As we head into a new month of streaming, here’s a fresh wave of TV ready to challenge, transport and entertain you.
This month’s picks span genre and geography, from an eerie dystopian Buenos Aires, to a witty, awkward cyborg hero. Reality TV also gets a scandalous twist with the return of The Secret Lives of Mormon Wives. And Deaf President Now! delivers a powerful documentary on a historical milestone for Deaf rights.
There’s something for every kind of viewer — and every kind of mood.
The Eternaut
Netflix
Argentine sci-fi The Eternaut opens with a group of old friends in Buenos Aires meeting to play the card game truco on a hot summer night – when things suddenly get eerie.
The power goes out and a poisonous snowfall starts to blanket the city, killing thousands of people instantly. The survivors must get answers, quickly, as they start to grasp the true strength of their invisible enemy.
Based on Héctor Germán Oesterheld’s 1950s comic of the same name, The Eternaut portrays apocalypse through a deeply local and political lens – and in doing so has struck a chord in Argentina.
Directed by Bruno Stagnaro and led by Argentine film icon Ricardo Darín, as protagonist Juan Salvo, the series emphasises the power of collective heroism, and subtly critiques the current government’s uncompromising neoliberal approach.
It also pulses with national pride. Buenos Aires is not glamorized; real neighbourhoods are shown as classic Argentine tango, rock and folk plays in the background. Most importantly, Argentine identity is celebrated through themes of community spirit, grassroots resistance, and ingenuity in times of crisis.
The Eternaut feels both timely and timeless. Its slogan, “no one survives alone,” resonates for a country that has been long marked by both trauma and resistance efforts.
Its emotional weight is further deepened by Oesterheld’s legacy, including the tragic disappearance of him and his family members under the military rule of the 1970s.
With a second season on the way, this series is a powerful ode to Argentina.
– Claudia Sandberg
Murderbot
Apple TV+
Murderbot, Apple’s adaptation of Martha Wells’ science-fiction novella, All Systems Red (2017) is a satisfying combination of action, sci-fi and comedy. The show centres on a security unit (SecUnit) – an indentured private security cyborg – who secretly cracks the programming of its governing chip, granting itself autonomy.
Murderbot (Alexander Skarsgård), as it dubs itself, is both horrified and fascinated by humans. It’s far more afraid of eye contact, emotions and direct conversation than any physical danger. It’s also obsessed with mainlining media, particularly the ridiculous soap opera The Rise and Fall of Sanctuary Moon.
Murderbot is hired, reluctantly, by some hippy scientists from a group of “freehold” planets – ones that exist outside the Corporation Rim – to act as protection on a scientific expedition. It goes quickly awry.
Wells’ award-winning novella, the first in an equally good series, limits us to the first-person perspective of the sarcastic cyborg. The series expands this frame beautifully, building on the source material’s dry humour to create a world that is both goofy and grounded.
And while there are serious themes at play, such as the way SecUnits are effectively enslaved, and the violent capitalist dominance of the Corporation Rim, the show is not heavy. Skarsgård offers a pitch-perfect performance of the awkward, anxious robot – its eyes flickering in horror as the scientists try to befriend it.
The opening minutes of the first episode are clumsy and on-the-nose, but ignore them. This otherwise well-designed and well-directed show cracks along with brisk, highly-entertaining 22-minute episodes.
– Erin Harrington
The Secret Lives of Mormon Wives, season two
Disney+
Season one of The Secret Lives of Mormon Wives had us hooked at the end of 2024. Now, the women have returned for an explosive 10-episode second season.
The reality series follows a group of Mormon women living in Utah. While the title may have you anticipating stories of faith and motherhood, the show is more focused on the personal lives of Mormon mothers who rose to TikTok fame due to scandal and infamy.
Season one saw the women grapple with balancing traditional Mormon values with their online lives and subsequent businesses (along with the fallout from a “soft-swinging scandal”). Season two further highlights infidelity, jealously and money.
Old characters are brought back, with finger-pointing ex-husbands and former alienated friends adding to the fray. Police are called, insults are thrown and many of the women delve deeper into their pasts.
The show flips flops between difficult moments such as processing the death of loved ones and difficult pregnancies, with parties and poorly executed party games. At one point the women play pregnancy roulette (a game no one should recommend), and take pregnancy tests which are anonymously read out to the group. Chaos ensues.
And after watching, you can search for the TikTok accounts of the stars and watch new drama unfold in real-time – or watch them “correct” and expand on past situations based on their own perspectives – far removed from show’s editors.
– Edith Jennifer Hill
Deaf President Now!
Apple TV+
Deaf President Now! is a stirring documentary about an iconic student uprising at Gallaudet University, the world’s only Deaf university, in 1988. The film chronicles how Deaf students – tired of being led by hearing leadership – decided to take things in their own hands come the 1988 Gallaudet presidential election.
With two of the three candidates being Deaf, the appointment of Elisabeth Zinser, a hearing candidate unfamiliar with Deaf culture, sparked outrage. Fuelled by decades of marginalisation, the students barricaded campus gates, burned effigies of Zinser and marched to the Capitol, calling for Deaf leadership in Deaf spaces.
It worked. The protest forced Zinser’s resignation and ushered in Irving King Jordan, Gallaudet’s first Deaf president.
The film juxtaposes historic footage with present-day interviews with key leaders of the movement, allowing them to tell their stories their own way. These reflections, delivered in American Sign Language (ASL), underscore how storytelling itself can become an act of resistance for Deaf people.
At the same time, the documentary wrestles with a paradox. Co-directed by Deaf activist Nyle DiMarco and hearing filmmaker Davis Guggenheim, the film exemplifies how Deaf storytelling still often has hearing involvement, especially when the story is packaged for a mainstream audience.
Nevertheless, the release of Deaf President Now! couldn’t have been more timely. With disability rights in the United States threatened under Trump, the film is a call to action. It reminds us Deaf culture isn’t just about language: it’s about Pride, self-determination and visibility.
– Gemma King, Samuel Martin and Sofya Gollan
The Surfer
Stan, from June 15
In Lorcan Finnegan’s The Surfer, our unnamed protagonist (Nicolas Cage) is returning to his former Australian home from the United States. He is newly divorced, and trying to buy a beachside property to win back his family.
He takes his teenage son (Finn Little) for a surf near the property, but they are run off by an unfriendly pack of locals.
Returning alone to the beachside car park to make some calls, he is besieged there by the same gang, and this continues over the next several days. The gang is led by a terrifying middle-aged Andrew Tate-esque influencer, Scally (Julian McMahon), who runs the beach like a combination of a frat bro party and wellness retreat.
It is impossible to think of an actor other than Cage who could make a character like this so enjoyable to watch. Cage’s distinctively American confidence has no resistance to the terrifying switches of Australian masculinity from friendly to teasing to violent.
The Surfer is an absolute blast. A lot of the fun is in anticipating each dreadful humiliation – and it somehow turning out worse than you could have expected.
The Surfer beautifully captures the natural surroundings, stunning views and shimmering heat of Australian coastal summer. At the same time, a confined, semi-urban feature like a beachside car park feels bleak and uninviting.
As a film setting, it is both a spectacular wide-open vista and stiflingly claustrophobic – a perfect mechanism for The Surfer’s psychological horror.
– Grace Russell
Fred and Rose West: A British Horror Story
Netflix
The story of serial killers, Fred and Rose West, has been highly narrativised since their shocking crimes were discovered in Gloucester in 1994. The horror of the Wests lies in the juxtaposition of their seemingly ordinary suburban family and what was hidden beneath the foundations of their home.
Fred and Rose West: A British Horror Story takes us back to the moment of that revelation via previously unheard interview tapes and recordings of the property search – and of Rose while she was kept in a safe house. Family home videos add to the disturbing sense of the couple’s duplicity.
Interviews with the family of some of the victims emphasise the ongoing pain caused by the Wests, who preyed on vulnerable young women. Meanwhile, Fred’s interviews reinforce his determination to protect his wife: “I trained Rose to do what I wanted. That is why our marriage worked out so well.”
Many details of the Wests’ true horror, however, are absent: the incredible torture suffered by the victims; Fred and Rose’s own childhoods of abuse and Fred’s earlier assault of young girls, including his own sister; and any reference to the couple’s surviving children and the extraordinary abuse they suffered.
The horror of this new documentary is present in the couple’s habitual lies, their casual attitude to violence and murder, and their refusal to take responsibility for their many crimes. Yet it only scratches the surface of the Wests’ true horror story.
– Jessica Gildersleeve
The Four Seasons
Netflix
The Four Seasons follows three 50-something affluent couples as they holiday together over the course of a year.
Friends since college, the group’s easy camaraderie is upended by Nick’s (Steve Carroll) bombshell decision to leave his seemingly unsuspecting wife, Anne (Kerri Kenney-Silver), after 25 years of marriage. The announcement sends shockwaves through the other couples, testing their own relationships.
Adapted from Alan Alda’s bittersweet 1981 comedy of the same name, the series preserves the film’s narrative conceit, unfolding over four seasonal mini trips. Episode one opens in full spring at Nick and Anne’s bucolic lake house.
Given the luxury on display, you’d be forgiven for mistaking The Four Seasons as another entry in the “rich-people-behaving-badly” genre. But while there’s plenty of quips and snarky humour, what unfolds is ultimately much kinder – less a scathing indictment of wealth and more a gentle exploration of the banalities of love and middle age.
The show’s creators make the most of the expanded running time to humanise the sextet. The open marriage between gregarious Italian Claude (Marco Calvini) and husband Danny (a marvellous Colman Domingo) updates the source material without sliding into tokenism or homonormativity.
The prickly Type-A Kate (Tina Fey) and peacekeeper Jack (Will Forte) provide the series’ beating heart, in a relationship that feels lived-in and familiar.
Despite its focus on ageing, loss, mortality and grief, The Four Seasons offers comfort viewing at its finest, best enjoyed with a cup of tea and a loved one who’s known you for decades.
– Rachel Williamson
The article has been republished from The Conversation under the Creative Commons license. Read the original article.
