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The series follows Mae, who meets George (played by Charlotte Ritchie) after one of their comedy shows at a Manchester club. The two begin dating, forcing Mae to confront their past as a drug addict and George to grapple with her sexuality. It’s a raw, funny and incredibly relatable exploration of the messiness of modern romance. Sophie: A Murder in West Cork is also worth a watch simply because, instead of relying on common true-crime tropes, it offers a refreshingly real, sensitive and victim-centric take. Set in the fictional kingdom of Ravka (inspired by 19th-century Russia), Shadow and Bone follows Alina Starkov, an orphan cartographer who discovers she possesses the ability to create light. She joins an army of fellow magic-users (known as Grisha) as they fight to save Ravka from the Shadow Fold, an ever-expanding swath of darkness inhabited by demonic winged creatures. The show dropped to rave reviews from critics and viewers alike, and although a second season has yet to be confirmed, given its top-10 spot in multiple countries, we reckon it’s a done deal. Based on the manga of the same name, Alice in Borderland is a gory Japanese sci-fi thriller that follows obsessed gamer Arisu and his friends as they suddenly find themselves in the middle of an empty Tokyo. They soon find out that they’re not alone, and in order to survive, they’ll need to compete in a series of dangerous games that’ll test their mind, body and even their heart. If, like me, you’re left wanting more, you’ll be happy to learn Netflix has confirmed a second season is on its way. The first season is split into two parts, with part two dropping recently to rave reviews. And fans will be happy to know that Lupin part three is a sure thing, with co-creator George Kay suggesting we’ll probably get a fresh batch of episodes in 2022. Set in Regency-era London during high society’s busy social season, Bridgerton follows the matchmaking attempts of the distinguished Bridgerton family and those in their exclusive circle. The series is narrated by the mysterious Lady Whistledown (or, as I like to call her, Ye Olde Gossipe Girle), who happens to be voiced by the iconic Dame Julie Andrews and takes spilling the tea to a whole new level. Whistledown’s scandalous newsletter has the ability to change the fortunes of anyone it names faster than you can say “ton”, and boy does it. It’s the trio’s first TV series, and it’s been an unexpected but very welcome hit – not only in Oz but all over the world. In its first week, it was already trending in the US, UK, Canada and Norway. The best bit? Imagining every foreigner watching the show scratching their heads at the many extremely Australian references (Grant Denyer, Four ‘N’ Twenty beef pies and Toyota Corollas, just to name a few). It’s the trio’s first TV series, and it’s been an unexpected but very welcome hit – not only in Oz but all over the world. In its first week, it was already trending in the US, UK, Canada and Norway. The best bit? Imagining every foreigner watching the show scratching their heads at the many extremely Australian references (Grant Denyer, Four ‘N’ Twenty beef pies and Toyota Corollas, just to name a few). For the uninitiated, Community is a heartwarming comedy that follows a study group throughout their time at Greendale Community College. It stars Joel McHale, Donald Glover, Allison Brie, Gillian Jacobs, Danny Pudi, Yvette Nicole Brown, and Chevy Chase, as the group of mature-age students at the centre of the show. If you’re a fan of feel-good comedies like The Good Place (also available on Netflix) or Parks and Recreation (available on Foxtel Now, Stan, Prime Video, and Binge), then don’t skip out on this masterclass of Family of Choice comedy. The show’s unique format sees protagonist Clancy (voiced by Duncan Trussell) visiting a new universe every episode to interview its inhabitants about their thoughts a variety of topics, from weed legalisation, to forgiveness, and death. The conversation plays out as it would on a typical podcast, while an animated story plays out in the background. For example, the first episode features an interview with addiction specialist Drew Pinksy, represented in-universe as Glasses Man, a tiny president fighting the zombie apocalypse on Earth 4-169. Dividing your attention between the podcast, and the psychedelic on-screen narrative  is itself an exercise in mindfulness, and you’ll come out the other end of the Chromatic Ribbon feeling enlightened and a little teary. Released in May this year (less than 12 months after his suspicious jail cell death), Jeffrey Epstein: Filthy Rich tells the story of the survivors of the disgraced financier and sex offender. This four-part series will make your blood boil and leave you with more questions than answers, but it’s a must-watch. Thankfully NBC was there to slap the cuffs on Nine-Nine’s production after Fox cut it loose. Now we’ve got two more seasons and six of those are ready to stream on Netflix. Season 7 is currently airing and will surely make its way to Netflix once it wraps up. For the uninitiated, the series follows Geralt of Rivia (played here by Henry Cavill), the titular Witcher who makes his coin slaying a whole number of monsters. He’s a gruff lone wolf who only looks out for himself. That is until fate unites the tough-as-nails bounty hunter with a powerful princess. The fantasy-averse might find The Witcher’s heavy exposition and lore a little stiff but fans of the book and video game series will not be disappointed with Netflix’s warts-and-all portrayal of the grumpy Lothario. On paper, it doesn’t sound like anything revolutionary: A sexually and socially awkward teenager makes waves at by school offering a “sex advice” service, using lessons learned from his liberal sex therapist mother. But Asa Butterfield (in the lead role as Otis) and Gillian Anderson (Otis’ mother Dr. Jean F. Milburn) somehow take this potentially trite premise and make it one of the most worthwhile shows on Netflix. The show deftly mixes all the palace intrigue of a period drama with the undead slashing of a classic zombie film, sprinkling a layer of martial arts biffo on top for good measure. The zombies are only active at night, meaning each day is spent preparing for the inevitable siege in a new location. It’s tense, clever, beautiful, and one of the best shows around. (Fair warning: watch it in the original Korean with subtitles because the English dubbing is awful.)  On the in-universe timeline, Discovery takes place just before the events of the 1966 original series, and uses the first serious conflict between the Federation and the then-fractured Klingon Empire as a backdrop. Structurally, the show stands apart by relegating the captain to second fiddle behind main protagonist First Officer Michael Burnham. It preserves the philosophical pontificating but speeds up the action for modern audiences. On the in-universe timeline, Discovery takes place just before the events of the 1966 original series, and uses the first serious conflict between the Federation and the then-fractured Klingon Empire as a backdrop. Structurally, the show stands apart by relegating the captain to second fiddle behind main protagonist First Officer Michael Burnham. It preserves the philosophical pontificating but speeds up the action for modern audiences. Claire Foy and Matt Smith have complex, fascinating chemistry as the couple at the heart of the monarchy, and John Lithgow is uncanny as Winston Churchill – the Emmy-winning season one episode “Assassins,” about Churchill’s bruised ego over a portrait painted for his 80th birthday, is an all-time TV great. Trevor, the heir to the disgraced monster-hunting Belmont family legacy, busts out the whip and somewhat reluctantly tries to stop the ensuing slaughter. It’s angsty, dramatic, insanely gory, and beautifully drawn in a pseudo-anime style.  Most intriguingly, Netflix, unlike the BBC in decades past, has encouraged Attenborough to get explicitly political; his commentary repeatedly calls out the need to act on climate change if the wonders depicted are to survive into the future. Honestly, it’s about time. Will Arnett injects BoJack’s alcoholic self-centred depressive streak with just enough pathos to make him likeable – kinda – and Aaron Paul’s deadbeat-but-lovely Todd is the heart that balances out the anthropomorphic bleakness. The show improves after its slow first season and ends up being an insightful critique on the vapid nature of fame and the human condition. And, once again, it’s about a talking horse. Each case is told first-hand by those who investigated, reported on or were closely affected by each death or disappearance, and at the end of each episode, viewers are given an address to send tips and information to – something which has actually led to some good leads on otherwise cold cases.

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