsterVerse of Godzilla, Kong etc explores the secretive Monarch organisation and a world living with the existence of giant monsters. With onscreen action set in both the 1950s and early 00s the series also tantalisingly features father and son Kurt and Wyatt Russell playing older and younger versions of the same character. This casting move is dynamite, writes Stephen A Russell, “and the CGI is far more impressive than your average Marvel movie. Looking and feeling expensive, the scope and scale are awe-inspiring.”

A new anime series sees original Scott Pilgrim author/artist Bryan Lee O’Malley serve as showrunner—adapting his own graphic novels as well as expanding the Scott Pilgrim universe. Remarkably, the whole cast of the 2010 Edgar Wright film is on board to provide voices: Michael Cera, Mary Elizabeth Winstead, Kieran Culkin, Chris Evans, Anna Kendrick, Brie Larson, Aubrey Plaza, Brandon Routh, Jason Schwartzman etc etc. “As a whole, the series offers a wild and imaginative spin on a well-trod path,” writes Clarisse Loughrey.

Set eight years after the third season of Ronald D. Moore’s alternate-history space program series, these new episodes take place in 2003. With an internationally crewed base now firmly established on Mars, attention has turned to the opportunities for capturing and mining mineral-rich asteroids—but with this come new challenges (including a labour dispute, coincidentally timed with this year’s Hollywood strikes). Steve Newall’s feature on the show shares what he learned chatting with producers Ronald D. Moore and Maril Davis, and former astronaut and technical advisor Garrett Reisman.

Nathan Fielder, Emma Stone and Benny Safdie involved in the same project is a tantalising prospect—and early episodes have lived up to its potential. Tonally there’s hints of Fielder’s amazing, awkward The Rehearsal—but here he’s in “acting” mode opposite Stone as a couple making a house-flipping reality show, with Safdie’s character producing. As Tony Stamp said, reviewing the first episode: “Awkward, complicated, and much, much weirder than you might imagine, it’s the sort of show you’ll want to discuss with friends as soon as it’s finished.”

Sean Bean and Stephen Graham starred in 2021’s Time, a prison drama miniseries from UK TV legend Jimmy McGovern (Cracker). For its new season, Time proves to be an anthology series, this time around starring Jodie Whittaker (Doctor Who), Tamara Lawrance (The Silent Twins), and Bella Ramsey (The Last of Us, Game of Thrones). It’s tough going, writes Amelia Berry, but it’s not all pain and misery: “Moments of hope, growth, righteous anger, and the rare relief of black comedy, are all given tremendous weight and emotive force in the hands of Whittaker, Ramsey, Lawrence, and the supporting cast.”

 

Corseted girlhood is infused with with blissful, modern energy in Apple TV+’s new series, following a group of fun-loving American girls who burst onto the scene in 1870s London, kicking off an Anglo-American culture clash. Sent to secure husbands and status, the buccaneers’ hearts are set on much more than that. As Clarisse Loughrey writes, “It’s easy to imagine the buzzwords flying around the pitching session included ‘Dickinson‘, ‘Sofia Coppola’s Marie Antoinette‘, and ‘Greta Gerwig’s Little Women‘.”

Multi-era multiverse murder mystery Bodies sees four detectives, living in four different eras, find the body of the same murder victim in London’s Whitechapel… with a sci-fi conspiracy connecting the centuries. “It benefits, certainly, from the fact it’s a limited series,” writes Clarisse Loughrey, “meaning there’s no painful, unresolved cliffhanger to worry about down the line (cough, cough, 1899). There’s a compelling propulsion here, a race to clarity.”

There’s more back-biting, side-eyeing, and rude whispers than you could ever ask for in season two of The Gilded Age, HBO’s depiction of the grandeur and grotesqueries of New York circa 1882 by Downton Abbey creator Julian Fellowes. It’s a masterfully woven web of pettiness, violence, gorgeous gowns, and downright evil amounts of money, writes Amelia Berry: “Season two dives right into the action—giving us even more time for social subterfuge, stunning setpieces, slightly sketchy historical speculation, and a surprisingly compelling season-long B-plot about inventing an alarm clock.”

Now five seasons in, the TV version of What We Do in the Shadows and its cast of vampire housemates have bedded (coffined?) themselves in as one of the strongest modern sitcoms. The new episodes offer some big character changes, but it doesn’t mess much with what makes Shadows one of the funniest shows on television at the moment. “We’re lucky to have it”, writes Clarisse Loughrey: “Admittedly, some of the conceits here aren’t as strong as they’ve been in past seasons, but the cast are now so comfortable in their roles that they can spin gold out of even the weakest of set-ups.”

In this screen adaptation of C.J. Tudor’s novel, a reverend and her daughter arrive at a small village in search of a fresh start but instead find a community driven by mistrust and superstition. Whether The Burning Girls is schlocky folk horror or prestige crime drama (or a bit of both) was a question pondered by Clarisse Loughrey, whose Show of the Week column notes “the very silly and the very sober chase each other around circles like two feral cats”.

20-odd years after it wrapped up, seemingly for good, long-running sitcom Frasier is back onscreen, with Kelsey Grammer returning as the highly strung, and relentlessly highbrow TV psychologist. Fans of the original will probably find enough to enjoy, with James Nokise’s review observing “Frasier 2023 is sort of a spin-off, albeit one that’s still stuck with the original show’s namesake, but right now, more than anything, these episodes feel less like a revival and more like an epilogue”.

Horror maestro Mike Flanagan (Doctor Sleep, Midnight Mass) adapts Edgar Allan Poe’s short story of madness, family, death and various spookiness, blending contemporary Gothic horror with a Succession-y storyline (a powerful CEO’s kids start mysteriously dying off). Luke Buckmaster’s review described the show as “a messily entertaining affair, with occasional screeching peaks and not too many troughs”.

Back for a second season is 18th-century piracy/romantic comedy Our Flag Means Death. Even with Rhys Darby and Taika Waititi torn apart, the show’s tone remains distinct, says Adam Fresco’s review, as it walks a tightrope between historical sitcom and romantic adventure: “Bizarre, bonkers, bold, and brash, over eight rollicking episodes, all sumptuously shot in Aotearoa New Zealand, the pirate comedy continues apace, rewarding fans of the first season with all the silliness turned up.”

After months in recovery for an eating disorder, 16-year-old Mia (Sophie Wilde, Talk to Me) devises a bucket list of quintessential teen experiences to make up for lost time. Clarisse Loughrey described the premise as “some classic John Hughes fare” in her Show of the Week column but notes the show goes beyond Hughes, saying it “embraces the genre, only to offer a more substantive alternative—that the teenage dream doesn’t have to make sense, and it definitely doesn’t have to be easy”.

HBO docuseries produced by the Safdie Brothers’ Elara Pictures (Uncut Gems, The Curse) exposes the rotten American telemarketing industry from within, a motley crew of burnouts and ex-cons blowing the whistle on a crazily unsupervised workplace and wild charity scam. “But oh boy, it becomes much more,” wrote Luke Buckmaster in his review. “It’s thrilling to observe the scope expand from compilations of fly-on-the-wall footage and tell-all interviews to richly layered underdog journalism.”

The Boys spinoff series Gen V follows young-adult superheroes in one of America’s only colleges for caped hopefuls. The show “hones in on the despicable nature of humans treating fellow humans as products to be capitalised on,” writes Liam Maguren in his review. “And while that’s all well and good, Gen V also doesn’t forget to be gross as fuck and raunchy up the wazoo in ways that should have avid fans fist-pumping and/or dry-retching.”

Forget the glitz and glamour, the arenas and entertainment moguls—this docuseries may feature fights in the ring, but it’s also about the battle to keep the struggling professional wrestling league Ohio Valley Wrestling (OVW) afloat. “This is as good as reality TV can get,” according to Eliza Janssen’s review, “seamlessly integrating smaller stories into one fist-pumping mosaic of a community that has long deserved its flowers.”

British screen veteran Nicola Walker plays a sharp, witty and enigmatic detective in stand-out police procedural Annika. Now in its second season, what sets this show apart in a crowded genre? As Amelia Berry’s feature observes, it’s a combination of character, literary allusions, a brilliant theme tune, and just being charmingly odd.

Over four episodes, this docuseries follows the rise and rise of Naomi Campbell, Cindy Crawford, Linda Evangelista and Christy Turlington—aka “the supers”. Charting their careers from the late ’80s to the present, we see how they “transcended their role as mannequins”, observes Cat Woods’ review: “It reveals genuine and lifelong friendships, power and politics in the fashion industry, and an evolution in attitudes towards beauty and ageing.”

This romance of FaceTime flirtations sees two night owls connect while the rest of the world sleeps, one an agoraphobic, the other in a committed but tepid relationship. Clarisse Loughrey commented on the setup’s similarity to the COVID-19 pandemic: “Still Up is one of the most incidentally accurate shows I’ve seen about what we’ve all been through, and it doesn’t even mention rapid lateral flow tests once.”

TV’s latest attempt at sexing up swords and sandals returned for a second season, set in post-Caesar assassination Rome and following a young woman’s transformation into Empress. “It’s a window into the past that turns out to really be a reflection of our present”, noted Clarisse Loughrey in her Show of the Week column: “but it’s smart enough—and, most tellingly, modern enough—not to present us with the shallow girlbossification of Livia Drusilla.”

Bringing to life an enormously popular manga and anime adventure, this live-action series offers zany pirate adventure. Noting its mix of hi-octane energy and barely controlled chaos in its calmer moments, Luke Buckmaster’s review observes: “the plotting feels random and anchorless. But not in a terrible way—more cheerfully adrift than scrambled.”

Queen & Slim (and Beyoncé vid) director Melina Matsoukas helms this new Apple TV+ show starring LaKeith Stansfield. Part fairy tale series for grown-ups, part horror story, part parenthood fable, it’s a perilous odyssey through a secret New York City, adapted from the fantasy horror novel of the same name by Victor LaValle. It’s “as much a rejuvenation of the old epics as it is a modern fairytale,” wrote Clarisse Loughrey in her Show of the Week column.

The lives of victims in New York’s queer community are the focus of HBO true crime miniseries Last Call. This approach is true crime done right, says Amelia Berry’s review, building a powerful story of love, loss, community, and resilience out of a series of brutal, cruel killings. “Whether you’re a murder podcast fan or you’re just interested in the history of queer culture, queer love, and queer death—this is essential, heartbreaking viewing.”

Rose Matafeo’s romcom-subverting series Starstruck returned for a third season, taking a bold leap forward in time and past the breakup of its leads—leaving Jessie (Matafeo) assessing new romantic prospects. Amongst the mundane, but still-sharp observations that litter the show is a real sense of ordinary chaos, Clarisse Loughrey wrote in their Show of the Week column: “It’s all scary and far too much to handle and yet, somehow, life continues on.”

Rosario Dawson reprises the role of Jedi Ahsoka Tano in a new show bearing her character’s name. As Dominic Corry’s review notes, Ahsoka is a great example of how writer-director Dave Filoni’s work on prior Star Wars animated series brings out the best in Disney’s live-action shows. (Corry also notes “the lightsaber battles here are supremely rad.”)

Meryl Streep and Paul Rudd joined the cast of this show about true crime podcasters (Steve Martin, Martin Short, Selena Gomez), but their addition doesn’t overwhelm the central trio, wrote Clarisse Loughey in Show of the Week. “Streep and Rudd have been granted every A-lister’s dream—to poke fun of themselves and reassure fans that the fame hasn’t gone to their heads—but Only Murders in the Building is too smart to settle for straight parody.”

The neurodivergent comedy of Strange Planet sees Nathan W Pyle’s hit webcomic brought to the screen with the help of Community‘s Dan Harmon, following space beings who take a hyper-literal perception of humanity’s quirks. Instead of a comedy where we’re all encouraged to laugh at the socially unaware habits of the (frequently autistic-coded) side character, Strange Planet offers us a comedy where the illogical traditions of neurotypicals form the butt of every joke, writes Clarisse Loughrey. “Finally, the tables have turned.”

Damon Lindelof leans into the more outrageous genre elements of his past shows in Mrs. Davis, set in an alternative 2023 where an all-knowing AI has ended conflict (and arguably enslaved humanity). In an at-times comical adventure, Betty Gilpin plays a nun tasked with finding the Holy Grail, a setup that, as Dominic Corry writes, is not without genuine stakes and drama, but also has a playfulness to it that makes Mrs. Davis such an irresistible, breezy watch. “And it cuts a nice line in casual gore, too.”

Rose Byrne returned for the third and final season of Physical, continuing to trace the evolution of a 1980s housewife into a self-improvement superstar. The critical voice inside Sheila’s head is gone. So what happens next? As Clarisse Loughrey writes, “It’s a question that feels only right for Annie Weisman’s comedy-drama to ask, as it embraces the moral mess within the permed and preened excesses of the eighties”.

Michael Sheen and David Tennant are back as Heaven and Hell’s angels in this show that adapted a novel co-written by Neil Gaiman and the late, great Terry Pratchett for its first season. Moving beyond the published source material, and with Gaiman in charge, “the leads manage a marriage of actors so perfectly cast they may as well be a couple,” says Adam Fresco’s feature, “so comfortable is their on-screen chemistry”.

Picking up from the panicked survival of its first season, and award-winning chef Carmy’s decision to rebrand his late brother’s sandwich joint as a fine dining restaurant, the storm of The Bear season two is upon us. Taking the focus away from day-to-day survival has “allowed the series to slow down and to contemplate,” observes Clarisse Loughrey’s Show of the Week column, “as its characters each pause to consider why they’re bothering to do any of this in the first place”.

New Zealand dystopian comedy Creamerie impressed at the height of the pandemic, set in a world where men have been eliminated by a plague (or have they?), and returns to up the ante. “While season one wrung a lot of drama from tensely-played social pressure, season two throws us right into action-adventure mode,” Amelia Berry’s review observes. “It’s a ratcheting up of pace and intensity that feels like a natural evolution”.

For more on Creamerie, check out our interview with director Roseanne Liang. “I wanna be on the frontiers of tone,” she tells Amelia Berry.

Timothy Olyphant is back as Justified‘s Deputy Marshal Raylan Givens, now in the big city of Detroit with the same big hat. Arriving a good 13 years after Justified‘s first eps, this limited series “doesn’t feel a desperate need to justify itself”, notes Eliza Janssen’s review, even as it moves from the countryside to city skyscrapers.

Fry, Leela, Bender and the rest of the Futurama gang have bounced back into the zeitgeist with the beloved show’s first new episodes in a decade. Getting underway with a literal reboot, watching new Futurama is like catching up with an old mate, according to Luke Buckmaster’s review: “One appreciates the simple pleasures of their company, and the wall of time separating then and now crumbles away.”

Apple TV+’s lavish adaptation of Isaac Asimov’s legendary sci-fi series of novels returned, picking up where the dazzling first season left off. “Foundation is visually stunning, possibly the most breathtaking series available on the small screen that doesn’t involve David Attenborough,” James Nokise said. “In fact, all that Apple money means its shows up most modern films as well. It also means the production can afford some truly remarkable actors.”

Season three of The Great served up more tasty satire and slapstick stupidity set in the outrageous Russian court. And yes, it’s horny, too—”refreshingly, [the show] presents sex largely as it would have been,” Clarisse Loughrey’s Show of the Week column observed, “as a savvy combination of hedonistic indulgence and political manipulation”.

Steven Soderbergh and writer Ed Solomon team up for a strongly-cast, complexly-plotted, limited series thriller. With Soderbergh a modern master of the form, Full Circle “sees him return once again to what he does best,” writes Katie Parker, “in the form of a star-studded, supremely tense kidnapping drama.”

Set in San Francisco’s Chinatown towards the end of the 19th Century, full of underworld and political power struggles, and from a concept by Bruce Lee, we didn’t expect more Warrior after its unfortunate cancellation by Cinemax… until revived by HBO Max. “Over the course of two seasons, Warrior rapidly settled into TV’s best action drama”, according to Aaron Yap, who adds: “Being blessed with this third season might be one of the year’s most delightful surprises.”

Much has been made of Henry Cavill quitting The Witcher, but that almost overshadows that he’s still sword-swinging for one final season. “It’s Cavill’s choice,” says Clarisse Loughrey in their Show of the Week column, “And his own future to decide. The only regrettable part is that his swan song has also become his high point. Geralt, in these five initial episodes of season three, is the best he’s ever been.”

Sorry to Bother You director Boots Riley serves up more acerbic, absurdist comedy in this tale of a 13-foot-tall young Black man in Oakland, California. As James Nokise observes, “Rather than sermonising, and with a self-aware eye to the dangers of Cult of Personality, I’m A Virgo presents its themes wrapped up in striking visuals, touching relationships, sharp jokes, and a lead character whose growth and exploration leaves plenty of options for season two.”

The third season of Danny McBride’s megachurch-skewering comedy mined surprisingly emotional and compassionate territory (even among a heavy dose of cussin’ and dick jokes), cementing its status as one of TV’s most underrated comedies. “There is simply nothing else on television like The Righteous Gemstones,” writes Dominic Corry, “and every time I watch it, I’m so grateful that it exists. I thank God.”

An animated Netflix show might not be the place you expect to encounter a solid critique of neo-fascism, but good on them! As Liam Maguren noted, “These six new episodes unapologetically barge into the topic armed with pointed anecdotes and pop-culture references—from Greek mythology to Pingu.”

Arnold Alois Schwarzenegger tells his own incredible life story in this three-part docuseries, following him from from bodybuilding champ to Hollywood icon to politician. “When it’s at its best, this documentary gives new insight into the man’s life,” writes Daniel Rutledge, “not just his achievements but especially his failures, some of which he’s more ready to honestly acknowledge in his old age.”

Tasmania is the setting for this female-driven comedic take on the small-town murder mystery genre, one full of C-bombs and an OTT, “gunt-forward” loose unit cop turn from Madeleine Sami that dares to be exceeded. “Originally conceived as ‘funny Broadchurch’, it delivers on a compelling mystery, genuinely funny black comedy, pristine cinematography, and an overwhelmingly brilliant ensemble cast, writes Amelia Berry. “Even more rare for the detective genre, Deadloch is a show with a perspective on social politics that feels rooted in the real world.”

Tim Robinson is back for a third season of meme-generating comedy, once again featuring a gamut of guest stars. “Yes, your favourite Robinson obsessions are still present: poop/farts; bad game shows; hair/baldness; cigars; medical advertisements,” observed Sarah Thomson. “But there’s a softness to the edges of Season Three which reads like a deliberate reaction to the world around us, two years after the premiere of Season Two. No spoilers but: these new characters lose less; they find something like understanding and validation far more.”

Seth Rogen and Rose Byrne reteam after their great pairing in the Bad Neighbours pics for this comedy series about old friends reconnecting—perhaps to the point of toxic codependency. “These actors have raced towards each other, from either end of Hollywood’s great spectrum of typecasting, in order to meet somewhere comfortably in the middle,” writes Clarisse Loughrey of the pair’s work here, and previously. “You get the sense that their chemistry is rooted in how freeing it is for them to share the screen.”

Arriving after this year’s other, more heralded, female-led detective show, High Desert might’ve gotten a bit lost. But, as Cat Woods writes, “Patricia Arquette acts her butt off as Peggy. With her Farrah Fawcett peroxide blonde hairdo, oversized aviators and old-school glamour, Peggy is desperately trying to live a Hollywood life on a Happy Meal budget.”

Hugh Howey’s trippy and terrifying dystopian sci-fi made for great TV, set in an enormous underground silo, whose residents have, for generations, survived a calamity outside (or so they believe—so much of this interconnected society runs on faith and trust). “It’s clear from the first episode that the top brass are hiding things from citizens, channeling another evergreen theme: government conspiracies and political gaslighting,” writes Luke Buckmaster.

With its second season, this animated Star Wars anthology series expands its scope from the Japanese studios of its first batch of eps to include some of the best from around the world—including the mighty Aardman animation. “If we’re gonna be saturated in Star Wars content, at least they’re finding room to mix it up like they do here,” writes Dominic Corry. “The variety of perspectives and aesthetics makes a fine case for the unifying power of Star Wars itself, even if this appears to be non-canonical.”

Woody Harrelson and Justin Theroux lead this comedic series recounting the events leading up to the Watergate scandal (and its fallout) from the perspective of the hapless operatives involved. “It may open on a dated 1972 Home Box Office logo, but the overall feel is a modern, but not achingly contemporary, TV show,” wrote Steve Newall. “Maybe it’s the suits and ’taches, but I kept thinking it felt like a small screen version of Shane Black’s excellent buddy-cop comedy The Nice Guys—another period-piece example of successfully housing various tones to strong effect.”

The other side to the calm of small-town Texas life is stifling boredom—both of which are shattered by an extra-marital affair, and the not-manufacturer-recommended use of an axe… “[Elizabeth] Olsen is extraordinary in the role,” writes Katie Parker, “and whether we see Candy as a cold-blooded killer or a woman ruined by one particularly unlucky day, can turn on a dime in her hands”.

Bill Hader’s Barry was one of the crop of great shows wrapping up this year, and he raised the bar with this fourth and final season of his Hollywood hitman black-as-black-can-be comedy. “Hader had directed eps since the beginning but he upped his game in the third, noted Tony Stamp, displaying a remarkable eye and unique style, and in the show’s final season he’s truly found his voice. And Barry has reached its final form.”

Brilliant black comedy/drama drilled into the motivations behind manifestations of anger, with a road rage incident provoking a spiraling pattern of retaliation (as well as reflections on the second generation Asian American experience, and, um, an Incubus cover for the ages). “The most exhilarating thing about Beef is how it both engages with and validates the most straightforward explanations for Danny and Amy’s mutual wrath,” notes Clarisse Loughrey’s Show of the Week column, “while also picking at those scabs to see if there’s something underneath.”

Wisely not prolonging the uber-wealthy machinations, Succession wrapped up after four seasons of addictively watchable family infighting, corporate power struggles, and magnificent insults. “It shows that we haven’t strayed far from creator Jesse Armstrong’s original plan to craft a biopic of the Murdoch family,” writes Eliza Janssen, “the angst of privilege and global power still ringing true as Succession’s highest material stakes.”

Daisy May Cooper-starring dramedy may have a familiar premise—working-class single mum and aspiring writer hustles to make a good life for her daughter. “But the sheer oomph and energy of Rain Dogs is what hits you first,” Luke Buckmaster notes, “before the performances take hold and [creator Cash] Carraway’s vinegary comedy works its soured charm.”

Mando came back for more, even if Pedro Pascal did admit it’s not always him under the helmet… “Within the current rollercoaster of Star Wars, The Mandalorian stands as the flagship show, and the standard-bearer for what modern Star Wars can be,” said Dominic Corry. “For me, it captures more of the spirit of Star Wars than the sequel trilogy.”

That we haven’t listed a competitive reality show here might not be a huge surprise (at least, without Top Chef’s latest season not being locally available). But this OTT show lived up to its title—Physical: 100’s Greek mythology aesthetic and completely unscientific methods of finding this “perfect body” should be an obvious sign that the show isn’t taking the conceit seriously,” writes Liam Maguren. “What it does do, however, is create some incredibly compelling match-offs crafted to test the major aspects of physical performance—agility, strength, endurance, balance, and willpower.”

Hollywood’s down-on-their-luck actor/caterers (or more accurately caterers who try to be actors) were resurrected for new episodes of this cult comedy series. “When you’re stuck in a rut, time starts to lose its meaning,” observed Clarisse Loughrey. “That’s the raw and mildly horrifying truth that drives the revival of Starz’s Party Down, a sitcom about a bunch of LA types stuck in the catering business. It’s also the very thing that prevents this six-episode arc from feeling like yet another one of those exercises in cheap nostalgia. Because how can you mourn a reality that you haven’t exactly been able to escape?”

OK, this one is just for New Zealand readers (for now…?) but comedian Guy Montgomery’s revival of the spelling bee genre married the best aspects of panel shows with his very real, and highly enthusiastic, fascination with words. In his interview with Montgomery, Steve Newall noted “a traditional format is being milked for all its mirth, especially when it comes to extracting litres of misery from its guests.” Seek it out—or see in person at a comedy fest if you get the chance.

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Get around it! pic.twitter.com/7LxGh4ce4c

— Guy Montgomery (@guy_mont) January 29, 2023

The epitome of comedic playing-dumb interviewing, as Philomena Cunk, comedian/actor Diane Morgan asks the most side-splitting questions of experts with the straightest of faces. It’s just about the funniest thing you can stream right now, said Amelia Berry: “a decade in, Philomena Cunk has become one of British comedy’s stupidest and most enduring voices and now, finally, you can find out why.”

It’s an understatement to say there were huge expectations attached to this adaptation of the incredible post-apocalyptic (but definitely NOT about zombies, ok?!) video games. But, as Daniel Rutledge noted in his feature The 9 best things the first 9 eps of The Last of Us got right: “They did it. Somehow, they pulled off a live-action adaptation of The Last of Us that is as good as the game, with a TV show that adds a considerable amount of meaningfulness to the series overall.”

Rian Johnson’s Columbo riff recalibrated the ‘howcatchem’ detective genre, with a murder-of-the-week structure that toyed not only with our ideas of who a victim would be, or how a killer would get caught, but how Natasha Lyonne’s Charlie Cale would form a personal connection with each of the deceased. Among many excellent eps—the Nick Nolte-starring homage to animation legend Phil Tippett. “Just as he subverted whodunnit tropes with the two above-mentioned movies [Knives Out and Glass Onion], Johnson is swerving expectations with the series in question, Poker Face,” writes Dominic Corry. “In a good way.”