The true beauty of streaming, besides the seemingly endless abyss of content that it offers, is the depth and breadth of its content. First it was cable TV that extended the limitations of what we could watch on TV. Then came pay TV. Now, with streaming, content creators have been allowed to explore any genre, travel any realm, break from any traditional storytelling format. Gone are the days when shows were limited to the half-hour sitcom or the one-hour drama all in the same familiar format. Now, any show can be anything to anyone, each show with the same chance of being a hit with a huge following or finding a cult following with a niche audience.

When I watched Baby Reindeer on Netflix last year, I felt like I was watching something I would or could have never seen on mainstream television ten years ago. It was something so bold, so different, so fascinating and disturbing, which is probably why it became so culturally engaging. I literally couldn’t stop watching.

I felt the same with another show I just stumbled upon, called Such Brave Girls, which can be found on Hulu. This show will not find an audience the way Baby Reindeer did, that’s for sure, but it most definitely is a show I would never have found on mainstream television twenty years ago, probably not even ten or five years ago.

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There’s something about discovering these Australian shows. First it was Mr. Inbetween, which was my inaugural “YOUR WEEKLY BINGE” recommendation, a dark but deeply engaging show that I just couldn’t believe the whole world wasn’t talking about, and then came Colin from Accounts, another under-the-radar Aussie import, a comedy that I fell in love with head over heels, as did everyone I suggested it to. These shows are the kinds of shows I created this feature for: hidden gems that nobody is talking about, nobody is awarding, no publicist is pushing, but are so much better than most of what we are watching. I feel it is my honor—nay, my duty—to find as many of these as possible for you, my loyal reader, so you too can discover these rare gifts that lay beneath the surface of your television landscape. They are there…you just need to know where to look.

And I’m so happy to say I’ve found another Australian miracle. It’s called Fisk, and it’s on Netflix. There are only two seasons currently available on Netflix, even though the third season just dropped in Australia and the UK, but those two seasons are tasty enough. And knowing that a third season is indubitably coming is beyond exciting.

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I was just saying how much I resent shows that are too much into their own earnestness, so it may seem strange that I am now recommending a show as sweet as this, but hear me out.

A Man on the Inside stars Ted Danson as Charles, a widower whose daughter worries is lonely and doesn’t know what to do with himself, so she encourages him to take up a hobby. Following her advice, Charles answers an ad in a newspaper from a private investigator who is looking for someone willing to infiltrate a senior living community to help find out who has been stealing things from residents. The investigation becomes much more than Charles expected as he not only realizes he’s having a lot of fun and is really good at being an undercover investigator, but he ends up really caring about the people who work and live there. What’s going to happen if they find out he’s been lying to them? What’s going to happen when it’s time for him to leave? Will he ever actually find out who’s been committing the crimes? Does any of that even matter when a show is this well written and Ted Danson has truly never been better?

You can’t let this one slip you by. You owe it to yourself, A Man on the Inside is that warm cup of cocoa you crave before bed. It’s one of those rare good things in the world that we should all be grateful exists. Credit to creator extraordinaire Michael Schur, who also created The Good Place and co-created Parks & Recreation and Brooklyn Nine-Nine for giving us another warm blanket of a television show that is funny, warm, clever, sweet and smart—and knows when just the right amount of earnestness is enough.

You will fly through these eight half-hour episodes, so savor them. A second season is coming though, thank goodness. Until then, revel in the goodness that is A Man on the Inside. And yes, make sure your Mom and Dad are watching, too.

The first season of A Man on the Inside is streaming on Netflix. It has been renewed for a second season.

For those of you who follow my binge recommendations closely, you’ll have figured out that I love black comedies. While I have no problem with some sentimentality, when a show is drowning in its own earnestness, it ends up turning me off (which is why you won’t see me recommending Shrinking). But, when a show manages to balance its earnestness with self-awareness, bite and edge, like, say, Ted Lasso or Schitt’s Creek, then I’m all in.

But dark humor is where I’m most at home. Which is why I was so happy to have stumbled onto Deadloch, an Australian crime drama that is as funny and offbeat as it is dark and murder-ridden. Streaming on Prime Video, Deadoch premiered in June of 2023 and its first season is just so much fun. It’s eight episodes, set and shot in Tasmania and loaded with offbeat Australian character actors who are as much of a delight to watch as the mystery is to figure out.

Deadloch stars Kate Box as Dulcie Collins, the senior detective in the small fictional town of Deadloch in Tasmania, Australia. Calling her a senior detective is a bit misleading though, considering there are only three police officers in the entire town. But of the three, she is the boss. Dulcie is only in Deadloch as a favor to her wife, Cath, played by Alicia Gardiner, who wanted to move the couple out to the countryside after living in the city had caused them too much stress. Little did she know that a dead body was about to wash up on the shore of Deadloch, bringing more than a little stress not only to their lives, but to the lives of the whole town. Dulcie is of course thrilled for the opportunity to do some real police work, but she’s challenged by another detective who’s been sent to partner with her, Detective Eddie Redcliffe, played by Madeleine Sami, whose style of policework is, let’s say, slightly different than Dulcie’s. And when I say different, I mean on another planet.

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While the latest incarnation of Sex and the City may have tarnished the brand a little bit, there’s no denying that the original series which aired on HBO from 1998 to 2004 deserves to be in the pantheon of television, an all-timer combination of writing and performances that will no doubt stand the test of time. Given its level of success and popularity, it has naturally spawned many imitators over the years and inspired an entire genre of sexy comedies for adults, but no other series has been able to come as close to its tone and vibe until now.

For anyone that has missed Sex and the City as much as I have, I give you Nobody Wants This, a series with all the wit, relationship drama, female bonding and journeying through the dating hellscape that Sex and the City offered, but with—gasp—more romance. But, thankfully, the same amount of alcohol.

The series is called Nobody Wants This and it’s on Netflix, and it stars Kristen Bell as a somewhat shallow podcaster who falls in love with a sweet but unconventional rabbi, played by Adam Brody. It’s a classic star-crossed romance, done with panache and humor, anchored by the charm and chemistry of Bell and Brody. It’s very L.A.-centric, as it’s shot and set in Los Angeles (those who know Eagle Rock will be very much at home) and is incredibly laid-back and depicts one of those only-in-Hollywood fantasy lands where nobody is ugly and nothing is bad, but giving yourself into it is part of its magic. The New York of Sex and the City ignored all the bad things, too, it’s LA’s turn to be perfect, darn it.

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In 1971, English author Frederick Forsyth published a political thriller about a professional assassin hired to kill the President of France Charles de Gaulle. The book was called The Day of the Jackal and was a huge hit—no pun intended. In 1973, a film adaptation was released, starring Derek Jacobi and directed by Fred Zinnemann, and it, also, was hugely popular. The 1997 film titled The Jackal, however, starring Bruce Willis and Richard Gere, shares pretty much only the word “jackal” and the occupation of the main character with the original Forsyth novel, as the filmmakers just wanted to make a movie about a professional assassin who was really good at disguises. That movie left a lot to be desired, but it resurrected the dormant Jackal character from the ‘70s and without it, I’m sure, we may not have the much more excellent incarnation that we do today.

Peacock needed a hit. They knew they needed more than sports and Poker Face, so they decided to spend some serious coin and go all in on a series that could challenge Netflix for those precious streaming subscriptions (especially if they hoped to charge what they wanted to charge). What they needed was something exciting, mainstream, edgy, well-made and with somewhat of a built-in name recognition. Enter the Jackal. It’s got just enough of a pop culture/literary reference and yet still feels new. Everybody loves assassins (well, in film and TV at least) and if you can throw in an Oscar-winner, it just may be a winner.

Well, Peacock’s The Day of the Jackal, starring Oscar-winner Eddie Redmayne as the titular professional hitman is more than a winner, it hits the veritable jackpot.

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I’m a sucker for British spy thrillers, so when I saw all the ads for the new Netflix series Black Doves, I couldn’t wait to dive in. Netflix drops all episodes in a season at once, so we gobbled these up like candy. But I realized why they do that…if you stop too long to think about the story/plot, it might not taste as sweet. But those empty calories sure are yummy when they are packaged as well as this show is, so, if you like great performances, action-packed spy thrillers, and can overlook some really bad writing, Black Doves is just as much for you as it was for me.

Black Doves stars Keira Knightley as a spy whose been deep undercover in London for 10 years, working for a secretive agency, and Sarah Lancashire plays her even more secretive handler. Ben Whishaw plays an assassin who’s been brought in to protect Knightley’s character, who has potentially been compromised. That’s really all I can tell you, or else, well…you know.

There are so many cool vibes reminiscent of other shows and movies in Black Doves, from The Americans to Mission: Impossible to James Bond to Killing Eve, including a multitude of tones. This is a very dark and violent show, but there is a lot of dark comedy and even a few one liners that liven up the mood a bit. If you are a fan of Killing Eve, you’ll know exactly what I’m talking about. Ella Lily Hyland and the great character actress Kathryn Hunter provide much of this comic sidetracking, but it doesn’t detract at all from the mood of the series, in fact it really helps.

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1. HACKS Season 3 (Max)
2. WHAT WE DO IN THE SHADOWS Season 6 (Final season) (FX/Hulu)
3. BABY REINDEER (Netflix)
4. MANHUNT (AppleTV+)
5. RIPLEY (Netflix)
6. JOHN MULANEY PRESENTS: EVERYBODY’S IN L.A. (Netflix)
7. THE PENGUIN (HBO/Max)
8. MR. & MRS. SMITH Season 1 (Prime Video)
9. SOMEBODY SOMEWHERE Season 3 (Final season) (HBO/Max)
10. SAY NOTHING (FX/Hulu)

One of the best shows that has ever been on television just ended its run and the world hardly noticed.

What We Do in the Shadows is the ultimate “If you know, you know” and, for those of us who watched and loved the show, we will miss it terribly and appreciated every second of its brilliant existence. And, for those of you who don’t know it—yet—there is still time to discover this strange, weird, dark, bonkers and insanely genius show made by some of the most creative, talented, imaginative and twisted artists working today.

Please don’t be put off by the premise: four vampires share a house in Staten Island. Sounds weird, right? Sounds dark and twisted, right? Sounds like Taika Waititi, right? Right on all counts. The show was co-created by Jermaine Clement and Waititi, based on their 2014 film of the same name. In adapting the film into a series, they add the familiar (and overused?) trope of having the story be filmed by a documentary crew, the same narrative trick (crutch?) used by shows like The Office and Modern Family, which allows the audience to get an outsider’s point-of-view of the characters and the stories.

Unlike The Office and Modern Family, however, WWDITS actually leans into the documentary trope much more, even carrying it through to the very end, wrapping it up in the finale incredibly poignantly, using it to simultaneously highlight the series’ warmth and heart along with its total meaninglessness. It’s a brilliant juxtaposition only WWDITS could pull off.

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It’s been almost a year since the last episode aired of season five of Fargo, the best crime drama on television since Breaking Bad, and I miss it every day. While Breaking Bad still stands as my favorite show of all time, Fargo has rapidly risen to be among my all-time faves, with season after season of crime-filled dramatic brilliance from creator Noah Hawley.

While there can be no true substitute for Fargo, I am always looking for something to scratch that itch between seasons—which take way too long to come—and right now there is The Sticky, a light, somewhat silly but certainly entertaining Fargo wannabe that doesn’t come anywhere close to the gravitas or quality of its illustrious inspiration, but is just charming enough to win me over.

Starring the great Margo Martindale, The Sticky is a new short-and-sweet (pun intended) 6-episode series on Prime Video about a maple syrup farmer who schemes to steal syrup from the Canadian Syrup Association, who she feels is ripping off the small-town farmers in their rural Quebec town. Martindale’s character, Ruth, teams up with a bumbling security guard and a small-time mobster to try to pull off the heist, which, of course, hits multiple obstacles, including the cops, who are just a step behind them.

The series is funny and fast-paced—it has to be, when the whole story is told in six half-hour episodes—and dark when it needs to be. There’s nothing original here and everything feels ripped off from something else, whether it’s Fargo or Breaking Bad or every heist film ever, but that’s totally not the point. This is brisk and silly, a crime drama almost mocking itself, yet never reaching over too far into campiness (except when one specific famous guest star goes over the top, but that’s not the show’s fault).

So, if you’re looking for a show that won’t require a long investment, will engage you ever so slightly, will amuse you and keep you entertained and not force you to think too much—or really at all–I recommend The Sticky, aka Coens, Canadian style.