Rolling Stone


When the streamer’s shows are good, they’re very good


20. Sex Education 2019-PRESENT

YA has been a fruitful category for Netflix, particular­ly this rollicking Britcom. Shy teenager Otis (Asa Butterfiel­d) has been miserable growing up with a single mom who’s an outspoken sex therapist (Gillian Anderson). But when the kids at his school start having relationsh­ip difficulti­es, Otis, his queer best friend Eric (Ncuti Gatwa, in a star-making performanc­e), and Otis’ crush Maeve (Emma Mackey) start up a bootleg sex clinic to help their classmates get satisfacti­on. A comedy as sweet as it is silly, it explores a wide range of sexual and romantic relationsh­ips.

19. The Haunting of Hill House 2018

Horror filmmaker Mike Flanagan has graced Netflix with an unofficial franchise featuring many of the same actors (see also

The Haunting of Bly Manor and Midnight Mass), starting with this crackling adaptation of the Shirley Jackson novel about a family that can’t escape the history of the haunted house where they lived (and some of them died). Even at a time when it feels obligatory for a prestige drama to do long, continuous shots, the Hill House episode presented that way was a marvel.

18. The Baby-Sitters Club 2020-2021

Though adaptation­s of famous IP are all the rage right now, Netflix somehow couldn’t find a big enough audience for this warmhearte­d take on Ann M. Martin’s beloved book series about a group of middle-school girls who start up their own babysittin­g business. But those who did watch found a lot to cherish in the ways the show modernized aspects of the novels — in one episode, the shy Mary Anne (Malia Baker) stands up to ER doctors who keep misgenderi­ng her latest charge — while staying true to their coming-of-age heart.

17. Stranger Things 2016-Present

Like Steven Spielberg’s Jaws sent the movie business on a never-ending hunt for blockbuste­rs, the success of Stranger Things — itself an homage to the Eighties works of Spielberg and Stephen King — transforme­d Netflix from a company happy with boutique hits and critical acclaim into one that wanted its shows to attract huge audiences. If the series has begun to feel bloated in its later seasons (and if the kids look old enough to run for Congress), it’s still terrific popcorn entertainm­ent that’s made at least one great new star in Millie Bobby Brown as the telekineti­c Eleven.

16. Lady Dynamite 2016-2017

In its earlier years, Netflix built a large stable of shows whose individual audiences may not have been huge, but were designed to be some viewers’ all-time favorites. Perhaps no series symbolized this creative ethos more than Lady Dynamite. Inspired by star Maria Bamford’s struggles with bipolar disorder, it was weird, sad, and surreal as it bounced through multiple eras of her life, including the future.

15. The Crown 2016-PRESENT

The “10-hour movie” storytelli­ng model has been bad for most Netflix dramas. One exception: Peter Morgan’s old-school (in every sense) docudrama about Queen Elizabeth (played so far by Claire Foy and Olivia Colman, with Imelda Staunton set for the final seasons). The show wisely goes with a traditiona­l crisis-ofthe-week format, so that each episode has its own conflicts, even as they feed into fascinatin­g larger questions about how the royals have to sublimate their own desires in service to an ideal they were born into.

14. Dear White People 2017-2021

Not every movie lends itself well to being adapted for television. The translatio­ns that work tend to involve ideas where there was more to say than could fit into a feature-length film. Case in point: Justin Simien’s expansion of his sharp 2014 film about

Black students at a predominan­tly white Ivy League school. The show had four seasons’ worth of room to explore the perspec

tives of what felt like everyone on campus, and to do bold experiment­s like turning much of the final season into a musical.

13. Squid Game 2021-PRESENT

Netflix has been way out ahead in terms of acquiring or developing programmin­g for its internatio­nal markets ( Elite, Money Heist, Lupin). The best of these series is Squid Game, a riveting dystopian thriller out of Korea about financiall­y desperate people who agree to compete in a deadly, winnertake­s-all competitio­n inspired by schoolyard games like Red Light, Green Light. A triumph of both social satire and production design, it became a rare word-of-mouth phenomenon.

12. When They See Us 2019

It was an infamous story made even more harrowing when it became clear the cops and the media had gotten it so wrong: A woman was brutally raped in Central Park, and five young men of color were convicted, only to be exonerated years later, when the real attacker confessed. Ava DuVernay’s dramatizat­ion of the story packs a wallop throughout, but especially in the sequences depicting what Korey Wise (Emmy winner Jharrel Jerome) endured as the only member of the Central Park Five sentenced as an adult.

11. Mindhunter 2017-2019

David Fincher executive-produced House of Cards, but his best contributi­on to Netflix was his return to the serial-killer territory of Se7en and Zodiac. This time, he approached the genre from a different direction, with a drama about the FBI agents (played by Jonathan Groff and Holt McCallanny) and psychiatri­st (Anna Torv) who created the science of criminal profiling. The bulk of the show is just the agents talking with incarcerat­ed monsters — making Mindhunter the odd thriller that’s all talk and little action, and much more interestin­g for it.

10. Unbreakabl­e Kimmy Schmidt 2015-2019

We have to blur the lines to call Kimmy a Netflix original, since the first season was produced to air on NBC, before network executives there panicked that the show — about a young woman (Ellie Kemper) rescued from years trapped in a doomsday cult’s undergroun­d bunker — would be too weird or sad to work for them.

But Tina Fey and Robert

Carlock’s creation had a healthy and frequently hilarious four-season run when it surely would have died within a few weeks on NBC. A win-win.

9. One Day at a Time 2017-2019

Even beyond Kimmy Schmidt, Netflix built an early reputation as a viewer-friendly place by rescuing canceled shows from broadcast and cable networks. Eventually, the roles reversed, and we had a situation where this smart, funny, and poignant Norman Lear revival — starring Justina Machado as a Cuban American single mom raising teen kids with the help of her mother, Lydia (Rita Moreno), and dealing with hot-button issues like immigratio­n, sexuality, and PTSD — was canceled by Netflix and then revived for a fourth season by cable channel Pop.

8. Unbelievab­le 2019

Netflix and actress Merritt Wever have been a strong team over the years. She won an Emmy for her gun-slinging role in 2017’s Godless, stole scenes in Marriage

Story, and was phenomenal here as an empathetic cop (alongside Toni Collette) on the trail of a serial rapist. TV is inundated with mediocre true-crime dramatizat­ions, but Unbelievab­le — which featured a fantastic Kaitlyn Dever as a victim of the rapist who was somehow charged with lying to police about it — is one great enough to live up to its title.

7. Master of None 2015-PRESENT

Aziz Ansari’s Master of None was among the best of the wave of auteurdriv­en TV in the 2010s. He wrote, directed, and starred in the show’s ambitious and lovely early seasons, which mixed stories of his alter ego, Dev, who was looking for love, with tales of the people in Dev’s life: his immigrant father’s journey to America, his friend Denise (Lena Waithe) gradually coming out to her family, even a digression about New York cabbies. After a long break, it returned last year with a Scenes

From a Marriage- inspired story about Denise, which was less interestin­g, even as it suggested that Ansari and Waithe had not run out of ambition.

6. I Think You Should Leave With Tim Robinson 2019-PRESENT

Each season of Tim Robinson’s sketch-comedy delight is six episodes of less than 20 minutes apiece. Yet within that efficient packaging exist indelible, explosive comedy bits, many of them about people who take some dumb belief and refuse to let go of it until everyone around them is deeply uncomforta­ble. Bonus points for the hot-dog car sketch (“We’re all trying to find the guy who did this!”) becoming the single most useful meme of the past four years.

5. Big Mouth 2017-PRESENT

An animated show about middle schoolers that probably shouldn’t be watched by middle schoolers, Big Mouth focuses on the rampaging horniness of characters like Nick (co-creator Nick Kroll), Andrew (John Mulaney), Jessi (Jessi Klein), and the pillow-molesting Jay (Jason Mantzoukas). And that’s even before we get to all the filthy fantasies put into the kids’ heads by hormone monsters like Connie (Maya Rudolph). Yet for as graphic as the series gets, it has a fundamenta­l empathy for kids going through one of the most uncomforta­ble stages of life.

4. American Vandal 2017-2018

Speaking of scatologic­al adolescent ridiculous­ness, consider this note-perfect spoof of truecrime podcasts and docuseries in which a pair of high school filmmakers investigat­e two mysteries: Who defaced 27 cars in the faculty parking lot with drawings of penises, and who contaminat­ed the cafeteria lemonade to make their classmates lose control of their bowels? As satire alone, it was wonderful. But beneath all the dick and poop jokes was an insightful and poignant look at the kids caught up in all this gross-out behavior.

3. Russian Doll 2019-PRESENT

We’re finally entering the realm of Capital-G Greatness. Natasha Lyonne graduated from the next show on this list to her own co-creation: a high-concept series that bent genre as easily as it bent the laws of physics. In the flawless first season, Lyonne’s irrepressi­ble Nadia was cursed to die and be reborn over and over again on her 36th birthday. In the messier but still delightful second season, she began quantum leaping into the young lives of her mother and grandmothe­r. Russian Doll is brimming with ideas and energy in a way few recent series (on Netflix or otherwise) can equal.

2. Orange Is the New Black 2013-2019

House of Cards was the kind of middle-aged-male antihero drama that television had seen plenty of before. Orange, a dramedy set at a federal women’s prison with an enormous cast crossing boundaries of race, sexuality, gender, and more, felt brand-new, and like a sign that the streaming era would have lots of room for

TV to keep evolving. That’s not quite what happened, and Orange was more creatively uneven than many shows on this list. But its best moments were remarkable and symbolize a road the streamer hasn’t taken nearly as often as it could.

1. BoJack Horseman 2014-2020

Yes, the one indisputab­le Netflix masterpiec­e is an animated dramedy about a depressed horse (Will Arnett) who once starred in a bad Nineties family sitcom and now contents himself with abusing both drugs and the trust of anyone who cares about him. BoJack was a parody of modern dramas about middle-aged male antiheroes who get away with everything. But it was also a supreme example of the form, as laugh-out-loud ridiculous and as soul-crushingly sad a show as has been produced during the streaming era.

Mackey and
Butterfiel­d share carnal knowledge.
SEXPERTS Mackey and Butterfiel­d share carnal knowledge.
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ?? REIN MAN
BoJack tries to get control.
REIN MAN BoJack tries to get control.
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??
 ?? ??

Newspapers in English

Newspapers from United States