Series

Sally Rooney’s novel became a pop-culture phenomenon on screen and made stars of Paul Mescal and Daisy Edgar-Jones as Connell and Marianne, forever drawn together and pushed apart like magnets. One sentence could put things right between them, and neither can bring themselves to say it. — In a small town in the west of Ireland, Connell is the popular boy who plays football, while Marianne, in his year at school, has no friends and doesn’t seem to want any. When something sparks between them, they agree that nobody at school will ever know. The arrangement survives for years, through Dublin and through other relationships, and in all that time they never quite manage to say what it is.

A seventeen-year-old who was bullied at school becomes Norway’s first beauty blogger, and soon the whole country is arguing about her face. Across six episodes that never let up, drawn from a true story, the internet gives her everything and then hands her the bill. — In Oslo in the mid-2000s, seventeen-year-old Selina sets out to show the girls who bullied her that she’s worth more than they think. She invents a persona called Selina Isabel and lets her loose online, and within months she’s the biggest blogger in the country, with half of Norway arguing about her. Through all of it, Selina keeps on posting.

This darkly comic Norwegian psychological thriller won three awards at Canneseries 2025. By day Tom runs his mother’s clothes shop and by night he poisons the internet with misogyny, until he’s exposed and hides in women’s clothes as Berit, which is also the show’s title in Norway. — Tom leads an ordinary life by day, but for years he has spent his nights trolling online, mostly feminists and above all one well-known comedian. She breaks down on stage and reads his messages out loud. After that his name comes out, and he has to live among people who have heard every word he wrote.

Yasmine, a character inspired by a documentary about a teacher with Tourette’s, lives a fairly isolated life because of her condition, giving private lessons at home, until the day she decides to take on the system. It’s a good deal funnier than it sounds. — Yasmine has Tourette’s, and her whole life is arranged around it. She dreams of teaching, but a classroom of her own seems to slip further out of reach, so she tutors pupils one to one at home. Then her father, Abdulmalek, calls after twenty-five years of absence, because he’s dying and wants her forgiveness.

Florence Longpré wrote this bittersweet series with the help of two psychiatrists, and stars as one herself: withdrawn and abrasive, back on the ward after two years away and taking the most dangerous cases in the building. She can understand every patient there except herself. — After two years away, Suzanne returns to work on a psychiatric ward and takes on the cases nobody else will touch. She’s exceptionally good at it, able to step into any patient’s world while leaving her own past firmly alone. Everyone on the ward is unsettled by her methods, except Mortimer.

“Black Swan” goes cross-country skiing in this dark Finnish psychological thriller. Roosa Söderholm, who won Best Performance at Canneseries, plays an outsider who can only reach the top by beating the queen of her own team, and it will chill you to the bone. — Nobody on Finland’s women’s cross-country ski team expects much of Anna, and her place on the squad hangs by a thread. So when she’s offered the chance to train in a pair with Maria, the team’s enigmatic queen, she grabs it. Their coach, the ruthless Kim, cares about nothing but results. In training the two women are partners and on the course they’re rivals, and the higher Anna climbs, the higher the price she pays.

Catalonia’s human towers only stand if everyone trusts the person beneath them, so when three boys from the team are accused of sexual assault, the whole town starts to sway. Leticia Dolera wrote and directed the series and plays the mother of one of the accused. — In a small Catalan town, families have built human towers together for generations. When Júlia learns that her son Roger has been accused of sexually assaulting Manu, his close childhood friend and the only girl in their group, she finds that his cousin Pol and Pol’s friend Steven are accused too. The families on both sides have known each other all their lives, and now every one of them has to decide whom to believe.

In the 1980s three men really did kidnap Barcelona’s striker Quini and held him for twenty-five days. You might expect a thriller, but this is mostly a comedy of errors, three brisk episodes of farce in which the plan runs out almost as soon as it starts. — In Zaragoza in 1981, three unemployed men decide to kidnap Quini, striker for FC Barcelona and the Spanish national team, and hold him for ransom. They grab him in the street on 1 March, straight after a match. Being ruthless criminals, they soon discover, is a lot harder than they thought.

Everyone deserves a shot at redemption, but nobody said it would come easily to the man Stephen Graham plays, wrecked by drink and caught up by everything he once ran from. For director Shane Meadows it’s a reckoning with his own trauma, and this series is what he made instead of taking revenge. — Joseph is drinking again. When his son leaves for Australia with his mother, nothing is left to hold him together, and on an impulse he sets off for the town he left as a child. His sister lives there, and they haven’t spoken in years.

The team behind “Normal People” adapts Sally Rooney’s first novel, about Frances and Bobbi, who were a couple before they were best friends. When a well-known writer and her husband take an interest in both of them, one of the two goes on keeping what she really wants to herself. — Frances is in her twenties, studying in Dublin alongside Bobbi, who is both her best friend and her ex-girlfriend. In the evenings the two of them perform Frances’s poems at slam nights, and at one of them they meet Melissa, a writer, and her husband Nick, an actor. Soon the tension between Frances and Nick is impossible to miss.

After thirty years of marriage and two sons raised to adulthood, Miren walks out and accuses her husband of raping her for years. It won the top prize at Series Mania, Europe’s biggest festival of television series, and over four episodes the family has to decide who to believe. — Miren moves out after thirty years of marriage and accuses her husband of rape. He denies it, and their grown sons are left to choose between believing their mother and standing by their father. Before long, it’s no longer just a family matter.

Rodrigo Sorogoyen (“The Beasts”) checks in on one couple ten times, always on New Year’s Eve. Ana and Óscar meet at thirty, we see them once a year for the next decade, and whatever happens in between is left for you to piece together. — Ana turns thirty on New Year’s Day, and her life is a mess of a rented room, a lousy job and one new acquaintance after another. Óscar turns thirty a day earlier, on New Year’s Eve, with everything in place: work he feels called to, loyal friends and a relationship running on autopilot. They meet on the one night that falls between their birthdays.

Matthew Collins once helped build the fascist National Front in Britain, and these days he hunts it. Stephen Graham is superb over five episodes that start the day an informer from a neo-Nazi cell comes to him, by which time the cell has already chosen the MP it is going to kill. — An MP has been murdered. Matthew Collins, whose job is keeping watch on Britain’s far right, is starting to see signs that one of its groups is linked to the killing. What he needs is someone on the inside, and he finds one.

Several hundred British subpostmasters were accused of stealing money that never went missing, and Toby Jones plays one of them, still asking questions long after the rest have stopped. The story is the Horizon scandal, and after it aired the government drafted a law to overturn the convictions. — When money starts vanishing from Post Office branches across Britain, hundreds of subpostmasters face charges of theft and fraud, and some of them go to prison. The real culprit is the computer system. The Post Office knows it, but it won’t own up to the mistake.

In a kitchen drama that runs at full steam, Carly steps up from sous chef to head chef and has to give orders to a crew she worked beside as an equal until recently. Stephen Graham is back, and the first episode opens with an unbroken eleven-minute take that turns out to be only the warm-up. — It has been a few months since the night head chef Andy fell apart, and Carly, once his sous chef, has opened a restaurant of her own. Almost the whole kitchen crew has followed her there. She’s the boss now, but every one of them remembers who she was before.

Picture the staff of “The Office” with instruments in their hands instead of phones, and you have this sitcom about the ambitions of people who have sat a metre apart for years. It manages to be gentle and sarcastic at once, with a sense of humour that could only be Scandinavian. — Inside a symphony orchestra in Copenhagen, the musicians go to rehearsals and on tour, sit a metre away from colleagues they can’t stand and go home to marriages that aren’t working. The conductor isn’t doing much better. In this hall, nobody is ever just a musician.

No series had ever filmed as far north as this one, deep in the Arctic, where Andrew Haigh (“All of Us Strangers”) sends Jack O’Connell aboard a whaler as its disgraced doctor, with Colin Farrell hunting from the same deck. Nobody on that ship is going to come out of the voyage well. — In Hull in 1859, Patrick Sumner, an army surgeon dismissed in disgrace, signs on as doctor aboard a whaler heading for the Arctic ice. Among the crew is the harpooner Henry Drax, a man with no conscience at all. The captain, meanwhile, is carrying orders that nobody else on board knows about.

Jane Campion’s series casts Golden Globe winner Elisabeth Moss as a detective who specialises in sexual crimes, in a dense thriller that is also a slow, absorbing look at misogyny today. Her work keeps taking her to places where nobody wants to hear her questions. — Robin Griffin has come to Laketop, a picturesque lakeside town in New Zealand, to look after her dying mother. She investigates crimes against children for a living, so when a pregnant twelve-year-old girl goes missing nearby, she joins the search. The case turns out to be closer to her than she thought.

Nick Hornby (“High Fidelity”) wrote and Stephen Frears directed twenty episodes of ten minutes each, every one of them set over a drink before a couples therapy session. Across a pub table, the pair learn more about each other than they ever do in the therapist’s room. — A couple meet in a pub shortly before their joint therapy session, order a drink each and talk about what brought them together in the first place and what is pulling them apart now. There’s no therapist at this table to steer them. Each season follows a different couple in a different city.

For decades Canada took Indigenous children from their families by force and placed them in white homes, not as a punishment but because of who they were. Bezhig was taken at five, and now, as a grown woman, she goes back to Saskatchewan to find the parents she was taken from. — Kanada przez dziesięciolecia przymusem odbierała rdzennym rodzinom dzieci i oddawała je do białych domów – nie za karę, tylko za pochodzenie. Odebrana w wieku pięciu lat Bezhig, jako dorosła kobieta, wraca do Saskatchewanu szukać biologicznych rodziców. Sześć odcinków, które poruszają do głębi.

Iceland privatised its fishing in the 1980s, and there are people who still call it robbery. It plays out like “Game of Thrones” in a fjord fishing village, with fish standing in for dragons, as childhood friends turn their boats into an empire where nothing comes free. — In the Icelandic fjords in the early 1980s, Harpa, Grímur and the friends they grew up with share a single fishing boat. When the state starts regulating the catch, the right to land a fish suddenly becomes worth more than the fish itself, so they start buying. It will cost them more than they think.

Her films are festival favourites, and in the first series she has directed, Athina Rachel Tsangari (“Attenberg”) tells a London love story for three, led by Ariane Labed (“The Lobster”). Over eight episodes, a polyamorous relationship grows in a way that’s honest and nothing like the stereotype. — London rents are out of all proportion, and Gemma and Kieran can no longer cover theirs alone. They go looking for a flatmate and find Ray, a former synchronised swimmer in need of a room. With three of them in a flat meant for two, the place somehow starts to feel bigger.

Denmark tightened its anti-corruption laws after this documentary series, in which a lawyer who worked for gangsters and white-collar criminals hid cameras in her office and recorded them discussing money laundering, bribery and fraud. It didn’t end well for her. — In present-day Copenhagen, Amira Smajic, a polished lawyer whose clients come from the criminal underworld, decides to turn on them. Working with an investigative journalist, she sets up hidden cameras in her office and gathers evidence of money laundering and fraud. But as the investigation nears its end, facts come to light that put Smajic herself in danger.

Freddy and Zeno have been together forever and neither has ever been with anyone else, so they give themselves thirty days to find out what they’ve been missing. What follows is sex, lies and dating apps, plenty of sweat and tears, and love affairs that could only happen now. — Freddy and Zeno are one of those couples who seem to have been together forever, and neither of them has ever slept with anyone else. So they agree to an experiment: thirty days apart, during which each of them is free to sleep with whoever they like. The clock starts now.