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A coastal storm that will keep us inside for many hours? Yes, folks, it’s binge time. Time to let some excellent shows and miniseries rain down on you, while you hide under your favorite blankie with good snacks close by. Here are some viewing suggestions:

“The Sister”

This four-episode thriller, a British import from “Luther” creator Neil Cross, stars Russell Tovey as a guy who carries a very dark secret involving the death of a young woman 10 years earlier. When a creepy lowlife he hasn’t seen since the incident shows up to warn him that the grave is going to be dug up to make way for new construction, he embarks on a long, complicated campaign of lies to avoid exposure. It’s dark and tense, like any self-respecting British thriller, and it hints at the paranormal. Desperation, bad choices, unexpected twists — good times! Hulu

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“Call My Agent!”

This light-hearted and witty French drama — there are four short seasons — is a full-on treat. It’s about a group of high-powered talent agents, specifically those in a Paris agency called ASK. In each episode, some real-life actor — from Juliette Binoche and Jean Dujardin to Isabelle Huppert and Sigourney Weaver — plays a comic version of his or herself, which is great fun; “The Larry Sanders Show” was a model of this kind of meta material. The agents do their best to pamper their stars, even when the stars are at their most prima-donna-ish. Mostly though, we follow the personal lives of the nine characters who work for ASK, as they deal with personal and professional challenges. Now get to it. Netflix

“A Very English Scandal”

I love it when a true-crime story is adapted for TV with an eye toward historical context and character depth. Amazon’s three-parter about closeted British MP Jeremy Thorpe and his attempt to have an ex-lover murdered in the 1960s is a compelling story in its own right. But, as written by Russell T. Davies (“Doctor Who”) and directed by Stephen Frears (“The Queen”), it also brings in rich themes of political self-interest, homophobia, the cruelty of stiff upper lips, and the way justice tips toward class and money. Plus, Hugh Grant, as Thorpe, beautifully turns his charm into something nefarious, and Ben Whishaw is perfectly cracked as his victim. Amazon

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Ethan Hawke (left) and Joshua Caleb Johnson in Showtime's "The Good Lord Bird."
Ethan Hawke (left) and Joshua Caleb Johnson in Showtime's "The Good Lord Bird." William Gray/SHOWTIME

“The Good Lord Bird”

This seven-episode adaptation of James McBride’s celebrated novel is a spirited, dramatic, and comic romp about the uphill battle of abolitionist John Brown, whose 1859 raid of the Harpers Ferry armory helped trigger the Civil War. Played with much theatricality by Ethan Hawke as a social irritant of the first order, he holds onto his love of this country and his commitment to equality even as he faces the gallows. Hawke is impressive, and so is Joshua Caleb Johnson, who plays a 9-year-old Black boy nicknamed Onion who is the show’s other, quieter hero. Brown thinks Onion, whom he has brought into his crew, is a girl, and Onion doesn’t argue with him, wearing dresses throughout and coping with all kinds of funny, and not so funny, code-switching. “The Good Lord Bird” is a treat, a wonderfully askew story about a loyal ally and his obsessive optimism. Showtime

“Beartown”

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This five-episode Swedish miniseries takes the small-town sports motif of the excellent “Friday Night Lights” to a deeper, and much darker, level. Based on the novel by Fredrik Backman, it revolves around the local hockey team, whose star player rapes the teen daughter of the new hockey coach. No one wants to believe it’s true, and the town slides into cruel denial while the coach’s daughter goes through the agony of revictimization. Yes, it’s rough viewing, but with a excellent cast and a script that finds redemption. HBO

“Hacks”

Jean Smart plays a Joan Rivers-like comic named Deborah Vance who has a residency at a casino in Vegas. She’s Mrs. Maisel much further down the road. Deborah is comfortable, which has taken a toll on the freshness of her performances and her material. Her agent hooks her up with a 25-year-old comedy writer who is dryly ironic and in-jokey, and the two begin a mentor relationship that is twisted, tense, and beautiful. Sexism, ageism, and generational distance are among the themes, but what will keep you hooked is Smart, who is genius in the role. HBO Max

Ncuti Gatwa (left) and Connor Swindells in Netflix's "Sex Education."
Ncuti Gatwa (left) and Connor Swindells in Netflix's "Sex Education."Sam Taylor/Netflix

“Sex Education”

This comic portrait of teen sexuality could have been a British version of “American Pie.” Instead, it’s about the emotional underpinnings of emerging sexuality and gender, told with good humor and plenty of wisdom. Asa Butterfield is hugely sympathetic as teenaged Otis, who is terrified of sex, and Gillian Anderson shows her expert comic timing as his sex therapist mother. The third season arrived recently, and, like the entire series, it’s a sunny pleasure. Netflix

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“Girls5eva”

Yes, it’s silly and punchy. But, you know, comedy is subjective. I laughed out loud many times, and I couldn’t get enough of the comic delivery of Renée Elise Goldsberry, who plays a narcissist to perfection. The show is a parody of show business and the greed machine that creates fads such as the one-hit 2000 girl group Girls5eva, whose surviving members are considering a comeback. The women are also trying to redefine themselves in midlife, and we get to know each one thanks to the strong cast led by Sara Bareilles. The fake pop songs are awful and irresistible at the same time. Peacock

“Frayed”

This six-episode dramedy — which was renewed for a second season — is set in 1980s Australia with lots of giant cellphones and big hair. It’s about a woman living in London, played by show creator Sarah Kendall, who loses her husband and their fortune overnight. She moves with her two teen kids back home to Australia to live with her financially struggling family, with “Schitt’s Creek”-ian results. She has airs, but she is brought down to reality by her crude dude of a brother, with whom she bickers and fights like a 5-year-old, and by her sober mother (played by the magnificent Kerry Armstrong). It’s a warm portrait of extended family, and a bit raunchy, too. HBO Max

Rosie Perez (left) and Kaley Cuoco in HBO Max's "The Flight Attendant."
Rosie Perez (left) and Kaley Cuoco in HBO Max's "The Flight Attendant." PVC@2019/Associated Press

“The Flight Attendant”

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It’s probably an hour or two too long, and the plotting can get a bit loose here and there across the eight episodes. But, in a way not unlike Netflix’s “Dead to Me,” it’s a lot of fun, as elements of suspense and drama combine with a brisk pace and a playful tone. Kelly Cuoco stars as the titular character, a barely functional alcoholic, who wakes up after a blackout beside the bloody corpse of a man (Michiel Huisman) she met on a flight. Whoops. She tries to find out what happened to him, and in the process has imaginary conversations with him. Zosia Mamet is a treat as her lawyer. HBO Max

“Maxxx”

Like “Girls5eva,” this six-episode British comedy is a fierce lampoon of fame and the hunger for it. About a washed-up boy-band star named Maxxx who wants a comeback, it’s cringey — but it’s also witty and, when it comes to Maxxx’s teen son, sweet. The show is written by its star, O-T Fagbenle, best known for playing June’s husband on “The Handmaid’s Tale,” and it’s packed with inside show-biz jokes — an “Imma let you finish” line, for example, when Maxxx grabs the mic from a dead man’s mother while she’s eulogizing her son. Add in an over-the-top Christopher Meloni as a record exec and you’ve got a tart treat. Hulu

“A Teacher”

I admired this miniseries of 10 half-hour episodes, which handles the difficult topic of “grooming” with wisdom and subtlety. It’s about an Austin, Texas, high school English teacher (Kate Mara) who acts out the frustrations in her married life and her desire to stay young by having a sexual affair with a sensitive 17-year-old (Nick Robinson, currently in “Maid”). At first, the show seems to be supportive of their doomed love — until the balance shifts midway, and “A Teacher” becomes a far different kind of story. Created by Hannah Fidell based on her 2013 film, it didn’t get a lot of coverage when it was released last fall — perhaps due to its honest approach to the subject matter. Hulu

Kathryn Hahn in  HBO's "Mrs. Fletcher."
Kathryn Hahn in HBO's "Mrs. Fletcher." HBO

“Mrs. Fletcher”

There’s a smart symmetry to “Mrs. Fletcher,” a superb seven-episode limited series from writer-producer Tom Perrotta. Based on Perrotta’s 2017 novel, it takes on the empty-nest phenomenon, as divorced 45-year-old mother Eve Fletcher (Kathryn Hahn) watches her only child, the self-absorbed Brendan (Jackson White), fly off to college. The story follows mother and son on their at times opposite journeys of self-awareness, gender identity, and sexuality. A super treat for all Hahn fans. HBO

“Dickinson”

I didn’t like this loosey-goosey series about the young life of Emily Dickinson, with its contemporary language, sexual fluidity, and pop music — until I gave it a second chance and fell in love. It’s deeply respectful of Dickinson (played by Hailee Steinfeld) and it brings the lines of her poems into the stories with grace. For all the surrealism (including Wiz Khalifa smoking a joint as Death), the show nevertheless brings us inside the heart and soul of a strong-willed outsider. She is a brilliant young woman coping with the misogyny and gender expectations of her day and wrestling with a massive, mysterious gift. The supporting cast is all aces, notable Toby Huss as her traditional but loving father. The first two 10-episode seasons are available; the third and final season is due next month. Apple TV+

“The Capture”

This is a six-episode British thriller about the terrifying deep-fake phenomenon. It’s set in London, a famously heavily surveilled city loaded with CCTV cameras, where detectives often rely on street footage to solve crimes. But sophisticated deep fakery is changing the game, as they try to find a murderer. One of our most historically dependable faculties — sight — has been rendered unreliable as criminals — and cops — can doctor footage. The twisty story has creative ups and downs, but the concept is consistently haunting. Peacock

From left: Sarah Kameela Impey, Faith Omole, Juliette Motamed, Anjana Vasan, and Lucie Shorthouse in Peacock's "We Are Lady Parts."
From left: Sarah Kameela Impey, Faith Omole, Juliette Motamed, Anjana Vasan, and Lucie Shorthouse in Peacock's "We Are Lady Parts."Saima Khalid/Peacock

“We Are Lady Parts”

This British comedy, about music as a gateway to salvation, quickly became one of my favorites of this year. I binged with a passion. Set in London, it’s about an all-female punk band whose members are Muslim. None of them fits into a stereotype, as women, as performers, and, most clearly, as Muslims. The show dodges more familiar, EZ-to-read tropes, so that a devout Muslim woman can also be a tattooed wild child with a jagged haircut who finds all kinds of redemption and freedom in performing curse-filled songs. The story line is built around the shy Amina, who wants to be in the band — if she can stop vomiting from stage fright. But all the characters are fully — and wonderfully — dimensional. The songs are catchy, too. Peacock

“Please Like Me”

Australian comic Josh Thomas created and starred in this bittersweet, affectionate comedy that lasted four seasons, ending in 2017. It’s one of my favorite little-known shows. Like many series these days, it’s essentially nonbinary — not entirely a comedy and not entirely a drama. Thomas’s Josh is the central character in a small group of pals, all of whom are looking for love and aiming for grace. It’s the opposite of “Seinfeld” or “Friends” in tone; they’re all bonkers, but quietly so, without catchphrases or applause. Josh is an awkward, endearing, and tall gay man caring for his mother, who is bipolar and has suicidal tendencies — all of which adds some gentle drama. Guess who plays Mum’s best friend? A then-unknown named Hannah Gadsby. Hulu

“Back to Life”

I fell in love with this little, precisely observed portrait of a woman recently released from prison, which is from some of the executive producers of “Fleabag.” A fast but meaningful watch, the first two seasons follow an anguished — and yet touchingly buoyant — 36-year-old woman who has just been released after serving 18 years in prison. Miri (played by co-writer Daisy Haggard, who was the sourpuss head of comedy on “Episodes”) is trying to restart her life, but her family and neighbors have a hard time letting her do so. It’s like a light version of the more meditative “Rectify,” with some wonderful humor from Geraldine James as Miri’s pent-up mum and a masterfully gradual unraveling of Miri’s original crime. Showtime

“Upload”

Set in a delightfully depicted 2033, this underrated comedy series (one season so far) from “The Office” guy Greg Daniels reminds me of the Joaquin Phoenix movie “Her.” Dying people can upload their minds to a digital afterlife, and, once dead, communicate online with the humans they left behind. A young guy named Nathan (Robbie Amell) dies, uploads to a fancy heaven, and falls for the still-alive programmer who handles his account. She’s drawn to him too, but, alas, they can’t truly touch. Yup, social distancing, which only increases their longing. It’s sad, and it’s beautiful, too. Amazon


Matthew Gilbert can be reached at matthew.gilbert@globe.com. Follow him on Twitter @MatthewGilbert.