The 20 Best TV Shows Streaming On Peacock

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Launching in July 2020, Peacock has steadily built up its own library of shows and movies for subscribers to stream. Since its debut, the streaming service has garnered more than 41 million subscribers worldwide and boasts several popular and critically acclaimed favorites in its catalog. This includes a growing amount of Peacock-produced original programming on the platform, spanning virtually every major genre. If you haven’t considered subscribing to Peacock yet, you’re missing out on some solid projects.

In the years since its launch, Peacock has accrued quite the library, but fortunately, we’re here to help steer you to your next binge on the platform. While we’ll certainly cite some of the biggest Peacock originals, we’re also highlighting the tried-and-true timeless favorites available to watch on the streaming service. Here are the 20 best TV shows currently streaming on Peacock, ready to become your next television obsession.

Before creating the landmark HBO series “The Wire,” David Simon detailed his experiences as a crime reporter in Baltimore in the nonfiction book “Homicide: A Year on the Killing Streets.” The book served as the basis for the 1993 television series “Homicide: Life on the Street,” following a major crimes Baltimore police unit. For these detectives, murder and violent crime are just a part of the daily grind. That doesn’t make the regular nature of their work any less dangerous, especially as they work in the city’s deadliest neighborhoods.

Compared to its contemporaries, “Homicide: Life on the Street” provided a much bleaker and more graphic depiction of police detectives operating in an American city. The searing drama was brought to life by an incredible ensemble cast, with Yaphet Kotto and Andre Braugher among the standouts. After years of unavailability, it was a big deal when “Homicide: Life on the Street” finally hit streaming, only on Peacock. The series was a groundbreaking and influential procedural and is well worth watching in full.

“Law & Order” has become a television institution dating back to the ’90s, spawning countless spin-offs and maintaining audience interest in the police procedural genre. The franchise’s first spin-off, 1999’s “Law & Order: Special Victims Unit,” is its best overall series. The show primarily follows New York police detective Olivia Benson (Mariska Hargitay), whose unit investigates sex-based crimes around the city. Throughout the show’s lengthy run, a rotating ensemble of fellow detectives joins Benson, most notably Elliot Stabler (Christopher Meloni).

Given the steady quality across its extensive run, including the consistent strength of its main cast, “SVU” is still the gold standard for network crime television. The semi-regular cast rotations keep the show’s energy fresh while Hargitay maintains the core qualities that have kept the show running for more than 20 years. The show also has a tighter focus than its “Law & Order” counterparts. We just (respectfully) hope “SVU” doesn’t wait until its last episode to bring Benson and Stabler together.

If there were ever a single sitcom to binge on Peacock, it’s the 2005 American version of “The Office.” Set in Scranton, Pennsylvania, the show follows a largely unseen documentary crew as they film the employees of a paper supply company. More than the work itself, the documentary focuses on the staff’s daily lives as they’re led by their well-meaning but socially inept branch manager Michael Scott (Steve Carell). This includes growing romantic tension between salesman Jim Halpert (John Krasinski) and the office’s receptionist Pam Beesly (Jenna Fischer).

By its second season, “The Office” cemented itself as a worthy successor to the original British series, with its humor even more accessible. A big reason for that is how well the ensemble cast worked together, finding new dramatic and comedic directions to take their characters. Plus, the show has a genuine sense of heart that also sets it apart from its British predecessor.

After leaving “Saturday Night Live,” writer and producer Tina Fey created her own comedy show with the 2006 sitcom “30 Rock.” Named for NBC’s offices and studios located at 30 Rockefeller Plaza in Manhattan, the show stars Fey as Liz Lemon, the showrunner for the “SNL” pastiche comedy show “TGS with Tracy Jordan.” Liz not only has to regularly wrangle her writers’ room and cast, but also deal with the whims of network executive Jack Donaghy (Alec Baldwin).

One of the joys of having all of “30 Rock” available at once is to see how surreal and outlandish the show’s humor becomes as it progresses. What starts out as an entertainment industry workplace comedy quickly becomes a screwball sitcom that isn’t afraid of letting its characters get weird. While Fey and Baldwin consistently deliver hilarious work, it’s Tracy Morgan and Jane Krakowski’s performances that steal the show. A sterling sitcom that packs more effective gags per minute than any show before or since, “30 Rock” always brings the laughs.

After “The Office” popularized the art of the television mockumentary, the 2009 sitcom “Parks and Recreation” took the concept and paired it with local government. The show centers on Leslie Knope (Amy Poehler), the relentlessly chipper Deputy Director of Parks and Recreation in Pawnee, Indiana. As she leads her staff, they endure everything from state budget cuts and austerity measures to surprise controversy about well-intentioned projects from their department. Along the way, the ensemble’s personal lives are explored, with many of the characters forming long-lasting romantic relationships and outside business ventures.

Like “The Office,” “Parks and Recreation” found its creative voice during its second season, recognizing and leaning into its strengths. Among these were the comedic talents of Aubrey Plaza, Nick Offerman, Chris Pratt, Rob Lowe, and Adam Scott. Led by Poehler’s steadily earnest performance, the show maintained its unassuming charm befitting its Midwestern setting. Another mockumentary triumph available on Peacock, “Parks and Recreation” is the sitcom equivalent of comfort food.

Andy Samberg is another “SNL” alum who found sitcom success, starring in the police comedy “Brooklyn Nine-Nine.” Samberg plays Brooklyn-based police detective Jake Peralta, whose immature demeanor conceals how impressive he is at his job. The series starts with the precinct welcoming a new captain in Raymond Holt (Andre Braugher), who initially criticizes Jake’s behavior before joining the group’s antics. Across the show’s eight-season run, the detectives face everything from misconduct within the department to intra-office romance as they keep their jurisdiction safe in their own goofy way.

“Brooklyn Nine-Nine” is one of those workplace comedies where every actor in the main ensemble is at the top of their game. While comedic actors Samberg and Terry Crews consistently deliver hilarious gags, more deadpan performers like Stephanie Beatriz and the late Braugher match them joke-for-joke. The funny moments come in fast and furious, with the show’s cold opens often setting the tone for the hilarity to ensue. One of the funniest crime shows around, “Brooklyn Nine-Nine” maintains its impressive quality from start to finish.

Though author Stephen King may primarily be known for his supernatural horror stories, he’s also quite a prolific crime fiction writer. The 2017 series “Mr. Mercedes” adapts the trilogy of thriller novels King wrote starring retired police detective Bill Hodges. Brendan Gleeson plays Hodges, who remains haunted by an unsolved killing spree that saw the culprit intentionally drive into a group of people at a job fair. This is exacerbated by local psychopath Brady Hartsfield (Harry Treadaway) becoming obsessed with Hodges and targeting those around him.

While it’s a grounded crime thriller, “Mr. Mercedes” still contains plenty of tautly suspenseful sequences and shocking plot twists. The cat-and-mouse game between Hodges and Hartsfield that makes up the first two seasons is masterfully brought to life by Gleeson and Treadaway. Hodges’ understated trauma is a great complement to Hartsfield’s truly devious menace, elevated by sharply written dialogue throughout the three-season show. One of the very best TV adaptations of King’s work, “Mr. Mercedes” is an underrated gem that deserves far more attention.

One of the biggest names in modern television is Taylor Sheridan, the creator behind many popular Paramount shows. Sheridan’s first big television hit was 2018’s “Yellowstone,” a family-driven neo-Western that spawned its own franchise. The show follows the Dutton family, which owns the largest cattle ranch in Montana and is initially headed by no-nonsense patriarch John Dutton (Kevin Costner). Their significant presence in the state has them butting heads with land developers, greedy corporate figures, and the state government, in addition to their own murderous infighting.

Sheridan effectively blends familial soap opera stakes with Western tropes in bringing the Dutton family saga to life. The show brings plenty of fire and fury as the Duttons try to defend their individual interests, from John’s understated ruthlessness to the wilder temperament of his daughter Beth (Kelly Reilly). Though Costner’s widely reported “Yellowstone” exit overshadowed its final season, the series remained an entertaining ride to the end. The cornerstone of Sheridan’s thrillers and dramas, “Yellowstone” is an over-the-top delight.

Peter Hogan and Steve Parkhouse’s comic book “Resident Alien” was loosely adapted into a sci-fi dramedy of the same name in 2021. The show follows an extraterrestrial (Alan Tudyk) who takes on the identity of small-town Colorado physician Harry Vanderspeigle as he plots to eradicate humanity. Fortunately, Harry comes to appreciate humanity through his various friendships, including his dynamic with his colleague Asta Twelvetrees (Sara Tomko). This places Harry and the town of Patience, Colorado, on a collision course with Harry’s alien overseers who seek to finish his plan without him.

Showrunner and series creator Chris Sheridan wisely leans more into his full cast as “Resident Alien” progresses, instilling a sense of familiarity and payoff to the story. This informs much of the show’s comedy, as do the genuinely heartfelt moments that become more apparent throughout the series. But, of course, the actor that holds the entire show together is Tudyk, with his wacky performance always hitting the right notes. A unique blend of humor and sci-fi mystery, “Resident Alien” remains a fun watch across its entire four-season run.

Everyone’s favorite murderous doll, from the horror movie series “Child’s Play,” strikes again in the continuation show “Chucky.” The show starts with Chucky (Brad Dourif) falling into the possession of unsuspecting New Jersey teenager Jake Wheeler (Zackary Arthur). As Chucky resumes his killing spree in short order, flashbacks reveal his traumatic past when he was the young and troubled Charles Lee Ray. The story’s scope steadily heightens each season, with Season 3 turning the White House blood red as the doll slashes his way into the presidential residence.

“Chucky” is created by franchise overlord Don Mancini, who also serves as showrunner. With that creative vision maintained and given the room to expand, the series feels like a natural continuation of the movies, while still accessible to new viewers. Even on television, Mancini is able to deliver some of the best kills of the franchise, as well as plenty of familiar faces from the movies. A love letter to and reinvigoration of the “Child’s Play” franchise, “Chucky” is a must-watch for any slasher fan.

Will Smith’s breakout role in “The Fresh Prince of Bel-Air” was a ’90s classic played primarily for laughs. The sitcom’s familiar story is reimagined for decidedly dramatic effect in the Peacock original series “Bel-Air,” executive-produced by Smith. The show retains the broad premise of West Philadelphia teenager Will Smith (Jabari Banks) moving in with his affluent family in Bel-Air, California. However, the stark differences in cultures and racial tension are played very seriously here, rather than used as comedic fuel.

“Bel-Air” is a show that improves as it goes, growing more confident as it emerges from the shadow of its sitcom source material. Banks does phenomenal work as a much less lighthearted Will, while Adrian Holmes also excels as this story’s version of Uncle Phil. That said, the series becomes less somber as it progresses, bringing in some of the fun that its premise provides. A coming-of-age story with familiar trappings but a distinctly different tone, “Bel-Air” finds fresh creative directions for its tale.

After reinvigorating the whodunit genre on the big screen with his “Knives Out” movies, filmmaker Rian Johnson brought those sensibilities to television with the show “Poker Face.” The show stars Natasha Lyonne as Charlie Cale, a casino worker with an uncanny knack for detecting when someone is lying. After being linked to a murderous tragedy at the casino, Charlie goes on the run in her Plymouth Barracuda. Traveling cross-country, she puts her skills to good use and solves other crimes that she encounters on the road.

Like much of Johnson’s cinematic work, “Poker Face” is sharply written and carries a noticeable sense of self-awareness. Lyonne is perfectly suited to bring Johnson’s dialogue and story to life, also working as a writer, director, and executive producer behind the scenes. Though “Poker Face” was canceled at Peacock, it’s still currently available to stream on the platform as Johnson searches for a new home with a new lead. One of the best modern detective shows around, “Poker Face” is a fantastic showcase for Johnson and Lyonne’s talents.

The children’s game Werewolf gets the reality show treatment to great effect with the series “The Traitors.” Hosted by Alan Cumming, the show features two teams working against each other to collect the grand prize. One secret group, known as the Traitors, tries to eliminate the other contestants through deception and murder. The other group, known as the Faithful, tries to identify the Traitors and eliminate all of them to secure their winnings.

“The Traitors” usually involves previous reality show personalities competing together, with these already-colorful personae making the whole spectacle even more entertaining. An all-civilian version of “The Traitors” is planned for NBC, bringing its deception-based contest to everyday participants. No matter who the contestants are, Cumming plays his role as the show’s host deliciously, keeping the players on their toes.

A wayward nun takes on a rogue artificial intelligence in the Peacock original sci-fi comedy “Mrs. Davis.” The show is named after its all-powerful A.I. program that has brought about global harmony at the cost of people’s free will. After Sister Simone (Betty Gilpin) confronts Mrs. Davis over its control over humanity, the program offers to shut itself down if Simone can recover the Holy Grail. This leads to a globe-trotting quest to locate the biblical relic as flashbacks reveal the Knights Templar’s connection to the Grail and Simone’s past.

As you can imagine by the premise alone, “Mrs. Davis” is definitely and proudly the weirdest show on this list. That distinction only grows more outlandish as the limited series progresses, continuing to blend genres as it details its clash of technology and religion. Making all these disparate elements work is Gilpin, one of the greatest actors of her generation, capturing the tonal complexities of this odd dramedy. Simone’s wacky journey and what it says about A.I. is an absolute trip and, with “Mrs. Davis,” it’s a trip well worth taking.

The popular PlayStation video game franchise “Twisted Metal” was adapted into a post-apocalyptic action comedy in 2023. The show is set in a North America that’s fallen into ruin, with the U.S. replaced by the Divided States of America and its major highways ruled by roving warlords. Anthony Mackie stars as John Doe, an amnesiac milkman who is hired to deliver a package across the deadly wasteland. The second season has John and his fellow drivers invited by Calypso (Anthony Carrigan) to join in a contest for the prize of any wish granted.

Like much of its video game source material, “Twisted Metal” revels in the dark comedy of its violent, automobile-fueled premise. Mackie and co-star Stephanie Beatriz clearly are having fun with the project and, fortunately, that enjoyment spreads to the audience. The second season is a vast improvement over the first, giving fans the big demolition derby competition they wanted all along. Loads of high-octane dumb fun, “Twisted Metal” brings the automotive thrills and gags in equal measure.

An armed robbery that occurred in 1970 Atlanta on the night of Muhammad Ali’s comeback boxing bout is dramatized for the 2024 limited series “Fight Night: The Million Dollar Heist.” With a star-studded afterparty for Ali’s historic fight over Jerry Quarry planned, local criminal Cadillac Richie (Terrence Howard) plans to rob the attendees. This is juxtaposed with the rise of Gordon “Chicken Man” Williams (Kevin Hart) in the local organized crime outfit, whose party Cadillac Richie happens to rip off. This development forces Williams to prove his innocence to his superiors while tracking down the true culprits.

More than just a freewheeling heist story, “Fight Night: The Million Dollar Heist” provides a solid showcase for its ensemble cast. Hart offers one of the most well-rounded performances as Chicken Man, going beyond his usual comedic strengths. Similarly, the period piece setting brings a real atmosphere to the story rather than a source of campy laughs. A heist drama with real-world inspiration, “Fight Night: The Million Dollar Heist” provides Hart with a welcome change of acting pace.

English author Frederick Forsyth’s 1971 novel “The Day of the Jackal” was updated, reimagined, and adapted into a 2024 Peacock original series. Eddie Redmayne plays a notorious international assassin known by his nickname The Jackal, and the show starts with him completing a contract in Germany. As The Jackal sets out to confront those refusing to fully pay him for the job, he is pursued by MI6 operative Bianca Pullman (Lashana Lynch). Flashbacks reveal The Jackal’s past in the British military and how he became a prolific contract killer.

“The Day of the Jackal” takes full advantage of its globe-trotting premise, showcasing this cat-and-mouse game across Europe. The action is tautly staged and the pacing moves steadily, keeping viewers riveted as the plot escalates and grows more complex. Amid all the global intrigue, Redmayne’s performance elevates “The Day of the Jackal” considerably. A sumptuous modern update of Forsyth’s classic story, “The Day of the Jackal” is one of the best spy TV shows you need to add to your watchlist.

Given the popularity of the American version of “The Office,” it’s a wonder that a follow-up hadn’t been attempted sooner. This void is satisfyingly filled by the spin-off “The Paper,” a mockumentary series focused on a struggling newspaper in Toledo, Ohio. The staff is led by the paper’s new editor-in-chief Ned Sampson (Domhnall Gleeson), who wants to restore the newspaper’s respectable coverage, clashing with managing editor Esmeralda Grand (Sabrina Impacciatore). A documentary crew chronicles the staff trying to reverse the newspaper’s fortunes, with accountant Oscar Nuñez (Oscar Martinez) from “The Office” resistant to the project.

“The Paper” opens with a nod to Dunder Mifflin’s Scranton branch, immediately making it clear that it’s set in the same universe as “The Office.” That sets the stylistic tone, but the show quickly establishes that its characters aren’t journalistic facsimiles of Scranton’s paper company. This is still very much a workplace mockumentary, but the different professional industry gives the spin-off its own visible identity. Proving there are creatively fresh directions to take the familiar world and humor, “The Paper” breathes new life into the classic sitcom franchise.

So many true-crime limited series don’t handle their subject matter with due respect to the victims involved in the stories. Fortunately, the 2025 Peacock original series “Devil in Disguise: John Wayne Gacy” avoids that mistake as it examines its titular serial killer. The miniseries follows Gacy (Michael Chernus) as he murders dozens around Illinois in the ’70s while being a respected member of the community. Gacy’s horrific killing spree is juxtaposed by the grief surrounding his numerous victims and the systemic failure to stop him for years.

In comparison to Ryan Murphy’s “Monster” series and the criticisms against it, “Devil in Disguise” takes a less sensationalized approach. It’s clear this story is a tragedy and one with very real victims. That makes the limited series all the more heartbreaking as it keeps both its moral messaging, and its sinister depiction of Gacy, clear. A true-crime series that maintains justice for the victims and bereaved involved, “Devil in Disguise: John Wayne Gacy” handles its sensitive subject matter carefully.

Author Liz Moore’s 2020 novel “Long Bright River” was adapted into a 2025 limited series of the same name, with Moore serving as screenwriter and executive producer. The adaptation stars Amanda Seyfried as Philadelphia police officer Mickey Fitzpatrick, who regularly patrols the city’s crime-ridden Kensington neighborhood. Fitzpatrick searches for clues surrounding the disappearance of her younger sister Kacey (Ashleigh Cummings), who dealt with substance abuse. This search intensifies when Fitzpatrick realizes a serial killer is on the loose, targeting women similar to her sister.

Seyfried, who also serves as an executive producer, delivers a reliably strong performance, playing a character both determined and fundamentally wounded by her circumstances. Beyond our protagonist, “Long Bright River” echoes “The Wire” in its portrait of modern urban decay in America. More than just a setting for the story, the Kensington neighborhood feels like a lived-in community of people discarded by the system and just trying to get by. A tale of predators preying on the vulnerable and forgotten, “Long Bright River” is a gut-wrenching crime drama.