Stranger Things didn’t just arrive; it conquered. Since its 2016 debut, the Duffer Brothers’ sci-fi horror hit has cemented itself as one of Netflix’s most unique and highest-rated original series. With Season 4 looming on the horizon for a 2021 return, it’s the perfect moment to look backward. How did the streaming giant go from the risky debut of House of Cards in 2013 to producing surprise darlings like Russian Doll and The Umbrella Academy? The answer is a mix of brilliant bets and expensive misses.
We are ranking the 40 highest and lowest-rated Netflix original series released between 2013 and today, based entirely on Rotten Tomatoes scores. Let’s get into the good, the bad, and the “why did we pay for this?”
40. Real Rob (Lowest Rated)
Critics Score: N/A
Audience Score: 80%
Rob Schneider has never exactly been at the top of the comedy pile. He spent years riding the coattails of Adam Sandler, seemingly after realizing that no one in their right mind would pay to see a third Deuce Bigalow movie. Real Rob was supposed to be his redemption arc. It was his chance to prove he could be funny and carry a TV series.
Unfortunately, it accomplished neither.
The show steals heavily from the concept behind Louis C.K.’s FX series Louie. It depicts an exaggerated version of Schneider’s actual life, mixing standup sets with scripted drama. But it is a pale imitator. Almost nothing works. Schneider relies on offensive stereotypes. The lead character is completely unlikable. Why does this matter? Because there are far more talented comedians producing sharper, more insightful work right now. Look at Aziz Ansari’s award-winning Master of None, another Netflix Original. Compared to that, Real Rob is inessential. It is easily one of the worst things Netflix has produced.
39. American Vandal (Highest Rated)
Critics Score: 98%
Audience Score: 91%
True-crime TV was exploding when Making a Murderer took over the cultural zeitgeist. It was only a matter of time before someone parodied the genre. Enter American Vandal. It is a mockumentary following high school students producing a web series about a strange incident at their school. The crime? Someone spray-painted “a bunch of dicks” on the teachers’ cars in the faculty parking lot.
You expect non-stop penis jokes. And there are plenty. They are hilarious. But the show evolves into a funny, well-crafted whodunit. Despite being a farce, you become invested in finding the culprit. It doubles as an excellent high school drama with clever writing and great performances. If you need a new show to watch, this should be near the top of your list.
38. Marco Polo (Lowest Rated)
Critics Score: 67%
Audience Score: 94%
We really wanted to like Marco Polo. The budget was nearly $100 million for the first season. That kind of spending generates hype. The 10-episode freshman season dropped with a lot of fanfare. It was a letdown.
Viewers seemed to enjoy the spectacle. Critics were harsh. They labeled the show following the explorer through 13th-century China as “lifeless,” “sluggish,” and “empty.” Many called it a Game of Thrones rip-off. It feels like an expensive debacle. Yet, Netflix renewed it for a second 10-episode season, which premiered July 1, 2016. It was officially canceled for good in December 2016. A lot of money for nothing.
37. Ozark (Highest Rated)
Critics Score: 73%
Audience Score: 92%
Jason Bateman is mostly known for comedy. You know him from Hancock, Horrible Bosses, and Arrested Development. He even voiced a sly fox in Zootopia. So, seeing him trade in the comedy for a dramatic role as a big-time cartel money launderer was a shock.
Rather than a slow burn like Breaking Bad, Ozark kicks off with the s**t hitting the fan. Bateman’s character, Marty Byrde, uproots his family to the Ozarks. The goal? Pay off Mexican drug lords after being screwed by a former business partner. Soon, the whole family is in on the action. They hide money in the walls. They duck questions from locals and FBI agents.
Byrde’s interactions with the residents make the series worth watching. He struggles to keep his secrets while trying to make enough money to prevent his family from being murdered by Mexican criminals. Season two was ordered just a month after the premiere. On October 2018, Netflix renewed the series for a third season. It was scheduled to be released in 2019.
The list continues.
36. Huge in France (Lowest)
Released in April 2019, this comedy follows Gad Elmaleh. He plays a French comedian who moves to Los Angeles. His goal is to reconnect with an estranged son. The catch is simple. He is a massive star in France. In America, nobody knows who he is.
It’s a fish-out-of-water premise. Yet the show struggles to launch. The characters are likable. The humor is quirky. But the plot never gains momentum. Elmaleh just isn’t funny enough to carry the weight. You might toss it on while cleaning the house. It’s not terrible. Just forgettable. If you need a real laugh, stick to Master of None or BoJack Horseman.
35. Dark (Highest)
Including Dark here feels odd. But trust us. Give it a shot. The German sci-fi series debuted on Netflix in December 2017. It started with little fanfare. Now it has a cult following. The story involves disappearing children. Wormholes. Troubled families. It’s creepy.
The show spans three time periods: 1953, 1986, and 2019. Yes, three. It’s complicated. You can watch the dubbed English version. Or stick to the original German with subtitles. The lip-sync issues in the dub are noticeable. But they don’t ruin the experience.
Critics compare it to Twin Peaks. And Stranger Things. That is high praise. The cast of unknowns delivers a complex, layered narrative. It’s a strange inclusion. But it stands out as one of the best.
34. Hemlock Grove (Lowest)
Netflix tried a horror-thriller with Hemlock Grove. It didn’t work. Based on Brian McGreevy’s novel, the show explores strange events in a fictional Pennsylvania town. Bill Skarsgard and Landon Liboiron star as a wealthy heir and a newcomer. They investigate brutal murders.
It was one of Netflix’s first originals. It premiered right after House of Cards. But while House of Cards soared, Hemlock Grove sank. Critics panned the poor acting. They called out the slow pace. Time magazine listed it among the ten worst TV shows of 2013.
Despite the universal dislike, it got two more seasons. Finally, it was axed in 2015. It remains a cautionary tale for early streaming originals.
33. The Crown (Highest)
The Crown is Netflix’s most expensive TV show. It cost over $100 million. That is one of the highest budgets ever for a television production. But the quality matches the price tag. The drama follows Queen Elizabeth II’s early reign. It covers her ascension after her father’s death. It shows her political battles with Winston Churchill and Jacqueline Kennedy.
Claire Foy and Matt Smith anchor the series. They play a royal couple with surprising, relatable relationship problems. The show is a character portrait. It also examines the role of constitutional monarchy in the 20th century. Period pieces aren’t for everyone. But this is one of the best in recent memory. The attention to detail is impeccable. The performances are incredible. It earns its high ratings.
32. Marvel’s Iron Fist (Lowest)
Before The Defenders and The Punisher tried to right the ship, Marvel’s Netflix shows were declining. Luke Cage had a strong start but faded. Compared to that, Iron Fist looks like a masterpiece. It shouldn’t.
The show is a 13-hour slog. The writing is bad. The fight scenes are poorly choreographed. Danny Rand is a snoozefest. Finn Jones plays the lead with zero charisma. It’s hard to invest in his war against The Hand. That mysterious ninja order also dragged down Daredevil ’s second season.
There is one silver lining. Iron Fist lacks essential Marvel Cinematic Universe material. You can skip it. You won’t miss anything crucial for understanding The Defenders. It’s a missed opportunity for the Marvel Netflix universe.
The gap between a cultural phenomenon and a forgotten footnote in streaming history is often thinner than you’d expect. Some shows redefine genres. Others just clutter the menu. Looking at the data, you can trace exactly where Netflix’s bets paid off and where they blew the budget for little return. We are looking at entries 31 through 27 in a broader ranking of Netflix Originals, and the variance in quality is stark.
Godless
This Western didn’t just arrive; it took over. A brutally violent R-rated miniseries starring Jeff Daniels as a charismatic gunslinger turned bad guy? That hook alone was enough to pull us in. But Godless delivered far more than a simple premise.
It debuted in late 2017 and became an instant binge-worthy hit. Even people who don’t normally watch Westerns found themselves locked into the seven-part story. The praise was relentless. The Washington Post and Vanity Fair both named it one of the top 10 new shows of the year. That is high praise when you consider the crowded landscape of 2017.
The performances carried the weight. Daniels played Frank Griffin with a chilling charm. Jack O’Connell, coming off This Is England and Unbroken, and Michelle Dockery, known for Downton Abbey and Good Behavior, both delivered what many called career-best work. Supporting players like Thomas Brodie-Sangster and Merritt Wever were so convincing that their previous roles faded away. You didn’t see Jojen Reed or Denise from The Walking Dead. You only saw the characters in front of you.
Between
On the other end of the spectrum lies Between. It’s a muddled sci-fi drama that struggled to find its footing from the start. The premise involves a pregnant teenager, played by Jennette McCurdy, in the small town of Pretty Lake. She discovers a plague has killed everyone over the age of 21.
The production itself was odd. It was co-produced by Canada’s CityTV, an unusual partnership for a platform that usually goes it alone. Unlike most Netflix originals, episodes aired week-by-week rather than dropping all at once. That strategy backfired. Critics and viewers alike didn’t see the value in waiting.
Most reviewers criticized the series for lacking depth. Variety called it an “utterly ho-hum addition to Netflix’s original lineup.” While the acting received minor praise, the storyline never gained traction. It remains one of the lower-rated entries, reflecting a disconnect between the concept and its execution.
Mindhunter
If Godless was a Western triumph, Mindhunter was a procedural masterpiece. Interest in FBI serial killer profiling skyrocketed after The Silence of the Lambs stunned audiences in 1991. Dozens of books and shows followed, but Joe Penhall had the idea to adapt John E. Douglas and Mark Olshaker’s book, Mindhunter: Inside the FBI’s Elite Serial Crime Unit.
Netflix snapped up the rights, and the 2017 debut received rave reviews. Jonathan Groff and Holt McCallany starred as FBI agents developing the then-radical idea to interview convicted killers to solve future crimes. The show offered a historically accurate look at the birth of criminal profiling. Today, it’s standard law enforcement tactic. Back then, it was seen as wishy-washy pseudoscience.
The show was so successful that a second season was ordered immediately. Viewers got resolution to the cliffhanger ending of the first season. The second season, written by Joe Penhall, was scheduled for release in August 2019. It remains one of the highest-rated entries, with critics scores hitting 97% and audience scores at 95%.
Richie Rich
You might assume a live-action adaptation of a children’s comic would be safe. History suggests otherwise. The track record for Richie Rich is notoriously poor. The source material appealed only to very young readers. The 1994 movie starring Macaulay Culkin was widely considered atrocious. So, why did Netflix greenlight a live-action program?
It probably didn’t deserve the online lambasting it received, but it was still a mess. Internet trolls had a field day with the show, which starred Jake Brennan as a self-made trillionaire. Unlike the comics, this version of Richie lived in a mansion filled with toys, contraptions, and a robot maid. It came off like a terrible live-action Disney program.
The series was part of a partnership with DreamWorks to boost Netflix’s original kids’ programming. It ran for two seasons before Netflix quietly canceled it. The audience score sat at a low 43%, with no critics score recorded for the final cut.
Manhunt: Unabomber
Although technically unrelated to Mindhunter, Manhunt: Unabomber feels like a spiritual sequel. It picks up 20 years later, detailing the massive FBI task force hunting Ted Kaczynski. The domestic terrorist had used homemade bombs to kill three people and wound dozens more.
Sam Worthington starred as FBI profiler Jim Fitzgerald. The show demonstrated how slow the technique of criminal profiling actually progresses. The FBI’s original profile suggested an uneducated airline mechanic from Ohio. That was completely wrong. The truth only emerged after a careful study of Kaczynski’s writings and his unique dialect.
Paul Bettany, known for playing J.A.R.V.I.S. and Vision in the Marvel Cinematic Universe, gave an excellent performance as the troubled Kaczynski. Manhunt: Unabomber provided a gripping look at one of America’s most notorious criminals. It scored a 93% with critics, proving that even when the subject matter is dark, the execution can be brilliant.
The line between a must-watch and a skip is often just about writing. One show gives you history and depth. The other gives you a robot maid and a plot hole. Netflix has enough content to fill a lifetime. Picking the right one still takes work.
Flaked: The Letdown You Didn’t See Coming
Critics Score: 37% | Audience Score: 87%
Will Arnett is funny. Mitch Hurwitz made Arrested Development. You would think that team-up for a Netflix original would be gold. It wasn’t.
Flaked promised a lot. It delivered a series that felt like grown men acting like children. Arnett plays Chip, a self-proclaimed “guru” who falls for his best friend’s crush. Simple premise. Bad execution. The show lacked a real story, which might explain why it stopped after just eight episodes. It was too cute to be serious and too lame to be funny. Entertainment Weekly nailed it.
There was a second season. It dropped in June 2017. It had only six episodes. That’s it. The hype died down because the show didn’t justify its own existence.
The End of the F***ing World: The Dark Comedy Breakout
Critics Score: 93% | Audience Score: 91%
This show is binge-friendly for a reason. Eight episodes. Twenty minutes each. You finish it in an afternoon.
It’s a modern Bonnie and Clyde story, but darker. James (Alex Lawther) thinks he’s a budding sociopath. He wants to kill someone. Then he meets Alyssa (Jessica Barden). She’s rebellious and sick of everyone. They find a kindred spirit in each other.
The title says it all. It’s f**ked up. But it’s also funny and affecting. It doesn’t stay in its lane. The show portrays the confusion, horniness, and pain of being a teenager better than anything else on the platform. 13 Reasons Why gets all the press. This is the best young adult series Netflix has produced. It respects the genre while twisting the knife.
Fuller House: The Nostalgia Trap
Critics Score: N/A | Audience Score: 70%
Here is the worst Netflix original show to date. Fuller House.
We aren’t saying people don’t watch it. They do. It’s popular. But it’s bad. Really bad. The wave of nostalgia was strong in the mid-2010s, but there was no reason to remake Full House. Netflix did it anyway.
The plot follows D.J. Tanner (Candace Cameron Bure). She’s widowed and needs help. She calls her sister Stephanie (Jodie Sweetin) and best friend Kimmy (Andrea Barber) to help raise her three sons. The original cast returns for cameos. It’s cute. It’s also full of bad jokes and silly scenarios.
The Boston Globe said it best. The show never justifies its own existence. Why should anyone who didn’t watch the original care? The answer is: they shouldn’t. Despite the critical beatdown, it was widely watched. Netflix renewed it for a fifth and final season in January 2019. The audience voted with their remotes, even if the critics didn’t.
Marvel’s Jessica Jones: The Psychological Thriller
Critics Score: 83% | Audience Score: 78%
If you look at Netflix’s Marvel lineup, Jessica Jones stands out. It’s their greatest accomplishment in that space.
It masquerades as a superhero show. It’s actually a psychological thriller. The first season has pacing issues. Some characters feel like filler. You don’t care because the foundation is solid.
Krysten Ritter is the title character. She’s compelling. David Tennant plays Kilgrave. He’s the villain. He’s a serial abuser with terrifying powers. Tennant’s performance is sensational.
The show tackles sexual assault. This matters. The industry was shifting focus to victims around this time. Jessica Jones proved that comic book adaptations can push the envelope. They can highlight thematic concerns that resonate. They can also be escapist entertainment. It did both.
Chelsea Does: The Formatting Failure
Critics Score: 79% | Audience Score: 81%
Chelsea Does suffers from its format. Netflix called it a “documentary series.” It wasn’t.
Chelsea Handler explores topics. Marriage. Drugs. Silicon Valley. How does she handle them? She sits around. She talks to friends. Most are comedians. Some are family. A few psychologists. That’s it.
The setup is strange. The show is never very funny. It’s not a traditional documentary. It’s just Handler talking. Only four episodes were made. It debuted in January 2016. There is no second season.
That’s probably for the best. The project was lame. You sit there wondering why you are watching Handler discuss racism with Reverend Al Sharpton. The puns didn’t land. The content didn’t stick.
House of Cards (Highest)
Critics Score: 78%
Audience Score: 76%
It was one of the first Netflix Originals to actually break out of the niche. House of Cards remains a heavyweight in the crowded drama arena. The production value is crisp. Kevin Spacey plays Frank Underwood, a politician willing to burn everything down to reach the top. The show thrives on manipulation. It is a masterclass in power dynamics.
It wasn’t just us who noticed. It became the first web series to land major Emmy and Golden Globe nominations. It took a few home too.
Then Spacey left in 2017. The scandal involving sexual harassment and assault allegations changed the show’s pedigree. It diminished for many. The show is still among Netflix’s top-tier offerings though. It just isn’t the same beast anymore.
W/ Bob & David (Lowest)
Critics Score: 89%
Audience Score: N/A
We wanted to love it. Really. It’s a continuation of Mr. Show with Bob and David. That HBO sketch series from the late 90s was huge. Now it’s streaming. Bob Odenkirk is in it. You know him from Breaking Bad and Better Call Saul. David Cross is there too. The guy who played Tobias Fünke on Arrested Development.
Fans expected a revival. We expected the magic of Mr. Show updated for today. Time is the enemy here. Too much has passed. Odenkirk and Cross were unknowns back then. Now they are big names. The sketch format just doesn’t fit the streaming model well.
The jokes feel flat. Stale. Several were just repackaged from the old series. It was a letdown.
Orange Is The New Black (Highest)
Critics Score: 90%
Audience Score: 81%
The ensemble cast is one of the best on TV. The writing is sharp. The setting is a female minimum-security prison. Every character has a distinct voice. They have a purpose. That kind of depth is rare.
Because of this character development, each episode can pivot. It can focus on different people and themes. The tone shifts between hilarious and incredibly dark. This range makes it an easy pick for the top spots.
It got plenty of awards buzz. Emmy and Golden Globe nominations piled up. Season seven dropped on Netflix on July 26, 2019. It was the final season.
Marseille (Lowest)
Critics Score: 33%
Audience Score: 65%
This was Netflix’s first French original. Gerard Depardieu stars. He plays the long-serving mayor of Marseille. He’s in a war for succession. His former protege, Lucas Barres played by Benoit Magimel, is against him.
You’d expect a French procedural to have a unique style. There are clear differences between US and UK shows already. A French entry should feel distinct.
It doesn’t. Except for the location, it’s generic. It borrows heavily from American dramas. The opening credits look ripped straight from Law & Order. The market is full of excellent European crime dramas. Marseille isn’t one of them.
Watch it if you like cliched writing. Or hammy dialogue. Or if you just want to see pretty shots of the cityscape. Otherwise, skip it.
Unbreakable Kimmy Schmidt (Highest)
Critics Score: 96%
Audience Score: 84%
It’s hilarious. It has a dark side. Tina Fey created it. Robert Carlock co-created it. They both came from 30 Rock.
Kimmy was in a cult. She escapes. She lands in New York City. Her roommate Titus is glamorous and gigantic. The supporting cast is full of weirdos. The comedy ranges from goofy to uncomfortably dark.
It’s clever. Surprisingly clever. It’s a shock that NBC passed on it. NBC’s loss was Netflix’s gain.
Haters Back Off (Lowest)
Critics Score: 50%
Audience Score: 75%
Billed as a comedy. It’s more cringe-worthy than funny. The central character is unlikeable. The concept doesn’t sustain longer episodes.
Miranda Sings is a fictional YouTube star. She tries to launch her career. The joke is that she’s bratty and overconfident. She doesn’t realize she lacks talent. Singing. Dancing. Acting. Modeling. She fails at all of it.
Colleen Ballinger created the character. She is talented. Specific audiences will enjoy this brand of comedy.
Here’s the test. Watch a two-minute Miranda Sings YouTube clip. If you can get through that and laugh, you’ll probably like Haters Back Off. If not, save yourself the headache. Move on.
Narcos
Narcos isn’t just a crime drama. It’s a study in power, decay, and the terrifying ease with which chaos can erupt from calm. The series dissects the life of Pablo Escobar with a precision that feels almost surgical, yet the result is visceral. Wagner Moura anchors the entire enterprise. His performance as Escobar is hypnotic—a masterclass in charisma and menace rolled into one. You don’t just watch Moura; you’re pulled into his orbit.
The narrative doesn’t shy away from the ugly underbelly of the drug trade’s impact on Colombia. It tackles colonization. It critiques American intervention. It dissects globalization. These aren’t background details; they are the engine driving the story. Scenes shift from mundane daily routines to blinding violence with jarring speed. The show feels alive, fluid, and utterly unrelenting. If you haven’t seen it yet, you’re missing out on one of the most fascinating character studies in modern television. The critics agree, scoring it at 89%, while audiences gave it a massive 94%.
The Ranch
Ashton Kutcher headlining a comedy series feels inevitable, but only because The Ranch is essentially a pale imitation of Two and a Half Men. The setting shifts from Malibu beachfronts to the ranchlands of Middle America, but the formula remains stale. It’s a ripoff that lacks the sharp teeth of its predecessor.
The real issue isn’t Kutcher or Danny Masterson. It’s the tonal whiplash. The show tries to be a traditional sitcom with a laugh track while simultaneously aiming for the edgy, topical humor of It’s Always Sunny in Philadelphia. It fails at both. The result is a show that insults its audience by trying too hard to be both safe and subversive.
The cast is wasted. Sam Elliott is always fantastic, but even he can’t save the core duo. Kutcher and Masterson, former That ’70s Show co-stars, lack the chemistry that made their previous work work. They’re trying, but the spark is gone. With better comedic options available on Netflix and elsewhere, The Ranch feels like a waste of time. Its 72% audience score reflects a lukewarm reception at best.
Big Mouth
Puberty is gross. Netflix’s Big Mouth reminds you of that fact in the most disgusting way possible. Based on the teenage years of Nick Kroll and Andrew Goldberg, the animated series explores the embarrassment and confusion of growing up. It doesn’t sugarcoat it.
The story follows best friends Nick (Kroll) and Andrew (John Mulaney) as they navigate first kisses, first crushes, and, for Andrew, first unwanted visitors. Enter the Hormone Monster, voiced by Kroll. This brooding, inappropriately amusing creature appears whenever Andrew gets aroused. He’s like a grotesque version of a childhood imaginary friend, visible only to Andrew.
Beneath the bodily fluids and dirty jokes, there’s genuine wit. Kroll and Goldberg aim to capture both the light and dark sides of adolescence. The voice cast is stacked: Jason Mantzoukas, Jordan Peele, Jenny Slate, Maya Rudolph, and Fred Armisen. The show’s honesty resonated so strongly that Netflix greenlit a second season just a month after the premiere. Critics gave it a perfect 100%, though audiences were more reserved at 76%. It’s honest humor. It gets laughs. Even when it’s gross.
Chasing Cameron
Reality TV usually promises access. Chasing Cameron delivers a self-promotional tool instead. The series follows social media influencer Cameron Dallas, exploring his rise to internet superstardom. Theoretically, this could have been a fascinating look at a subset of internet culture that remains largely misunderstood.
Instead, it’s a manufactured image. Dallas serves as an executive producer, shaping the narrative to fit his brand. The production team at Magical Elves wanted a “warts and all” documentary. Dallas wanted a highlight reel. The latter won.
The show plays well with his legion of followers, but for anyone outside that echo chamber, it’s hard to justify the watch time. It’s little more than a vanity project. The 62% audience score suggests that even fans weren’t entirely convinced. It’s a missed opportunity to explore the reality behind the influencer facade.
Stranger Things
Netflix’s biggest pop culture phenomenon is also one of its strongest shows. Created by the Duffer Brothers, the series was shopped around to many networks before Netflix finally said yes. It’s a melting pot of 80s homages—Spielberg nods, old-school horror tropes, and general pop culture references. But it doesn’t feel derivative. It comes together into a satisfying whole.
Why? The characters. Behind the nostalgia lies a compelling group of people, brought to life by a mix of veterans and newcomers. The young actors are across-the-board excellent. It’s a rare combination of talent and strong writing. They handle adult stories with ease, a difficult feat for any show.
Will the quality hold up as it moves into later seasons? That remains to be seen. But for now, Stranger Things is required viewing. Critics scored it at 93%, and audiences at 91%. It’s a phenomenon for a reason.
10. Cooked: The Guilt Trip
Critics Score: N/A
Audience Score: 85%
Netflix loves food porn. It’s the backbone of their original content library. But not every bite is worth chewing. Take Cooked. It sits in the shadow of Chef’s Table, that glossy, high-art benchmark for culinary docs. Cooked tries to be different. It follows Michael Pollan as he dives into the politics of the plate. Health. Environment. Sustainability. The premise sounds urgent. The execution drags.
The show suffers from bloat. It spends too much time highlighting problems and too little time offering real solutions. You finish watching and feel terrible about your grocery choices. That’s the goal, sure. But it’s a hollow victory. The message of culinary advocacy is noble. The result is a viewing experience that leaves a bad taste in your mouth. You’re left with the guilt, not the guidance.
9. Chef’s Table: Pure Visual Feast
Critics Score: N/A
Audience Score: 80%
Skip Cooked. Watch Chef’s Table instead. It’s fantastic. Just don’t watch it on an empty stomach. Each episode zooms in on a single chef. A different corner of the world. A different philosophy. The camera lingers on the sizzle. The plating. The raw ingredients. It’s mesmerizing. It makes you wish smell-o-vision was actually a thing.
Most food shows are bloated. Overly complimentary. Loud. Chef’s Table is none of that. It’s thrilling. Beautiful. Thoughtful. There are no competitions. No shouting hosts. No drama for drama’s sake. Just the art. The people behind the meal. The critics love it. The audience loves it. It’s a must-watch for anyone who respects the craft of cooking. It sets the standard. Everything else is just noise.
8. Girlboss: When Empowerment Gets Annoying
Critics Score: 36%
Audience Score: 76%
Based on Sophia Amoruso’s memoir, Girlboss was supposed to be the feminist starter pack for the millennial set. It’s a scripted comedy about the founder of Nasty Gal. The vintage fashion brand that blew up. But it comes off as grating. More annoying than funny. The problem isn’t the premise. It’s the protagonist.
Britt Robertson plays Sophia. And she’s irritating. Not in a fun, quirky way. In a self-centered, spoiled way. You’ll find yourself frustrated with her decisions. It’s weird because Robertson is actually doing a good job. It’s possible to be likable in your performance while playing someone you can’t stand. The show was supposed to empower. Instead, it alienated. Poor reviews and viewer apathy killed it after one season. A missed opportunity for a genuine success story.
7. Black Mirror: The Dark Mirror of Tech
Critics Score: 83%
Audience Score: 81%
Technology helps us. It connects us. But it also isolates us. We’re racing toward a future defined by screens. Black Mirror looks at what we lose along the way. It started on Channel 4 in the UK. Netflix snapped up the rights for seasons three and four. Charlie Brooker created it. He’s sharp. Cynical. Brilliant.
The series is part sci-fi. Part horror. Part warning label. It asks the hard questions. Online privacy. Government censorship. Cloning. Surveillance. The show doesn’t just entertain. It terrifies. It’s a reminder that our dependence on computers has a cost. The episodes are standalone stories. Each one a case study in human failure. It’s brilliant. And it’s brutally honest about where we’re headed. You can’t look away.
6. Gypsy: All Style, No Substance
Critics Score: 39%
Audience Score: 92%
Naomi Watts. Billy Crudup. High production values. Gypsy looked like prestige television. It wasn’t. It was a bland drama hiding behind a sexy premise. Watts plays a Manhattan therapist. She starts living a double life. An emotional affair with a female barista, played by Sophie Cookson.
The show plays out like a watered-down version of The Affair. Same dual lives trope. Different execution. It fails to be provocative. It falls flat. The components for a compelling drama are there. The script just doesn’t know how to use them. It’s an expensive misfire. Netflix canceled it after ten episodes. Unsurprising. The cast carried it, but the story couldn’t. It’s a reminder that a great cast can’t save a weak script.
5. BoJack Horseman: Deeper Than It Looks
Critics Score: 93%
Audience Score: 95%
Animated series usually get a pass. They’re disposable. Family Guy. The Simpsons. Episodic jokes in a static universe. BoJack Horseman breaks that mold. It’s a Netflix original. It’s also surprisingly deep. You’re watching a horse. But you’re really watching a former sitcom star. Voiced by Will Arnett. An alcoholic trying to write his memoirs with a ghostwriter.
Yes, there are animal puns. Lots of them. They flow like water. But underneath the humor is a serious look at fame. At psychology. At how celebrity changes you. It’s meaningful. It’s funny. But it’s not just a cartoon. It’s a character study. One of the best on TV. It proves animation can tackle heavy themes without losing its edge. It’s unique on this list. For a reason.
Why Disjointed Fails Despite Kathy Bates’ Best Efforts
Kathy Bates has carried a lot of heavy loads in her career. Running a cannabis dispensary in Disjointed should have been a breeze for her. It didn’t.
The show scores a pitiful 19% from critics against an 83% audience approval. That gap tells you everything. Fans give it a pass. Critics see the mess.
Ruth Feldman plays the lead. Her son Travis helps her. Tone Bell plays Carter, the security guard. Everyone else is background noise.
Enter Dank and Dabby. Two stoners who appear in every single episode. They are annoying. You want to mute the TV. You want to join a youth group.
The show tries to explain medical marijuana benefits. It fails. Confusion replaces clarity. The converted are turned off. The unaware are left bewildered.
A better writer could have saved this. A stronger cast might have helped. Instead, it joins the bargain bin. Right next to Iron Fist.
How Daredevil Redefined Netflix Superhero TV
Marvel’s Daredevil sits at the top of the heap. 92% critics score. 92% audience score.
It is gritty. It is superior to almost everything else in the genre. The writing holds up. Character conversations feel real.
Fight scenes? They belong in cinema. Here, they are gorgeous. Well-choreographed. Rarely does TV achieve this level of physical storytelling.
It became one of Netflix’s most-watched originals. Good reason. The entertainment value is off the charts.
Season two raised the stakes. Jon Bernthal introduced the Punisher. He was so popular he got his own show.
The second season was up and down. But the groundwork was laid. A shared universe emerged.
Jessica Jones. Luke Cage. Iron Fist. The Defenders. The Punisher.
Marvel’s Daredevil built that world. It ended after season three. Air date: October 19, 2018.
Why Friends From College Lacks Real Friendship
Friends from College had potential. Cobie Smulders. Keegan-Michael Key. Fred Savage. Billy Eichner.
Strong names. Weak execution. 25% critics score. 88% audience score.
It aims to be Friends for a new generation. It misses the mark. Where the 90s show had heart, this one has selfishness.
The characters treat each other horribly. How are they friends? It doesn’t make sense.
A heavy focus on adultery distracts from relatable mid-life issues. The characters become unlikable. Key tries to save it. He is funny.
It’s not enough. Subpar writing drags everything down.
Don’t recommend this show to your actual friends. Unless you want to lose them forever.
Why Master of None Is a 21st Century Gem
Aziz Ansari’s Master of None is not a typical sitcom. It is emotionally honest. It captures the Millennial experience.
100% critics score. 90% audience score.
The structure is ambitious. Season two stands out. Standalone episodes break from the main narrative.
“First Date” is a manifesto. It explores Tinder-era emptiness. Dating in the internet age is confusing. The show nails it.
“Thanksgiving” is a coming-out story. It is one of the best in TV history.
Funny. Enlightening. Emotionally satisfying.
Master of None is a comedy gem. It stands among the best of the 21st century.
Netflix struck gold here.
Ansari kept pushing boundaries. The series remains a benchmark.
Where does it stand now?
It still matters. It set a tone.
Other shows tried to copy it. They failed.
The empty screen stares back. The credits roll.
But the feeling lingers.
